In the first two photos, Bob (dark hair and beard) and Dennis Skotak, two legends in the visual effects field, work on the model. In the third, Bob inspects the finished product. To achieve the computer navigation sequence as Plisken is flying his glider into the city, reflective paint was applied to the edges of the black buildings, which were then shot under black light. While reportedly James Cameron’s idea, it was almost certainly John C. Wash. Cameron was a director of photography on the film (as was Dennis Skotak), and he did some great matte work as well.
(Images via Matte Shot and Fuck Yeah Behind the Scenes)
2 Warps to Neptune 
I LOVE what they did with that miniature: using a practical effect to achieve “computer graphics” results. Awesome.
The irony, right? Not to worry. The remake will use CGI to achieve CGI results, none of which will look as convincing as reflective tape, black light, and creative camera work.
Very cool, though I’m quite certain that’s not Carpenter in the third photo.
True. It’s Bob Skotak. Updated, thanks.