The Crystal Ship: Hyuro in Ostend, Belgium

The one and only Hyuro was also part of this year’s stellar line-up of the second edition of The Crystal Ship Street Art Festival which took place on the streets of Ostend in Belgium.

After several days of work, Hyuro wrapped up this large-mural showing some of her signature imagery. As usual with the Argentinian street artist, her artworks often explore the social condition of women in our modern society, in a somewhat cryptic and unorthodox way.

More images by Ian Cox are awaiting for you below so take a look and then make sure to check back with us shortly for more updates from the streets of Belgium.


People I Saw But Never Met: Thousands of Miniature Metal Figurines by Zadok Ben-David

“People I Saw But Never Met,” 2017, detail. Courtesy Shoshana Wayne Gallery.

Taking notice of the countless people we witness as a backdrop to our daily lives seems like an impossible task, but for artist Zadok Ben-David (previously) this myriad of anonymous people form the basis of his installation People I Saw But Never Met. Comprised of over 3,000 chemically etched miniature figures displayed at varying proportions, each individual is pulled from photographs taken by Ben-David during his travels across Europe, the United States, Central Asia, Australia, and Antarctica, creating a diverse assemblage of various cultures and people.

Shown individually, the two-dimensional sketch-like sculptures seem to depict the mundane moments in the lives of average citizens, tourists, and even pets, but viewed collectively the installation offers a unique snapshot of humanity at a certain moment in time. “Ben-David’s sculptural milieu comes at a critical point in our current socio-political climate,” says Shoshana Wayne Gallery, “where heated debates about exclusion and borders versus inclusivity and multiplicity are part of our daily experience.”

People I Saw But Never Met has been installed in various configurations since 2015 and is currently on view at Shoshana Wayne Gallery in Santa Monica through May 27, 2017. This new installation incorporates thousands of smaller figures along with 45 much larger hand-cut aluminum figures installed in a large gallery space. You can see more views here. (via Design Milk)

“People I Saw But Never Met,” 2017. Courtesy Shoshana Wayne Gallery.

“People I Saw But Never Met,” 2015, detail.

“People I Saw But Never Met,” 2015, detail.

“People I Saw But Never Met,” 2017, detail. Courtesy Shoshana Wayne Gallery.

“People I Saw But Never Met,” 2017, detail. Courtesy Shoshana Wayne Gallery.

“People I Saw But Never Met,” 2017, detail. Courtesy Shoshana Wayne Gallery.

“People I Saw But Never Met,” 2017, detail. Courtesy Shoshana Wayne Gallery.


Watch Spotting: Sergio Garcia Wearing An Omega Seamaster Planet Ocean ‘Deep Black’ At The Masters Awards Ceremony

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If you are into sports, even just a little bit, you were probably watching The Masters yesterday. And, like many, you were probably doing so with a smile on your face as you watched Sergio Garcia win. Not only has he been in the game since 1999, but he also came back after a rough 13th hole and won the playoff after sinking his putt against Justin Rose. And on his wrist as he donned the famous green jacket? His trusty Omega, of course.

Garcia, who has been an Omega ambassador since 2003, received an Omega Seamaster Planet Ocean "Deep Black" the Wednesday prior to the tournament, and was seen sporting it when receiving his green jacket (and his $1.9 million prize). If you were watching the action live (or caught up today in photos like the one below), you’ll have noticed that Garcia didn’t wear the watch – or any watch, for that matter – during play, only after he had clinched his first Masters victory.

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Sergio Garcia sinking the winning putt. (Photo: Courtesy Omega)

The Deep Black Collection was released in June 2016 and gave us Omega’s first four all-ceramic GMT divers. Each watch is built from a solid block of ceramic (which might explain why Garcia didn’t wear his during the tournament) and the bezel is made of a ceramic/rubber blend with the first 15 minutes in colored Liquidmetal (blue in Garcia’s case). The watch is powered by the Omega Master Chronometer caliber 8906, which is anti-magnetic and certified under the special Master Chronometer standards by METAS. In case you’re wondering, these watches retail for $11,700. 

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The Omega Seamaster Planet Ocean "Deep Black" in blue.

You can read more about this watch and Sergio Garcia on Omega’s website.

Top image: Bloomberg


instagram friendly book – free just for you.

instagram friendly book. / sfgirlbybay

it’s been a season of travel and i’ve been most fortunate to be getting around these days — from cuba, to france and on to london. you’ve probably seen my abundance of Instagrams, but it’s nice to create something even longer lasting, as a personal souvenir if you will from my trips. so when artifact uprising invited me to try out their instagram friendly books i knew this was just the thing i was looking for. not only for my own keepsakes but to gift to my travel mates, as well. artifact uprising is also inviting the sfgirlbybay community to create your own free 5×5 softcover book through monday, 4/17 (so jump on it this week!) with this reader code. just enter: SFGXAU17 at checkout for a free 30-page book!

artifact uprising instagram book. / sfgirlbybay

artifact uprising softcover books are super easy to make, too. i just logged in and set up an account and then the templates are right there ready to upload your images directly from your Instagram account. you can change the layouts of the 30-page books really easily too just by clicking on the layout tab and dragging the template size you’d like for your images right to the page. it literally took me about a half an hour to create a pretty photo book and the quality is most impressive! they come sealed in a clear envelope and the paper has a smooth, uncoated finish and the printing quality is spot-on! i think you will love how they turn out! so go make your free book!

artifact uprising photo book made with your instagrams. / sfgirlbybay

introducing the instagram friendly books from artifact uprising. / sfgirlbybay

turning my travel instagrams into a book with artifact uprising. / sfgirlbybay

make your own photo book with artifact uprising instagram friendly books. / sfgirlbybay

artifact uprising instagram friendly books / sfgirlbybay

This is a sponsored post in partnership with artifact uprising and all words and opinions are my own. Thank you for supporting the brands that help keep sfgirlbybay going with fresh content every day.


Who Has The Best (And Worst) LinkedIn Profile Photos?

This article originally appeared on Priceonomics

A quick spin through LinkedIn reveals that the quality of peoples’ profile photos is rather uneven. Some photos appear to be from highly professional photoshoots while others are grainy pictures captured from old cell phones. 

Is there any pattern in the data around professional networking photos? What professions have the highest quality photos? Do people that are fresh on the job market tend to have better headshots? Are certain countries more likely to have better professional networking photos then others?

We decided to analyze the data from Priceonomics customer Snappr, which has a Photo Analyzer tool for LinkedIn photos. The tool use an algorithm to analyze portraits for things like expression (e.g. smile and jawline), composition (e.g. zoom and background), and photo quality (e.g. saturation and sharpness). These attributes are graded individually and incorporated into an overall photo quality score.The database contains tens of thousands of Photo Analyzer results and anonymized information from the LinkedIn profiles they’re attached to. We analyzed that database to identify the groups with the best-scoring photos. 

According to our data, lawyers have the best professional photos on LinkedIn, Chile is the country with the highest quality pictures, and people who recently joined a company are much more likely to have a nice photo then someone with a long tenure.


Do some countries take better photos than others? We first grouped our sample based on nationality, filtered our list to countries that contributed at least 50 scores, and ranked them based on average overall photo score.

According to our Photo Analyzer, Chileans take the best profile pictures. A look at their individual attribute scores revealed that they earned the top spot by taking photos that were technically strong, with great saturation and brightness and neutral backgrounds.

Developed, politically stable nations make up the bulk of this ranking, but developing countries like Brazil and India show up too, demonstrating how accessible decent photography equipment is these days.

This ranking doesn’t bear a strong resemblance to rankings of physical attractiveness by country, but that makes sense: our analyzer calculates scores based only on features the subject has some control over.

We next asked whether photo quality varies with industry. We thought photos might be stronger for employees in people-oriented fields like sales and human resources, or among aesthetically-oriented creatives. We grouped our sample based on industry, calculated the average overall photo score for each group, and rank the top and bottom 10 below.

Workers with high-paying prestige positions in law, consulting, and investment banking take the best photos, according to our Photo Analyzer. They are joined, perhaps not surprisingly, by workers in broadcast media and people-oriented staffing and recruiting industries.

What is surprising is the ‘worst’ ranking, as photographers find themselves with the lowest average photo quality score. It’s important to remember that Photo Analyzer is an algorithm and perhaps professional photographers take creative liberties that don’t jibe with the science of what makes a good professional photo according to an algorithm.

Photographers are joined in this ranking by other creatives – architects, fashion designers, and media producers – as well as professionals in behind-the-scenes industries like information services, machinery, and computer networking.

We associate some of the professions on the ‘best’ list with large firms that grant their employees access to a broad network, and that led us to wonder whether network size is correlated with photo quality. We grouped our sample based on the user’s number of LinkedIn connections and charted the average overall photo score for each group.

The more connected you are, the better your LinkedIn photo is likely to be. This doesn’t necessarily mean upgrading your photo will net you more friends, though. It’s likely that individuals with access to a wide network also have access to top-notch photography services. If they work at a large enough company, their employer may even arrange a headshot for them.

This ranking suggested that people with more seniority – who have been around longer to develop a wider network – might also have better profile photos, as determined by our Photo Analyzer. We explored this possibility by grouping our sample based on how long users had been in their current position and charted the average overall photo score for each group.

People with more seniority in their current positions actually have worse photos, on average, than newer employees. This makes some sense – technology has advanced since these veterans had reason to update their profile pictures. By the same token, recent hires will have been job-hunting recently, and had an incentive to invest in a high-quality photo.


Keep in mind, our Photo Analyzer is a technical tool, not the final word on photographic artistry. Your portrait may very well deserve a space at the Met, but if it doesn’t follow the rule of thirds, have a neutral background, or showcase your dazzling smile, it won’t receive a high score. Research has shown that these attributes inspire positive impressions in viewers, and our Analyzer is designed to measure them.

But limitations aside, what did we find? We saw that professionals in law and management tend to have better photos than workers in creative or behind-the-scenes roles. Network size is positively correlated with photo quality, whereas length of tenure with present employer is correlated negatively.


The Crystal Ship: Ricky Lee Gordon in Ostend, Belgium

While you discovered some progress images a few days ago, Ricky Lee Gordon has now completed his artwork for the second edition of The Crystal Ship Street Art Festival which took place on the streets of Ostend in Belgium.

Using his signature technique and style, the South African muralist painted this beautiful and gigantic piece which is an homage to the unknown people that we encounter in life. This will surely be enjoyed for years to come by the local residents and tourists alike!

Take a look for below for more images by Ian Cox and keep checking back with us to discover more updates from the streets of Ostend and The Crystal Ship Festival.


Hands-On: The Casio G-Shock Master Of G Gravitymaster GPW1000RG-1A

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The G-Shock has led an interesting life. G-Shock started out in 1983 as engineer Kikuo Ibe’s obsessive reaction to the breakage of a cherished mechanical watch, with his initial goal being the creation of a quartz LCD watch with such shock-resistant armor that it could tolerate a 10 meter drop (he famously tested prototypes by surreptitiously throwing them out an upper floor men’s bathroom window into the parking lot behind his lab). 

There may be no more form-follows-function watch in the world than the original G-Shock DW-5000, but the inadvertent, slightly brutalist, face-only-a-mother-could-love charm of it and subsequent G-Shock models meant that G-Shock has become a style and design icon as well – and G-Shock collectors, as we’ve noted before, are as fanatical in their focus as any vintage Patek or Rolex collector ever was. In the last year or so we’ve seen several G-Shocks in the Master Of G lineup that emphasize a combination of traditional Japanese design cues and crafts with the G-Shock’s unmistakeable style, such as the MR-G "Hammer Tone," which is decorated with the hammering technique known as tsuiki. That watch is at the top of the G-Shock price pyramid, but in the same general idiom and at a lower price point are watches like the GPW1000RG-1A Gravitymaster Master of G you see here.

Functionally, this is an identical G-Shock to others in the Gravitymaster line, which are part of the Master of G Professional family. The Gravitymaster watches are specifically designed for tolerance to high G force maneuvers as well as the general jolting around a watch being used by a professional aviator might have to tolerate – not so much the environment in the cockpit of a commercial passenger aircraft, as that of a military or rescue aviator and the like.

There are a plethora of functions but the most significant is that this is a solar GPS watch with automatic correction to the correct time for any time zone. There is also multi-band radio signal atomic timekeeping as a backup should a GPS signal be problematic, and by default, this is on auto-receive, correcting up to six times per day depending on your location. This means the correct time in 27 different reference cities world-wide and in addition, you get all the usual G-Shock bells and whistles, including a chronograph, 24 hour countdown timer, perpetual calendar, and of course the general G-Shock toughness as well. 

An unusual feature relative to earlier G-Shocks, of this module and the actual watches using it, is that some functions are accessed via a screw-down crown rather than the customary four button layout. The hands, for instance, are set to the correct time with the crown and there’s no LCD subdial, as has been the case in earlier G-Shock watches with an analog hand-set.

There are a number of specific design features intended to make the watch more resistant to the effects of shock and magnetism – for example in a quartz multifunction analog watch, it’s possible for the hands to be knocked out of alignment. You can manually re-align the hands but in G-Shocks using this module, the watch will also periodically automatically check for correct alignment and perform a realignment operation, if necessary. The seconds hand is made of carbon fiber, to reduce inertia and minimize the chances of it being knocked out of place by a strong shock. The strap is held to the watch head with four 2.3mm allen screws and the strap itself is reinforce with a central strip of carbon fiber – once you get this guy on your wrist it’s probably not going anywhere unless your wrist (and hopefully you) go along for the ride.

As relatively ubiquitous as this sort of sophisticated quartz timekeeping tech has become, it still has wow factor, and that coupled with the genuine overbuilt toughness of the G-Shock watches means you get something with real emotional impact just on its technical merits. However, this particular model sports some additional aesthetic enhancement in the form of rose gold ion plating, in a formulation Casio says is designed to resist scratches. 

Casio’s been pretty savvy so far about combining aesthetic touches that reference more traditional aspects of Japanese design and culture, with the boxy armor of the G-Shock. So far this has come with a considerable price premium – the tsuiki-patterned, hand-hammered decorative bracelet links and bezel drive the price of the Hammer Tone up to $6,200 – but this "aged gold" version of the Gravitymaster is actually priced roughly on par with other Casio top-of-the-line G-Shocks, at an even $1,000 (the Master of G Frogman we looked at not long ago was $1,050 at launch, just for comparison).

At that price, though, you get, in the Master of G lineup in general, some of the toughest G-Shocks every made as well as the solar GPS tech. The "aged rose gold" looks great against the dark external armoring and though it’s purely cosmetic, amping up the aesthetics of G-Shocks is something Casio’s been doing for many years now and there’s no doubt it’s been commercially successful. The ultra-tough tech is a great base, as it turns out, on which to build a street-smart style statement, and it’s to Casio’s credit that they keep building out both simultaneously – continuing to make some of the most technically advanced, but also eye-catching, multifunction quartz watches out there today.

Check out Master of G online, right here. The Casio G-Shock Master Of G Gravitymaster GPW1000RG-1A: movement, module 5410; solar GPS with backup multi-band atomic radio timekeeping in US, UK, Germany, Japan, China; automatic hand position correction; alarm, chronograph, 24 hour countdown timer, indication of latitude, world time in 40 time zones. LED illuminator light, luminous hands and markers. Dimensions, 66.0 x 56.0 x 18.8mm; weight, 126g.


When Alma met Clark

The cover for Chris Clark‘s latest album Death Peak features an unusual image of the musician. A picture of his face has been printed out on paper, scrunched up and photographed again to create an odd portrait that begs a second glance. Only one side of his face is visible and his features are distorted by creases.

The image was created by Alma Haser, the German-born, London-based photographer known for her unusual approach to portraiture. Her Cosmic Surgery series combined traditional portraits and paper folding to startling effect and was shortlisted for a Taylor Wessing Portrait Prize. She has since created some striking and beautiful magazine covers and illustrations by cutting, folding and scrunching pictures on paper and recently worked with Nick Ballon to create 3D portraits of young Syrian refugees for Save the Children.

Feast Beast artwork, designed by Dominic Flannigan. The album is out now on Warp
Death Peak artwork, designed by Dominic Flannigan. The album is out now on Warp

Clark came across Haser’s work in a magazine at Frankfurt train station back in 2013. He asked her if she’d like to work on the cover for his upcoming album Feast Beast and the pair met at a studio in Hackney. “[Chris] came to the shoot quite jet lagged. You’d just come off a plane and you didn’t have any change of clothing, just a grey sweater. That’s all I had to play with,” says Haser.

“You were quite awkward at the beginning [Clark admits he felt a little uncomfortable about being photographed for the album’s cover] and I thought ‘oh God, what are we going to do here?” She then noticed his hands – which are much larger than her own – and decided to make them the focus of the image.

Cover art for Clark's 2013 album Feast Beast. Haser created the cover image by printing out multiple images of Clark's hands and laying them on top of one another
Cover art for Clark’s 2013 album Feast Beast. Haser created the cover image by printing out multiple images of Clark’s hands and laying them on top of one another

“I started getting ideas for multiplying them in my head but not really knowing how … then I just played around with it and cut loads of his hands out, laid them on top and fanned them out and it worked really well.”

The resulting cover is an ordinary portrait with a peculiar twist. Clark is pictured staring straight-faced into the camera, standing against a grey background in his slightly creased  sweatshirt. It is fairly unremarkable – save for the six hands sprouting from his wrist.

Haser also created two portraits of Clark in a similar style to her Cosmic Surgery series for the album’s gatefold and reverse. Both images show Clark with his face obscured by origami sculptures and one of them was animated to promote the album online.

Gatefold artwork for Feast Beast. Haser printed out multiple images of Clark's face and folded them up to create kaleidoscopic 3D sculptures
Gatefold artwork for Feast Beast. Haser printed out multiple images of Clark’s face and folded them up to create kaleidoscopic 3D sculptures

For follow-up album Clark (released in 2014), Haser decided to photograph Clark then cut his face out and put another image in its place. Designer Dominic Flannigan took the concept one step further and created an outer sleeve with a hole where Clark’s face should be. An inner sleeve featuring a monochrome image of a forest was inserted underneath. Fans could remove the sleeve and replace it with an image of their choice to create their own version of the cover.

“I just took his face and came up with the concept I guess, but I loved the whole idea of taking it further by cutting out his face so you can slot different pictures in,” explains Haser.

The cover of Clark (released in 2014) combines a picture of Clark with an image of a forest shot by Dmitry Masurov. It was designed by Dominic Flanagan
The cover of Clark’s self-titled album combines a picture of the musician with an image of a forest shot by Dmitry Mazurov. It was designed by Dominic Flannigan and Haser came up with the concept of using a faceless portrait

With Death Peak, Haser had planned to take a portrait of Clark’s face and multiply it whilst zooming inwards to create a kind of ‘tunnel’ effect. She put together a storyboard and did the shoot but when it came to creating the image, the idea just wasn’t working. It looked quite comedy but not in a good way – like something from The League of Gentleman,” adds Clark. 

After working on multiple versions of the image, Haser decided to scrap the initial concept and try something different. She printed out an image of Clark’s face, crumpled it up and photographed it.

“I sent a really quick test to Chris and he was like, ‘yep, that’s the cover!”… but it was only on a tiny piece of paper and I hadn’t photographed it properly.” She then had to carefully recreate the picture crease by crease at a larger size to create the final cover. “Trying to recreate that one picture that you fell in love with was almost impossible,” she says.

“It’s the same as in music – when you do an improvisation and you think, ‘it’s not that good’ and then it becomes the single,” adds Clark. “You’ve just got one mix of it and you try and recreate it and everyone says, ‘ah, but I really like the original’.”

“I think we were fixated on that initial idea for a while,” he continues. “We focused on this one tunnel image that we didn’t use at all – but it’s all part of [the process]. It’s that thing of loosening up your ideas and going, ‘let’s just forget about that and be a bit irreverent about it, rather than painstakingly trying to make one idea’.”

Clark was initially reluctant to use his face on album art but inviting Haser to manipulate his image has resulted in a trio of striking covers. Each has a distinct look and feel: the cover for Clark, with its grey and black colour scheme and images of bare trees has a darker, more sombre feel. Artwork for Death Peak is more playful but still a little unsettling.

Covers often loosely reflect the tone of the music – though this tends to happen more by accident than design. Haser will often work on covers before albums are complete and before a title has been confirmed. “It’s not like you can pinpoint that when they’re still being created. It’s more like a retrospective thing where you look at them and think ‘that works’,” Clark explains.

Haser says she is given much more room to experiment when working with Clark than she is when doing editorial commissions. “I like it because I can just say, ‘this is roughly my idea, what do you think?’ and 90% of the time you’ll come back and say ‘yes, that’s great, let’s do that’. I feel like I have a lot more freedom in what we can create together.”

Editorial briefs tend to be much more prescriptive – though Haser says the success of her personal projects had led to more creative commissions. She is often asked to take an existing photograph of a subject and manipulate it with paper. “I like that … but it can be quite lonely because you’re not meeting that person or getting to understand them when you’re working on [their image].”

Her covers for Clark stand out not just because of the oddness of the imagery – a man with multiple hands or kaleidoscopic sculptures in place of his face – but because of their almost painterly effect. The crumpled portrait on the cover of Death Peak features scratches and scuff marks from Haser’s nails as well as fainter lines showing where creases have been smoothed out.

Haser has been experimenting with paper since university and is drawn to the playfulness of the medium as well as the ability to create some quite dark and strange images.

“[Using paper] made me realise how I could change the look of my photography and add a style to it,” she says. “Just printing it off gives texture to the picture which you can’t really recreate in Photoshop – or I can’t anyway. I don’t really like Photoshop.” She also prefers to work by hand, cutting out scraps of paper and rearranging them rather than moving around digital images on a screen.

This is also what drew Clark to Haser’s work: “I quite like that thing of using quite an obvious inexpensive medium – scrunching up a bit of paper and making it look amazing,” he says.

“Musically I try and do that quite a lot. It’s like the opposite of using like an orchestra and doing something banal with it – using something cheap and trying to make it more expansive. It’s much more challenging and rewarding. [Working with Haser] has made me realise that, actually – you learn more about what you’re doing through someone else’s craft,” he adds.

Death Peak is out now on Warp Records. More info is available at You can see more of Haser’s work at

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