{"id":1075,"date":"2021-07-31T11:33:11","date_gmt":"2021-07-31T10:33:11","guid":{"rendered":"https:\/\/participatoryworlds.org\/research\/press_start\/?page_id=1075"},"modified":"2021-09-06T01:54:22","modified_gmt":"2021-09-06T00:54:22","slug":"stephaniej","status":"publish","type":"page","link":"https:\/\/participatoryworlds.org\/research\/press_start\/artists\/stephaniej\/","title":{"rendered":"Stephanie J"},"content":{"rendered":"\t\t
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Stephanie J<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Stephanie J is a Canadian artist who began her IGP journey towards the end of 2018. She was always interested in photography as well as fascinated by videogame worlds and the creativity that goes into them, so combining both together came naturally. Inspired by influential figures in the field such as Petri Lev\u00e4lahti (Berduu), Erika Tschinkel, Frans Bouma, SkallEdit, Jim2Point0 and Natty Dread, IGP soon became her number one passion:<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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my motivation has always been to be the best I can possibly be. There have been so many things I\u2019ve had to leave behind because of my anxiety, so being able to continue with my passion for virtual photography drives me to keep going further. I am most proud of accepting a really great opportunity to contribute as a game capture artist for a graphics processor company.<\/div>\n\t\t\t\n\t\t\t\t\t\t
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Stephanie J<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
IG Photographer<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Although she is not very present in community discussions and activities due to anxiety, she has become well known for the quality of her images and her constant experimentation.<\/p>

The stories and themes that she explores vary from game to game and from shot to shot. She never goes into a game with a clear plan and instead simply attempts to bring out the emotions she feels while playing and portray these in her work. Each capture is tweaked individually to reflect these feelings, even if it takes some exploration and patience for the inspiration to come. When that moment arrives and she discovers something worth capturing, she can spend an hour or more searching for different angles and lighting. In her work, she uses a combination of tools and techniques,<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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a mixture of in-game photo modes and free cameras developed by the community, most specifically a very talented individual, Frans Bouma. The amount of hard work he has put into creating camera tools for games so that people like us can pursue this hobby is simply amazing. ReShade is another must have for me. Advanced post processing injector within the game itself. It manipulates shaders and can change how the game looks as you play.<\/div>\n\t\t\t\n\t\t\t\t\t\t
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Stephanie J<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
IG Photographer<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Human Legacy
Based on Cyberpunk 2077 \u00a9 CD PROJEKT S.A. All rights reserved.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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She chooses carefully the games she plays based on the camera tools\/mods made available by the community of practice and recognises that \u2018without them, I don\u2019t think I would be creating what I do today\u2019.<\/p>

The video game industry has become more receptive towards gamers\u2019 content creation, to the extent that in-game photo modes are now more common than ever before. This can arguably be the most important milestone in the practice. Generally these tools still present important limitations, such as a restricted camera range, the impossibility of manipulating lighting, or using them in cutscenes. Despite the agency that developers give to players with photo modes, Stephanie tends to use tools that expand on them, employing a wider array of options that give her more freedom for creativity. However, Stephanie perceives that game developers are taking into account the increasing number of practitioners, and photo modes are gradually getting better. Likewise, as more in-depth games are released, the community of practice continues to develop and share technical and sophisticated tools and mods which \u2018allow us all more creative freedom\u2019, increasing opportunities for capturing beautiful and artistic shots.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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theHunter: Call of the Wild \u00a9 Expansive Worlds<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\n\t\t\t\n\t\t\t\t

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Morels: The Hunt \u00a9 Abrams Studios<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\n\t\t\t\n\t\t\t\t

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Namibia<\/h2>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

Microsoft Flight Simulator \u00a9 Microsoft Corporation.<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\n\t\t\t\n\t\t\t\t

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The past is present<\/h2>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

FlowScape \u00a9 Pixel Forest Games\n<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\n\t\t\t\n\t\t\t\t

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Finding the Soul Orb \u00a9 Tongu\u00e7 Bodur\n\n<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\n\t\t\t\n\t\t<\/div>\n\n\t\t\t\t\t