Quantcast
Jump to content


New Vulkan Extensions for Mobile: Maintenance Extensions


Recommended Posts

2021-06-14-01-banner.jpg

The Samsung Developers team works with many companies in the mobile and gaming ecosystems. We're excited to support our partner, Arm, as they bring timely and relevant content to developers looking to build games and high-performance experiences. This Vulkan Extensions series will help developers get the most out of the new and game-changing Vulkan extensions on Samsung mobile devices.

Android is enabling a host of useful new Vulkan extensions for mobile. These new extensions are set to improve the state of graphics APIs for modern applications, enabling new use cases and changing how developers can design graphics renderers going forward. In particular, in Android R, there has been a whole set of Vulkan extensions added. These extensions will be available across various Android smartphones, including the Samsung Galaxy S21, which was recently launched on 14 January. Existing Samsung Galaxy S models, such as the Samsung Galaxy S20, also allow upgrades to Android R.

One of these new Vulkan extensions for mobile are ‘maintenance extensions’. These plug up various holes in the Vulkan specification. Mostly, a lack of these extensions can be worked around, but it is annoying for application developers to do so. Having these extensions means less friction overall, which is a very good thing.

VK_KHR_uniform_buffer_standard_layout

This extension is a quiet one, but I still feel it has a lot of impact since it removes a fundamental restriction for applications. Getting to data efficiently is the lifeblood of GPU programming.

One thing I have seen trip up developers again and again are the antiquated rules for how uniform buffers (UBO) are laid out in memory. For whatever reason, UBOs have been stuck with annoying alignment rules which go back to ancient times, yet SSBOs have nice alignment rules. Why?

As an example, let us assume we want to send an array of floats to a shader:

#version 450

layout(set = 0, binding = 0, std140) uniform UBO
{
    float values[1024];
};

layout(location = 0) out vec4 FragColor;
layout(location = 0) flat in int vIndex;

void main()
{
    FragColor = vec4(values[vIndex]);
}

If you are not used to graphics API idiosyncrasies, this looks fine, but danger lurks around the corner. Any array in a UBO will be padded out to have 16 byte elements, meaning the only way to have a tightly packed UBO is to use vec4 arrays. Somehow, legacy hardware was hardwired for this assumption. SSBOs never had this problem.

std140 vs std430

You might have run into these weird layout qualifiers in GLSL. They reference some rather old GLSL versions. std140 refers to GLSL 1.40, which was introduced in OpenGL 3.1, and it was the version uniform buffers were introduced to OpenGL.

The std140 packing rules define how variables are packed into buffers. The main quirks of std140 are:

  • Vectors are aligned to their size. Notoriously, a vec3 is aligned to 16 bytes, which have tripped up countless programmers over the years, but this is just the nature of vectors in general. Hardware tends to like aligned access to vectors.
  • Array element sizes are aligned to 16 bytes. This one makes it very wasteful to use arrays of float and vec2.

The array quirk mirrors HLSL’s cbuffer. After all, both OpenGL and D3D mapped to the same hardware. Essentially, the assumption I am making here is that hardware was only able to load 16 bytes at a time with 16 byte alignment. To extract scalars, you could always do that after the load.

std430 was introduced in GLSL 4.30 in OpenGL 4.3 and was designed to be used with SSBOs. std430 removed the array element alignment rule, which means that with std430, we can express this efficiently:

#version 450

layout(set = 0, binding = 0, std430) readonly buffer SSBO
{
    float values[1024];
};

layout(location = 0) out vec4 FragColor;
layout(location = 0) flat in int vIndex;

void main()
{
    FragColor = vec4(values[vIndex]);
}

Basically, the new extension enables std430 layout for use with UBOs as well.

#version 450
#extension GL_EXT_scalar_block_layout : require

layout(set = 0, binding = 0, std430) uniform UBO
{
    float values[1024];
};

layout(location = 0) out vec4 FragColor;
layout(location = 0) flat in int vIndex;

void main()
{
    FragColor = vec4(values[vIndex]);
}

Why not just use SSBOs then?

On some architectures, yes, that is a valid workaround. However, some architectures also have special caches which are designed specifically for UBOs. Improving memory layouts of UBOs is still valuable.

GL_EXT_scalar_block_layout?

The Vulkan GLSL extension which supports std430 UBOs goes a little further and supports the scalar layout as well. This is a completely relaxed layout scheme where alignment requirements are essentially gone, however, that requires a different Vulkan extension to work.

VK_KHR_separate_depth_stencil_layouts

Depth-stencil images are weird in general. It is natural to think of these two aspects as separate images. However, the reality is that some GPU architectures like to pack depth and stencil together into one image, especially with D24S8 formats.

Expressing image layouts with depth and stencil formats have therefore been somewhat awkward in Vulkan, especially if you want to make one aspect read-only and keep another aspect as read/write, for example.

In Vulkan 1.0, both depth and stencil needed to be in the same image layout. This means that you are either doing read-only depth-stencil or read/write depth-stencil. This was quickly identified as not being good enough for certain use cases. There are valid use cases where depth is read-only while stencil is read/write in deferred rendering for example.

Eventually, VK_KHR_maintenance2 added support for some mixed image layouts which lets us express read-only depth, read/write stencil, and vice versa:

VK_IMAGE_LAYOUT_DEPTH_ATTACHMENT_STENCIL_READ_ONLY_OPTIMAL_KHR

VK_IMAGE_LAYOUT_DEPTH_READ_ONLY_STENCIL_ATTACHMENT_OPTIMAL_KHR

Usually, this is good enough, but there is a significant caveat to this approach, which is that depth and stencil layouts must be specified and transitioned together. This means that it is not possible to render to a depth aspect, while transitioning the stencil aspect concurrently, since changing image layouts is a write operation. If the engine is not designed to couple depths and stencil together, it causes a lot of friction in implementation.

What this extension does is completely decouple image layouts for depth and stencil aspects and makes it possible to modify the depth or stencil image layouts in complete isolation. For example:

    VkImageMemoryBarrier barrier = {…};

Normally, we would have to specify both DEPTH and STENCIL aspects for depth-stencil images. Now, we can completely ignore what stencil is doing and only modify depth image layout.

    barrier.subresourceRange.aspectMask = VK_IMAGE_ASPECT_DEPTH_BIT;
    barrier.oldLayout = VK_IMAGE_LAYOUT_DEPTH_ATTACHMENT_OPTIMAL_KHR;
    barrier.newLayout = VK_IMAGE_LAYOUT_DEPTH_READ_ONLY_OPTIMAL;

Similarly, in VK_KHR_create_renderpass2, there are extension structures where you can specify stencil layouts separately from the depth layout if you wish.

typedef struct VkAttachmentDescriptionStencilLayout {
    VkStructureType sType;
    void*          pNext;
    VkImageLayout      stencilInitialLayout;
    VkImageLayout      stencilFinalLayout;
} VkAttachmentDescriptionStencilLayout;

typedef struct VkAttachmentReferenceStencilLayout {
    VkStructureType sType;
    void*          pNext;
    VkImageLayout  stencilLayout;
} VkAttachmentReferenceStencilLayout;

Like image memory barriers, it is possible to express layout transitions that only occur in either depth or stencil attachments.

VK_KHR_spirv_1_4

Each core Vulkan version has targeted a specific SPIR-V version. For Vulkan 1.0, we have SPIR-V 1.0. For Vulkan 1.1, we have SPIR-V 1.3, and for Vulkan 1.2 we have SPIR-V 1.5.

SPIR-V 1.4 was an interim version between Vulkan 1.1 and 1.2 which added some nice features, but the usefulness of this extension is largely meant for developers who like to target SPIR-V themselves. Developers using GLSL or HLSL might not find much use for this extension. Some highlights of SPIR-V 1.4 that I think are worth mentioning are listed here.

OpSelect between composite objects

OpSelect before SPIR-V 1.4 only supports selecting between scalars and vectors. SPIR-V 1.4 thus allows you to express this kind of code easily with a simple OpSelect:

    MyStruct s = cond ? MyStruct(1, 2, 3) : MyStruct(4, 5, 6);

OpCopyLogical

There are scenarios in high-level languages where you load a struct from a buffer and then place it in a function variable. If you have ever looked at SPIR-V code for this kind of scenario, glslang would copy each element of the struct one by one, which generates bloated SPIR-V code. This is because the struct type that lives in a buffer and a struct type for a function variable are not necessarily the same. Offset decorations are the major culprits here. Copying objects in SPIR-V only works when the types are exactly the same, not “almost the same”. OpCopyLogical fixes this problem where you can copy objects of types which are the same except for decorations.

Advanced loop control hints

SPIR-V 1.4 adds ways to express partial unrolling, how many iterations are expected, and such advanced hints, which can help a driver optimize better using knowledge it otherwise would not have. There is no way to express these in normal shading languages yet, but it does not seem difficult to add support for it.

Explicit look-up tables

Describing look-up tables was a bit awkward in SPIR-V. The natural way to do this in SPIR-V 1.3 is to declare an array with private storage scope with an initializer, access chain into it and load from it. However, there was never a way to express that a global variable is const, which relies on compilers to be a little smart. As a case study, let us see what glslang emits when using Vulkan 1.1 target environment:

#version 450

layout(location = 0) out float FragColor;
layout(location = 0) flat in int vIndex;

const float LUT[4] = float[](1.0, 2.0, 3.0, 4.0);

void main()
{
    FragColor = LUT[vIndex];
}

%float_1 = OpConstant %float 1
%float_2 = OpConstant %float 2
%float_3 = OpConstant %float 3
%float_4 = OpConstant %float 4
%16 = OpConstantComposite %_arr_float_uint_4 %float_1 %float_2 %float_3 %float_4

This is super weird code, but it is easy for compilers to promote to a LUT. If the compiler can prove there are no readers before the OpStore, and only one OpStore can statically happen, compiler can optimize it to const LUT.

%indexable = OpVariable %_ptr_Function__arr_float_uint_4 Function
OpStore %indexable %16
%24 = OpAccessChain %_ptr_Function_float %indexable %index
%25 = OpLoad %float %24

In SPIR-V 1.4, the NonWritable decoration can also be used with Private and Function storage variables. Add an initializer, and we get something that looks far more reasonable and obvious:

OpDecorate %indexable NonWritable
%16 = OpConstantComposite %_arr_float_uint_4 %float_1 %float_2 %float_3 %float_4

// Initialize an array with a constant expression and mark it as NonWritable.
// This is trivially a LUT.
%indexable = OpVariable %_ptr_Function__arr_float_uint_4 Function %16
%24 = OpAccessChain %_ptr_Function_float %indexable %index
%25 = OpLoad %float %24

VK_KHR_shader_subgroup_extended_types

This extension fixes a hole in Vulkan subgroup support. When subgroups were introduced, it was only possible to use subgroup operations on 32-bit values. However, with 16-bit arithmetic getting more popular, especially float16, there are use cases where you would want to use subgroup operations on smaller arithmetic types, making this kind of shader possible:

#version 450

// subgroupAdd
#extension GL_KHR_shader_subgroup_arithmetic : require

For FP16 arithmetic:

#extension GL_EXT_shader_explicit_arithmetic_types_float16 : require

For subgroup operations on FP16:

#extension GL_EXT_shader_subgroup_extended_types_float16 : require

layout(location = 0) out f16vec4 FragColor;
layout(location = 0) in f16vec4 vColor;

void main()
{
    FragColor = subgroupAdd(vColor);
}

VK_KHR_imageless_framebuffer

In most engines, using VkFramebuffer objects can feel a bit awkward, since most engine abstractions are based around some idea of:

MyRenderAPI::BindRenderTargets(colorAttachments, depthStencilAttachment)

In this model, VkFramebuffer objects introduce a lot of friction, since engines would almost certainly end up with either one of two strategies:

  • Create a VkFramebuffer for every render pass, free later.
  • Maintain a hashmap of all observed attachment and render-pass combinations.

Unfortunately, there are some … reasons why VkFramebuffer exists in the first place, but VK_KHR_imageless_framebuffer at least removes the largest pain point. This is needing to know the exact VkImageViews that we are going to use before we actually start rendering.

With imageless frame buffers, we can defer the exact VkImageViews we are going to render into until vkCmdBeginRenderPass. However, the frame buffer itself still needs to know about certain metadata ahead of time. Some drivers need to know this information unfortunately.

First, we set the VK_FRAMEBUFFER_CREATE_IMAGELESS_BIT flag in vkCreateFramebuffer. This removes the need to set pAttachments. Instead, we specify some parameters for each attachment. We pass down this structure as a pNext:

typedef struct VkFramebufferAttachmentsCreateInfo {
    VkStructureType                        sType;
    const void*                                pNext;
    uint32_t                                   attachmentImageInfoCount;
    const VkFramebufferAttachmentImageInfo*    pAttachmentImageInfos;
} VkFramebufferAttachmentsCreateInfo;

typedef struct VkFramebufferAttachmentImageInfo {
    VkStructureType   sType;
    const void*       pNext;
    VkImageCreateFlags flags;
    VkImageUsageFlags usage;
    uint32_t          width;
    uint32_t          height;
    uint32_t          layerCount;
    uint32_t          viewFormatCount;
    const VkFormat*   pViewFormats;
} VkFramebufferAttachmentImageInfo;

Essentially, we need to specify almost everything that vkCreateImage would specify. The only thing we avoid is having to know the exact image views we need to use.

To begin a render pass which uses imageless frame buffer, we pass down this struct in vkCmdBeginRenderPass instead:

typedef struct VkRenderPassAttachmentBeginInfo {
    VkStructureType   sType;
    const void*       pNext;
    uint32_t          attachmentCount;
    const VkImageView* pAttachments;
} VkRenderPassAttachmentBeginInfo;

Conclusions

Overall, I feel like this extension does not really solve the problem of having to know images up front. Knowing the resolution, usage flags of all attachments up front is basically like having to know the image views up front either way. If your engine knows all this information up-front, just not the exact image views, then this extension can be useful. The number of unique VkFramebuffer objects will likely go down as well, but otherwise, there is in my personal view room to greatly improve things.

In the next blog on the new Vulkan extensions, I explore 'legacy support extensions.'

Follow Up

Thanks to Hans-Kristian Arntzen and the team at Arm for bringing this great content to the Samsung Developers community. We hope you find this information about Vulkan extensions useful for developing your upcoming mobile games.

The Samsung Developers site has many resources for developers looking to build for and integrate with Samsung devices and services. Stay in touch with the latest news by creating a free account or by subscribing to our monthly newsletter. Visit the Marketing Resources page for information on promoting and distributing your apps and games. Finally, our developer forum is an excellent way to stay up-to-date on all things related to the Galaxy ecosystem.

View the full blog at its source

Link to comment
Share on other sites



  • Replies 0
  • Created
  • Last Reply

Top Posters In This Topic

Popular Days

Top Posters In This Topic

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...
  • Similar Topics

    • By Samsung Newsroom
      Samsung Electronics today announced that its Tizen OS will be embedded in Loewe’s latest premium TV, stellar, set to launch on July 15 in Europe. This is a significant milestone for the Tizen Licensing Program, which started in 2022 and is now rapidly growing in Europe and worldwide.
       
      “This new collaboration with Loewe ensures that its latest luxury TV, stellar, will exceed expectations with the high-end experiences it brings to consumers,” said YS Kim, EVP, Head of the Service Business Team, Visual Display Business at Samsung Electronics. “It’s also more momentum for Tizen OS, which has established itself as the software platform of choice for premium TVs. Moving forward, we will continue to push the boundaries of how users interact with their TVs.”
       
      Loewe, renowned for its luxury and high-end TVs, has chosen Tizen OS to enhance the viewing experience of its consumers. In particular, the brand is celebrated for its impeccable design and use of premium and unique materials — including stone and concrete back panels. Building on that foundation, this partnership with Samsung underscores the mutual commitment of both companies to deliver superior user experiences.
       
      Tizen OS, based on the newest 2024 Tizen licensing platform, offers a wealth of content and service options, making it the ideal choice for Loewe’s discerning customer base. With Tizen OS, users have access to a wide variety of features, ensuring an unparalleled entertainment experience. Key features include:
       
      Samsung TV Plus: A vast array of free channels and on-demand content, providing a diverse selection of entertainment options. Gaming Hub: Access to top gaming platforms and services, offering an integrated gaming experience of 1,000+ titles without the need of a console. SmartThings: Seamless connection to smart devices in your home.  
      Outside of licensing partnerships, Tizen OS powers 270 million Samsung Smart TVs and offers an intuitive interface that minimizes the steps required for navigation and customization. Tizen OS users can stream their favorite content and play thousands of games — all on one screen — and every aspect of the TV experience is personalized and secured by Samsung Knox.
      View the full article
    • By Shashank Suryavanshi
      Hi, I've developed the Tizen app using the web and now after building it, the build is created in wgt format.
      I want to install the build directly on Samsung Tv so that I can test the app there once.
      I've already created the certificates and it's also verified by the Tizen team.
      Now, when I tried to connect the SamsungTv with Tizen using the Device Manager I'm getting these following errors
      The remote device is already connected by another one. This remote device is running on a non-standard port or There is no IP address, please check the physical connection What I've done?
      I opened the developer mode of Samsung tv and updated the IP address with my system IP address and in the device manager I added all the details what was required and after clicking on add button then I faced the above errors.
      Can anyone help me like how can we either create the build in .tmg format because Usb demo packaging tool is not supported now.  Or how can I connect the SamsungTv with Tizen Studio using the Device Manager. 
      I've read and went through the documentation from official site still I face this issue.
    • By Samsung Newsroom
      The Samsung Odyssey OLED G8 (model name: G80SD) has been making waves in the tech world since its launch on June 4. Garnering accolades like Editor’s Choice, 5-Star Ratings and Highly Recommended badges from multiple review publications, this monitor is being celebrated for its next-level OLED experience and new AI capabilities.
       
      ▲ Samsung Odyssey OLED G8 (G80SD) has been recognized by many leading outlets as a top-rated gaming monitor
       
      The Odyssey OLED G8 is the 32” flat OLED gaming monitor with 4K UHD (3840 x 2160) resolution and a 16:9 aspect ratio. It boasts innovative features such as OLED Glare Free and Samsung’s proprietary burn-in protection technology. Additionally, the monitor is powered by the NQ8 AI Gen3 processor, the same one used in Samsung’s 2024 8K TV. This processor upscales content to nearly 4K when using native Smart TV apps or Samsung Gaming Hub,1 providing a superior viewing experience.
       
      See what each of the following review outlets said about the monitor (listed below in alphabetical order):
       
      CGMagazine Forbes Home Theater Review Newsweek Trusted Reviews  
       
      Groundbreaking Innovations in Gaming Monitors
      Forbes noted that “Samsung has taken the wraps off two cutting edge new additions to its acclaimed Odyssey range of premium gaming monitors, both equipped with advanced features the likes of which we haven’t seen in the monitor world before.”
       
      “What really sets the S32G80SD apart, though, is a trio of ground-breaking new features for the monitor world,” said Forbes. These features include:
       
      The Pulsating Heat Pipe, the first of its kind in a monitor to help prevent burn-in, “delivered in an ultra-thin screen design…can work on an extremely local level, efficiently only impacting the parts of the screen Samsung’s processor identifies as being potential ‘hot spots’.” The OLED Glare Free screen, which “‘rejects’ both ambient and direct light sources almost defies belief… This helps you appreciate the screen’s OLED-powered contrast better and removes one of the most common gaming distractions.” The S32G80SD-optimized NQ8 AI Gen 3 processor, which demonstrates “increased crossover between the gaming monitor and TV worlds.”  
      ▲ The Odyssey OLED G8 is the first monitor in the world to apply a Pulsating Heat Pipe that helps prevent burn-in


      Versatile Gaming and Entertainment Powerhouse
      In addition to Forbes’ recognition, both Home Theater Review and Trusted Reviews acknowledged the groundbreaking features of the G80SD, awarding it top ratings and prestigious accolades.
       
      Trusted Reviews praised the Odyssey OLED G8 with a 5-star rating and their coveted Highly Recommended badge. They noted that the monitor delivers on its multipurpose promises, providing both immersive video performance and exceptional gaming experiences. “Samsung’s S32G80SD is on a mission to take the brand’s gaming monitor division to a whole new level,” said Trusted Reviews. For those looking for a well-rounded monitor, “There’s no other monitor out there right now that does such a fantastic job of switching between its gaming and video ‘sides’ without either feeling compromised by the other.”
       
      Home Theater Review echoed the praise, awarding Samsung’s OLED G8 their 2024 Editors’ Choice award and giving it an overall 5-star rating. They note that Samsung has “cracked the code” with the Odyssey OLED G8, stating that “whether you’re a casual gamer or a die-hard esports competitor, the G8 has you covered… For gamers, the G8 is an absolute dream.”
       
      The outlet was also impressed by the monitor’s versatility, highlighting that “the integrated Samsung Gaming Hub transforms the display into a full-fledged gaming platform.” In fact, the Odyssey OLED G8 can also be used as a standalone TV through the Smart TV functionality, providing access to all the latest apps and streaming services. Home Theater Review concluded, “The G8 delivers an unparalleled experience… setting a new gold standard for all-in-one monitors.”
       
      ▲ The Odyssey OLED G8’s Core Lighting+ provides a more immersive ambiance to the gaming environment
       

      Superior Performance and Design
      Following the recognition from Home Theater Review and Trusted Reviews, both Newsweek and CGMagazine also selected the G80SD as their Editor’s Choice, further affirming its standout performance and design.
       
      Newsweek added to the praise, stating, “The Samsung 32G80SD is a fast 4K OLED monitor with a good smart TV interface and the ability to act as a smart home hub. The display delivers an incredibly fast refresh rate at full 4K resolution and a super fast response rate to give you as much of an edge as you can.” Newsweek also commended the monitor’s “stealthy” and slim design. They also described it as easy to install, taking less than five minutes to do so without any tools.
       
      Impressed by these features, Newsweek credited the Samsung OLED G8 with their Editors’ Choice Award, emphasizing that the display provides “several upgrades to your PC or even a next gen console.”
       
      CGMagazine awarded the Samsung OLED G8 with their Editor’s Choice accolade, giving the monitor an impressive review score of 9 out of 10. They remarked, “The Samsung Odyssey OLED G80SD struts the most when it is pedaling its breakneck 240hz refresh rate over its stunning 4K display.” They were particularly impressed by the monitor’s imagery, noting, “Where the Samsung Odyssey OLED G80SD separates itself from the rest of the pack is with onboard NQ8 AI Gen3 Processing…it feels like it’s the first time you’re seeing a game again through a fresh lens.”
       
      ▲ Samsung Odyssey OLED G8 (G80SD) has been recognized by many leading outlets as a top-rated gaming monitor
       
       
      1 Gaming Hub is available in select countries, with app availability varying by region. AI upscaling functions only when using the built-in Smart TV apps and Samsung Gaming Hub. (PQ priority mode)
      View the full article
    • By Samsung Newsroom
      “Walking along the beach takes me back to my childhood, looking at reflections on the water and the way the horizon keeps changing”
      — Serge Hamad, photographer
       
      Serge Hamad is a visual storyteller whose multifaceted talents as a journalist, photographer and artist have informed the rich tapestry of his work. Having documented sociopolitical issues in war zones earlier in his career as a journalist, he now captures calm and serene seaside images as a photographer. Hamad’s work, including the highly acclaimed “Relax” series, captures tranquility in his signature style and also supports human rights groups with its impact.
       
      Born in the Mediterranean, Hamad has been profoundly influenced by his lifelong fascination with the sea. His photography, characterized by comforting and reflective qualities, has gained widespread recognition from global audiences. Since joining Samsung Art Store in 2020, his work has gained an even wider following as people have interacted with his art in new ways.
       
      This June, Samsung Art Store added two more of his notable pieces — “Beach #61” in the “Colors of Pride” collection and “Beach #64” in “Hello Summer.”
       
      In an interview with Samsung Newsroom, Hamad shared his creative process and how his background and life experiences shape his art, as well as the profound impact his evocative images have had on viewers.
       
      ▲ Serge Hamad
       
       
      An Artist’s Journey
      Q: Please describe your journey into the world of visual arts. What inspired you to move in that direction?
       
      Earlier in my career, I used photography and videography to document various sociopolitical issues as a war zone journalist. In 2011, I decided to shift my focus to capturing more sincere and lighthearted scenes with my lens.
       
      With the “Relax” series,1 my first body of work in fine art, I wanted to share peaceful and placid images with human rights organizations and support them with the proceeds. The public response well surpassed my expectations, so I decided to continue on this path.
       
      Q: Your “Relax” series is well known. What inspired you to shoot a series on the beach?
       
      I was born on the Mediterranean coast, and the sea has always fascinated me. Walking along the beach takes me back to my childhood. I used to love looking at reflections on the water and the way the horizon kept changing.
       
      My multicultural background, being half North African and half Westerner, has profoundly influenced my artistic vision and the themes I explore in my work. This unique blend of cultures allows me to draw from a rich tapestry of traditions and aesthetics, especially when it comes to colors. It has given me a broader perspective, enabling me to see and interpret the world through diverse lenses.
       
      Q: How do you make your beach photography so engaging?
       
      When it comes to capturing an engaging image, planning and timing are crucial. Planning is more than just checking the weather before a shoot — it’s also about selecting the right filming location. For example, I would go to a beach near a marina if I want a shot of a boat on the horizon. To capture a pelican diving into the sea, I would pick a specific beach and go there an hour before sunset. The rest of the atmosphere depends on human interactions with natural elements.
       
      Q: Why does the beach hold so much significance for you?
       
      Consistency is my top priority when developing a collection. I started the “Relax” series at the beach because it is one of the most relaxing places on the planet for millions of people, including myself. I enjoy working at the beach because it reminds me of both the Sahara Desert and the Mediterranean Sea from my childhood.
       
      “I started the ‘Relax’ series at the beach because it is one of the most relaxing places on the planet for millions of people, including myself.”
       
       
      Collaborating With Samsung Art Store
      Q: How do you choose which pieces to share with Samsung Art Store? What emotions or themes do you wish to share? 
       
      I work with Samsung to select pieces that align with a particular themed curation because that way, I can focus on the message delivered to viewers. I strive to convey tranquility and harmony through my pieces on Samsung Art Store.
       
      Q: Samsung Art Store featured “Beach #61” and “Beach #64” in its June collections. Can you share the meaning behind these pieces?
       
      ▲ “Beach #61” (2023)
       
      “Beach #61” was shot in California. The rainbow-colored lifeguard house symbolizes tolerance.
       
      ▲ “Beach #64” (2023)
       
      “Beach #64” is more of a friendly invitation for the viewer to follow my footsteps on a walk at the beach.
       
      Q: Of all the works you’ve made available on Samsung Art Store, what are your three favorites?
       
      I’d have to choose “Beach #4,” “Beach #37” and “Beach #32.” All three photographs show how humans share nature with seabirds.
       
      ▲ “Beach #4” (2011)
       
      “Beach #4” uses a minimalistic approach to convey serenity with natural lines and colors. Before taking this photo, I wondered who would call a taxi to go surfing. It was only when the car approached that I realized it was a lifeguard vehicle.
       
      ▲ “Beach #37” (2016)
       
      I couldn’t resist capturing this scene of a seagull resting on a dune that looked like a charcoal painting.
       
      ▲ “Beach #32” (2014)
       
      Even if the seagulls in “Beach #32” had left and weren’t in the shot, we would still know that they had shared the dune with humans and enjoyed it together. The footprints of both humans and birds on the same dune symbolize their different influences on nature.
       
      “Embracing culture in our homes is always a great idea, and The Frame does just that.”
       
       
      Embracing the Future
      Q: As an artist, how do you feel about the impact of technology on the art world?
       
      Technology has always impacted my work and influenced my approach to photography. As a photographer, I use various tools every day to express myself — and different situations and subjects calls for different tools. Improving technology means giving artists more powerful capabilities to express themselves, so I embrace both analog and digital tools.
       
      In my opinion, artists in all kinds of disciplines have always benefited from innovations. During my career as a photographer, I have seen the popularization of imaging technology to a level that made it accessible to everyone. I believe this has created new artists and will continue to do so. The main thing to keep in mind, though, is that technology is a tool. The artistic process happens in your own mind.
       
      Q: How do you believe your collaboration with Samsung Art Store and The Frame has changed the way people appreciate art in their homes?
       
      The Frame is a brilliant concept, making art more accessible to a wider audience. Embracing culture in our homes is always a great idea, and The Frame does just that.
       
      Q: Is there anything else you would like to share with our readers?
       
      I’m working on a new series called “A table here, a table there.” I plan to spend a few months traveling along the U.S. West Coast to produce it and hope to share the collection by the end of this year.
       
       
      1 All the “Beach” artwork on Samsung Art Store are part of the “Relax” series.
      View the full article





×
×
  • Create New...