Stainless – Alexanderplatz

source: trendhunter

Adam Magyar’s ‘Stainless’ series tracks activity in one of Berlin’s Alexanderplatz metro stops. His use of a high-speed camera allowed him to slow down that very activity, moving in a sloth-like manner between each shot.

Magyar’s project grapples with the subjects of transiency and alienation. He points to the fleeting and impersonal nature of public transit as passengers remain temporary acquaintances at best. And while these notions of estrangement are central to debates on contemporary social interactions, the two minute short nonetheless captivates viewers with its haunting beauty, showcasing an almost stagnant view of women and men amid their daily routines. The result is anything but banal despite the backpacks, cell phones, shopping bags and suitcases.
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source: eyesaiditbefore

Eine so einfache und doch geniale Idee, die der Adam Magyar hatte: mit 50 Bildern pro Sekunde aus einer einfahrenden Bahn filmen. Sieht toll aus und macht Lust auf mehr.
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source: petapixel

The video above is for those people who love Magyar’s work and want to know the technical detail behind it, but don’t want to dig through and read the detailed interviews and descriptions of the gear he uses — a 20 minute presentation for PopTech in which Magyar talks about the purpose of his projects, the technology used to capture them, and the myriad challenges he’s run into (e.g. the police…) over the years.

If you have the time and you found Magyar’s photography fascinating, this video is well-worth 20 minutes of your day. The video above is for those people who love Magyar’s work and want to know the technical detail behind it, but don’t want to dig through and read the detailed interviews and descriptions of the gear he uses — a 20 minute presentation for PopTech in which Magyar talks about the purpose of his projects, the technology used to capture them, and the myriad challenges he’s run into (e.g. the police…) over the years.

source: magyaradam

Adam Magyar is captivated by high-tech cities and man choosing to live an urban life. Magyar depicts the synergies of man and the city, and embraces the city as home to both man and technology. With each of his series, he observes time flowing by and life pulsating in front of his eyes. In his works, he scrutinizes the transience of life and man’s inherent urge to leave some trace behind. Magyar is keen on adopting and reinventing contemporary devices like industrial machine-vision cameras to be able to produce his unique cityscapes. 

Adam Magyar (born 1972) is a Berlin-based Hungarian photographer. His works have been exhibited in various solo and group shows internationally including Helsinki Photography Biennial in Finland, MFAH Mixed Media event and the Graduate School of Design Harvard University in the USA, Berlin Selected Artists exhibitions in Germany, the Ethnographic Museum Budapest and Faur Zsofi Gallery in Hungary, Rhubarb Rhubarb in the UK and Karin Weber Gallery in Hong Kong. His works are present in the collections of Deutsche Bank, the Hong Kong Heritage Museum and the Bidwell Projects. His photographs have been published in the book In the Life of Cities by the Graduate School of Design Harvard University, Light and Lens by Robert Hirsch, and in photography magazines including PDN and PQ Magazine in the USA, Flash Art in Hungary, Digital Camera Magazine in UK and Katalog in Denmark.
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source: f508

Na fotografia do húngaro Adam Magyar, o ambiente urbano é o principal personagem. Ex-programador de computadores, Magyar projetou e construiu sua própria câmera digital utilizada na produção da série Urban Flow, a qual funciona de forma semelhante a um scanner caseiro. Conectada ao laptop, a câmera faz uma varredura das movimentadas ruas, funcionando da seguinte maneira: uma fração de um momento é registrada, através de uma fenda de 1 pixel de largura, centenas de vezes por segundo, formando as imagens panorâmicas distorcidas. Assim, os eventos do lado direito da imagem são registrados antes do que está do lado esquerdo, de forma que as pessoas fotografadas nunca estiveram juntas da maneira como estão representadas nas imagens. Isso porque as pessoas que estão à direita passaram antes pelo local fotografado do que as que estão à esquerda. Como resultado desta conexão tempo-espaço, todas as pessoas e veículos das fotografias parecem estar se movendo em uma única direção. No site de Adam Magyar, o tempo indicado abaixo das imagens é o tempo que foi gasto para registrá-las. O método adotado por Magyar é capaz de registrar apenas movimentos. Todos os objetos estáticos aparecem como faixas ou listras, como as do fundo, que são, na verdade, as janelas dos prédios da cidade.