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Street Photographer Uses AI Face Swap to Hide His Subjects’ Identites

Street Photographer Uses AI Face Swap to Hide His Subjects’ Identites
Street photographer wth AI facial replacement
Original photo, left, with AI face swap, right.

Street photography ethics has always been a hot potato but one photographer may have found a novel solution by using artificial intelligence (AI) to hide people’s identities.

Many believe that taking a stranger’s photograph without permission is immoral so photographer Hubert Napierala has experimented with altering the appearance of his street photography subjects using AI image generator DALL-E to swap their faces.

Street photograph
This photo was taken back in 2010 but Napierała only published it recently, partly because the man reacted badly to his photo being taken.
AI street photograph
The same photo but with the man’s face swapped out in DALL-E.

“I was thinking about it the moment deepfakes became a thing a couple of years ago,” Polish photographer Napierala tells PetaPixel.

“If it doesn’t impact the overall impact of the photo, I have no problem with the face replacement.”

Facebook Ban

However, some people do have a problem with it. Napierala was banned from a Facebook street photography group after sharing his AI-infused work.

“My picture supposedly violated some rules and was immediately taken down although the description clearly stated that the subject’s face was altered,” he explains.

“I can’t blame them. The topic of AI in photography is really hot right now and is making a lot of people afraid. However, it is not going anywhere and we must not be afraid to discuss it openly.”

Street photography
One of Napierała’s street photographs that hides the subjects’ faces naturally.

Napierala says his street photography is for fun and he rarely publishes anything. He points out that most of his street shots don’t need altering because a lot of the time nobody’s face is showing in them.

However, one of Napierala’s street photos, taken over a decade ago, shows a man pressed up against a wall as another man on the phone stares into the lens — it’s a great moment in time that gets the viewer curious as to what is going on.

“The person actually chased me away for taking the picture, so getting permission has never been an option,” he says.

Street photo and altered
The man who wasn’t happy with his photo being taken, left, his face altered with AI, right.

“I took that picture in May 2010 and this is the first time I’m showing it online. Even though he was openly hostile to me, publishing his image without his consent has always been out of the question for me.

“There are a number of shots that I like that were unpublishable, so AI opened some new doors for my hobby for sure.”

Street Photography Ethics

Napierala believes that photographers should be free to collect information on the streets, so long as they’re doing it legally.

“But if a person approaches us and asks us not to take their pictures, we should take their point of view under consideration,” he says. “We are all human after all.”

Street photography
One of Napierała’s street photographs.

Napierala tells a story where the roles were reversed and he found himself the subject of a street photograph while waiting for a train.

“The photographer was trying to be as candid as possible, but I was aware of her and the camera,” he says.

“I held still, pretending not to notice her so she could get her shot. I didn’t mind at all but for the briefest of moments when I was trying to understand the situation, I felt uncomfortable.

“Therefore, I can totally understand people who don’t want their pictures taken and respect their wish in that matter.”

Street photograph

Street photograph with the person's face swapped out using AI
Same as the photo above, but the subject has had an AI face swap in this one.

He believes that AI could be useful to street photographers when they’re forced to bury a picture and AI facial replacement could be an “acceptable compromise.”

“I would only make sure to mark the photo as edited. In the case of some of my pictures, the impact of the face replacement doesn’t change the general outcome of the picture and in my opinion, is fine,” he says

“And I can’t stress this enough — the generated faces were as unique and unexpected as the ones I stumbled across on the street.”

Napierała is a director of photography and camera operator based in Warsaw, Poland. Street photography is mostly a hobby for him.


Image credits: All photos by Hubert Napierala.

Guadalupe Maravilla Transforms a School Bus into an Immersive Installation for Sound-Based Healing

Guadalupe Maravilla Transforms a School Bus into an Immersive Installation for Sound-Based Healing

“Mariposa Relámpago” (2023), mixed media, approximately 13 × 8.5 × 35 feet. All images by GLR Estudio Gerardo & Eduardo Lopez, courtesy of the artist and P·P·O·W, New York, © Guadalupe Maravilla, shared with permission

Chrome plating, fringe made of humble kitchen cutlery, illuminated chandeliers, and symbolic sculptures of flora and fauna adorn a school bus parked at the ICA Watershed in the Boston Harbor Shipyard. The elaborately retrofitted vehicle is the largest project to-date by Guadalupe Maravilla and the latest addition to his Disease Thrower series.

Born out of the artist’s traumatic experience immigrating as an unaccompanied minor and suffering from colon cancer as an adult, the ongoing body of work evinces the healing power of sound and vibration. Titled “Mariposa Relámpago,” or lightning butterfly, the new work has had several lives before making its way to Boston: the bus was first used for transporting students in the U.S., then sent to the artist’s native El Salvador, and finally ended up in his studio where it underwent its current transformation.

 

The front of a chrome and silver school bus with spiritual and sculptural details, including Mayan inspired sculptures and a model of human anatomy

Detail of “Mariposa Relámpago” (2023), mixed media, approximately 13 × 8.5 × 35 feet

Fastened to the vehicle’s body are several objects Maravilla found while retracing the 3,000-mile route he traveled as an eight-year-old to reunite with his parents, who had fled the country’s civil war. Included are references to Mayan cosmology and indigenous practices, spiritual emblems, and more contemporary imagery of disease and medicine, including a model of human anatomy resting atop the hood. Gongs and other tonal objects suspend from the sides, which Maravilla rings during his ritualistic sound baths. These sessions, which he’s hosted specifically for undocumented immigrants and those dealing with cancer, are known to reduce stress, anxiety, and tension that can worsen the pain of illness and injury.

Also in the exhibition at the Watershed are smaller paintings, scale models, and Disease Thrower sculptures made of mixed natural and synthetic materials that similarly reflect the artist’s exploration of displacement and recovery. Immersive and totemic, the works are part of the artist’s effort “to confront trauma in order to heal.”

Guadalupe Maravilla: Mariposa Relámpago is on view through September 4, with two sound baths scheduled for June 10 and August 13.

 

A massive beetle sculpture sits on a chrome with butterknife fringe below

Detail of “Mariposa Relámpago” (2023), mixed media, approximately 13 × 8.5 × 35 feet

A metallic crocodile head juts off the side of a school bus

Detail of “Mariposa Relámpago” (2023), mixed media, approximately 13 × 8.5 × 35 feet

Two detail images, on the left, the steps of a bus with Mayan-inspired sculpture and cutlery fringe, on the right, a floor and spoon fringe

Detail of “Mariposa Relámpago” (2023), mixed media, approximately 13 × 8.5 × 35 feet

Visitors walk inside a chrome and silver school bus with spiritual and sculptural details

“Mariposa Relámpago” (2023), mixed media, approximately 13 × 8.5 × 35 feet

Guadalupe Maravilla sits on a chrome and silver school bus with spiritual and sculptural details

The artist in “Mariposa Relámpago” (2023), mixed media, approximately 13 × 8.5 × 35 feet

A wide aluminum sculpture with a gong at the top center sits on the floor

“Disease Thrower #14” (2021), cast aluminum, steel tubing, assorted welded details, 86 × 143 × 79 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Guadalupe Maravilla Transforms a School Bus into an Immersive Installation for Sound-Based Healing appeared first on Colossal.

‘Botaniscopes’ photography by Jonathan Brooks now on display

‘Botaniscopes’ photography by Jonathan Brooks now on display

Miami native Jonathan Brooks’ photographs have been featured in major movies (Mike & Dave Need Wedding Dates and Uncle Drew); the Emmy-nominated short film series celebrating the 50th anniversary of National Endowment for the Arts, United States of Art; and numerous television shows. 

The Botaniscopes series focuses on botanical life in nature, particularly plants and trees of the South. The work takes on a kaleidoscope and/or Rorschach test feel, and is influenced by life, science fiction and fantasy. It aims to enhance a viewer’s perception of our environment and our relationship with nature.

Be sure to take a look before the exhibition leaves next week!

VIEW EXHIBIT ONLINE 

VIEW EXHIBIT IN-PERSON:

Where: Gifts of Art Gallery – Rogel Cancer Center, Level 1.

When: 8 a.m. – 5 p.m. Monday-Friday through June 2

Some of the Tastiest, Award-Winning Food Photos of Year

Some of the Tastiest, Award-Winning Food Photos of Year

The Pink Lady® Food Photographer of the Year award, the leading annual celebration of the art of food photography and film, once again captivated audiences with its 2023 edition. This prestigious competition welcomes professional and non-professional photographers of all ages, providing a platform for them to showcase their talents and share their unique perspectives on food. The winners were recently announced during a ceremony held at BAFTA London on May 16th, introduced by renowned chef Nadiya Hussain.

The Candy Man © Jon Enoch, United Kingdom 1st Place Street Food

The 2023 Overall Winner went to UK-based Jon Enoch for his mesmerizing photograph, The Candy Man. The image of Pappu Jaiswal, a cotton candy seller from the bustling streets of western Mumbai, was part of a compelling series highlighting the city’s street food vendors and their distinctive methods of attracting customers.

As someone who built a successful food business by displaying and serving food in “over-the-top” ways, it’s no surprise why I, too, am drawn to the vertical screen of toxically colored cotton candy depicted in this magnificent picture.

Enoch explains that: “Ever since I first saw the candy floss sellers I was drawn to the shapes, colors, and juxtaposition of the candy and the urban environment.”

man and woman surrounded by baskets of orange persimmons while hanging some

Hanging Up Persimmons © Zhonghua Yang, China 1st Place Pink Lady© Moments of Joy

Now in its second decade, the Pink Lady® Food Photographer of the Year awards absolutely set the standard for most innovative work in food photography. The competition showcases the profound influence of food across the world, documenting major global events such as war, famine, the end of lockdowns, and the revitalization of the hospitality industry. Through the awards, we witness how food transcends boundaries and plays a significant role in every aspect of our lives.

down view of old beat up green car with people serving food off hood

Bonnet Delights © Hein van Tonder, United Arab Emirates 1st Places On the Phone

The Pink Lady® Food Photographer of the Year award prides itself on having an esteemed panel of judges who carefully assess each entry. This year, the judging panel included Fiona Shields, the head of photography at the Guardian, and Rein Skullerud, representing the United Nations World Food Program. Their expertise and discerning eyes ensured that the winning entries truly represented excellence in food photography.

down view of man selling various kinds of fish at market

Selling Fish © Md Mahabub Hossain Khan, Bangladesh 1st Place Unearthed® Food For Sale

With its 2023 edition, the competition once again highlighted the remarkable artistry and the universal impact of food in our lives. Among the impressive array of submissions, several remarkable entries stood out. These exceptional works, chosen as finalists, will be exhibited at The Royal Photographic Society in Bristol. For those unable to attend the exhibition in person, an online gallery featuring all the captivating images from this year’s competition is available for viewing.

elevated view of concrete ruins of city in Syria with people around table eating

Ramadan Meals Among the Ruins in Idlib, Syria © Mouneb Taim, Netherlands 1st Place Politics of Food

down view looking into tank holding wine

The Eye © Adrian Chitty, United States 1st Places Errazuriz Wine Photographer of the Year – Produce

TJ Girard is a sought-after food designer and creative consultant, celebrated for staging theatrical, interactive food + beverage experiences. She now resides in California where her creativity is solar powered! TJ writes the Design Milk column called Taste.

Ground-breaking Native playwright opens new show Thursday

Ground-breaking Native playwright opens new show Thursday

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Larissa FastHorse, the first Native American woman dramatist to have a play produced on Broadway, is premiering a new production Thursday in the Black Hills, with performances continuing through the weekend.



Larissa FastHorse trailer (copy)

Award-winning playwright Larissa FastHorse grew up in South Dakota. Her play “Wicoun” premieres Thursday at Black Hills Playhouse, with more performances scheduled this weekend in Rapid City. FastHorse is the first Native woman dramatist to have a play open on Broadway.




FastHorse’s satire, “The Thanksgiving Play,” opened on Broadway in April. In “The Thanksgiving Play,” four white performers struggle to present a school pageant that is culturally sensitive to Native people — without actually including any Native Americans in the pageant.

Meanwhile, FastHorse’s “Wicoun” is a heartfelt work that explores the strength, beauty, humor and perseverance of the Indigenous culture, language and identity of the Northern Plains. In “Wicoun,” a Lakota teen named Áya and their brother Kȟoškálaka are raising siblings and cousins and dealing with zombies on the prowl, all while trying to graduate from high school.

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After Áya summons a traditional superhero in a moment of bravery, Áya and Kȟoškálaka embark on a journey across the lands of the Oceti Sakowin to find answers in the old stories, within themselves and in the Black Hills.

FastHorse calls “Wicoun” the most meaningful play of her career because it is a chance to work on her Native land in collaboration with her own people, according to a press release announcing the upcoming performances. FastHorse is a member of the Sicangu Lakota Nation. She grew up in Winner and Pierre.

“Growing up as a Lakota woman in South Dakota, I believed that I had to leave to be a professional performing artist,” she said. “That is why doing this production at home is important to me. We are employing so many local Native American artists and production people. We are creating a model for touring both rural and urban tribal centers. We are showing my people as contemporary artists while still using our language and traditional concepts.”

The cast of “Wicoun” features six community actors from the Dakota, Nakota and Lakota tribes, along with two Cornerstone Theater Company ensemble members and dozens of puppets. Performed in Lakota, Dakota and English, the production was designed in collaboration with Oceti Sakowin artists — storyteller, scholar and translator, Jerome Kills Small; sound designer Talon Bazille Ducheneaux; designer Tosa Two Heart; and graffiti muralist Focus. Cornerstone Theater Company also commissioned Lakota recording artist Tiana Spotted Thunder to create a song for the opening and closing of the show.

“Wicoun” is the third in a series of collaborations between Cornerstone Theater Company, FastHorse and Indigenous people. The first production was “Urban Rez,” a story with and about Native people of the Los Angeles Basin. The second production, “Native Nation,” was a collaboration with representatives of more than 20 tribes in and from the Phoenix, Arizona area.

In 2022, FastHorse collaborated with Black Hills Community Theatre as its artist-in-residence. Her comedy, “Average Family,” opened BHCT’s 2022-23 season in Rapid City. The comedy focuses on the Roubidouxes, a typical technology-loving, city-dwelling family who have an Indigenous heritage. When the Roubidouxes are “randomly” chosen to compete on a reality TV show against the Monroes, a rustic working-class family, culture shock ensues.

In conjunction with her long-time director and collaborator, Cornerstone Theater Company’s artistic director Michael John Garcés, FastHorse’s playwriting strives to serve the stories and aspirations of a network of interrelated rural communities. FastHorse and Cornerstone Theater Company have visited cultural centers on eight of South Dakota’s nine reservations, including the Heritage Center at Red Cloud Indian School, the South Dakota Urban Indian Health in Sioux Falls, and the Oglala Lakota Artspace in Kyle.

FastHorse and Cornerstone Theater Company have taught workshops at the Lakota Nation Education Conference, the Cheyenne River Youth Project and the Waterlily Storytelling Institute, and they have led summer camp programs at Milks Camp with Lakota Youth Development, and the Cheyenne River Sioux Tribe Title One Program. Other partners include First Peoples Fund, Racing Magpie, Black Hills Playhouse, Black Hills Community Theatre, the City of Rapid City, Brave Heart Society in Lake Andes, and individual Lakota culture bearers.

‘Wicoun’ show times and locations

“Wicoun” premieres at 2 p.m. Thursday at Black Hills Playhouse in Custer State Park. “Wicoun” is an outdoor theatrical experience that will be performed near Haberman Hall at the Playhouse. Seating is non-ticketed and available on a first come, first served basis; admission is a free-will offering. Audiences are encouraged to bring their own chairs or blankets. The play runs for about 75 minutes.

Rapid City performances of “Wicoun” are scheduled Friday at 6 p.m. at Racing Magpie, 801 St. Andrew St., Saturday at 7 p.m. at Main Street Square, and June 3 at 5 p.m. at Memorial Park Bandshell.

“Wicoun” also will be performed June 5, with shows at 1 p.m. at Red Shirt School in Hermosa and at 7 p.m. at Little Wound School Auditorium. Additional performances are scheduled throughout the state through June 15.

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