Leather is chosen to evoke the feeling of grips and cases of vintage cameras. Besides adding an intimate detail of craftsmanship, the material also soften the overall hardness of the mainly wood and metal construction, supplementing the lighting with a subtle of warmth.
The aluminium middle frame connects the main lighting unit to the tripod.
The lens used is an actual camera lens - a Rodenstock Ysaron 1:4.5 f=150mm. The aperture blades are still functioning, and can be used to control the amount of light.
Leather straps are used to limit the openings of the tripod legs. The knots are deliberately exposed to display the honesty of their function.
The rear view of the Visioflex.
Canadian rock maple is chosen as the material to construct the tripod, for its solidity and the subtleness of their grain.
The bus is depicted upside-down on the lens of the camera obscura.
A compilation of selected sketches during the design process.

How much further can a piece of lighting go besides solely providing illumination? In this project, the definition of light is re-examined and approached from a different angle: a photographic point of view. Cameras capture light as well, but a different kind from the ones that we associate from lamps and bulbs.
There are two lenses on the main body of Visioflex - the top lens is part of a camera obscura, a simple device which projects upside-down image of its surroundings onto a screen behind. Functioning based on the principle that light travels in a straight line, it is one of the inventions that led to photography. The bottom lens is a discarded, real camera lens which was non-functional but cleaned to be integrated into the design. Three power LED behind the lens within the unit projects a strong spot light; instead of capturing light, the lens is now resurrected to give light.

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Ryan Cheah
Designer Kuala Lumpur, Malaysia