Sentences with phrase «camera perspective after»

Not exact matches

Founded in 2006, Lytro is behind a series of cameras, which allow customers to capture «all the rays of light within a scene» giving them the ability to refocus shots after they were taken and offered «unprecedented control over focus, perspective, aperture and shutter angle.»

Something to consider about the first person perspective: after playing the game it's safe to say that they used that perspective for aesthetic purposes: for one, it's more immersive that way, and many of the environments are so small that a third person camera wouldn't work.

Returning to the genre after a long absence gave Wyler a renewed perspective, allowing him to apply his artistic vision and constantly evolving camera techniques to something he was quite familiar with.

After all, having a new camera angle changes the perspective for a lot of attacks.

2005» [prologue] Reclaiming Europe from a new feminist perspective», Cornerhouse, Manchester UK «Art out of Place», Norwich Castle Museum and Art gallery, Norwich, UK «Double Check Re-Framing Space in Photography: The other Parallel Histories», Camera Austria, Kunsthaus Graz, Austria 2004 «Your Heart is No Match for My Love», The Soap Factory, The Walker Art Center, Minneapolis, USA «Show Us What You're Made Of», The Premises, Johannesburg, SA «After Hours» and «In / Out», Hisk, Antwerp, Belgium 2003 «Something About Love», Casino, Luxembourg, Luxembourg «Intimate / Inanimate Moments», The Process Room, Irish Museum of Modern Art, Dublin, Ireland 2001 «Fluid», Wolverhampton Art Gallery, UK «Juncture», The Granary, Cape Town, South Africa; Studio Voltaire, London «Body: Rest and Motion», Oudtshoorn Festival, South Africa 2000 Two - person exhibition with Moshekwa Langa at the Goodman Gallery, Johannesburg, South Africa

To mention a few, Lisa Bartolozzi's essay on painting techniques shows how incessantly experimental painting has always been; Vincent Desiderio looks deeply into figurative painting's» technical narrative»; Alexi Worth's hypothesizes «the invention of clumsiness» after photography hit the 19th c. painting world; Donald Kuspit describes some of the impact Freud had on the figure; Kurt Kauper explains kitsch and Jule Heffernan «the male gaze»; Laurie Hogin examines the politics of figurative painting; and John Jacobsmeyer and Nicola Verlato each discuss the meanings of spatial organization via perspective, the camera obscura, 3 - D modeling, and cyberspace.

After that, we see a boss battle using the «automatic camera battle mode,» that removes the ability to move away, but shows combat from a more cinematic perspective.