Me & My Other Me is a series of illustrations by Cali, Colombia-based artist Fulvio Obregón featuring celebrities standing next to their younger selves.
Blue Fields is a series of beautiful aerial photographs depicting Australian salt fields taken by photographer Simon Butterworth using a DJI Phantom 2 drone. From above, the photographs resemble
paintings thanks to the swirling blue colors of the salt fields.
This team of Russian photographers and specialists travels the world to take stunning aerial photos of the world’s most beautiful locations.
“Although we usually photograph from a helicopter, we also like to shoot from an airplane, a dirigible, a hot air balloon, and a radio-controlled helicopter,” they write. The most interesting thing about their approach, however, is the fully 360-degree displays that they make available on their websites. Using AirPano’s special viewer, visitors can pan around and look in every direction, making them feel like they’re really on location.
Photographer Brian Maffit posted an amazing composite image on reddit that depicts a flock of hummingbirds swarming underneath the feeder. The “flock” was actually comprised of just a few birds over the course of a few hours whose ghosted images were reflected back using an angled glass mirror. The image was then further manipulated in Photoshop. Maffitt generously stated that he’ll be sharing a “how-to” on his blog.
"If anyone is interested in the technical specs, this was shot with a Canon 5D Mk III at 1/4000/sec, f 5.6, using a Canon 100-400 zoom lens. Composited (obviously) in Photoshop, approximately 70 layers, with a final file size of 3600 px x 11,000 px. Also, these are Ruby-throated hummingbirds, mostly females and juveniles, shot in my backyard in New York State. …Look closely at the birds and you can see the “ghosting” associated with a glass mirror, which at an angle reflects each bird twice (once on the surface of the glass and once on the mirrored back). I was afraid that the artifacting would spoil the setup, but I ended up liking the results even with the double-image".
Alejandro Cartagena is a photographer who lives and works in
Mexico, he explores various social issues through his documentary photography projects. His latest project “Car Poolers” shows workers in Mexico, riding in the trucks. Aim of the project is to
pay attention at the problem of excessively fast growing population in Mexico, that causes problems with transportation.
The street photography series “New York Up & Down” is a fascinating glimpse of New York City in the 1980s by photographer Frank Horvat. Horvat began photographing 70 years ago and his career has spanned photojournalism, fashion, and advertising. He talks about “New York Up & Down” in this L’Oeil de la Photographie article.
But if they were measured by their emotional intensity, the years in New York would count twice as much… This is what I tried to convey by the words ‘up and down’. The highs and lows of New York are not just the transitions from Uptown to Downtown, from the darkness of the subway to the view from the top floors of the skyscrapers, from the temperatures in January to those in July. But also the shifts, between one day and the next and sometimes between one minute and the other, from exhilaration to disappointment, from triumph to failure, from fulfilment to defeat.
Erazm Ciolek was often the only professional Polish photographer present at meetings of key opposition activists during the 1980s.
After the fall of communism in 1989, Ciołek worked for Gazeta Wyborcza daily.
As well as being a Solidarity photographer, Ciołek took travel photos in Nepal, Nicaragua and Cuba. He was also the first photographer in Poland to cover the subculture of drug addicts.
He was also one of the creators of the underground Niezalezna Oficyna Wydawnicza photo service.
“I wanted to show what couldn't be found in official publications”, “I had to capture this reality on the negatives,” Ciolek said.
The Kratochvil's ability to blend together a fundamentally eclectic and multifaceted soul with a unique and unsettling vision is the aspect that strikes people generally, this regardless of
whether we are talking about reportage images, portraits of celebrities or advertising campaigns, one of the very few cases in photography.
Kratochvil’s works are often aimed at giving a voice
to the underprivileged, the oppressed and the forgotten, at exposing injustice and atrocities, a task that Antonin has been pursuing for over forty years with commitment and deep sense of
empathy, without ever allowing himself or his ambition to get before of or interfere with the suffering and people’s needs.
There is a dark, brooding beauty in these images that is singular and affecting. In The Solitude of Ravens, Fukase found a subject that reflected his darkening vision, and he pursued it with obsessive relentlessness. It remains his most powerful work, and a kind of epitaph for a life that has been even sadder and darker than the photographs suggest.
Ravens have long stood as a symbol of power in Japanese mythology, but these days they tend to be seen more as a powerful nuisance. While their huge numbers and more aggressive nature has been just that lately in Japan, these things have been caused by a human problem in too much waste being made. The Crow Tengu play tricks on evil-doers in spiritual roles, maybe the crows are copying them in the environmental.
The Solitude of Ravens was Masahisa Fukase’s last work before he plunged into a coma. This is a monumental and pivotal work in the history of fine art photography.
After his divorce from his wife Fukase began a search for absolution through his work which would last a decade. His images crystallize solitude and death, appropriate to his last years. He became obsessed with his subjects, with their darkness and loneliness.
To promote the camera on the iPhone
6, Apple has
been running an international ad campaign in whichstriking
photographs are displayed alongside the
tagline: “Shot on iPhone 6.” Two anonymous advertising creatives in San Francisco recently responded with their own parody
“Shot on iPhone 6″ campaign, replacing Apple’s
picturesque shots with bizarre photos–mostly selfies–sourced from Google Images. As one of the creatives explained
to Refinery29, “Our thought was that people don’t
always take pretty pictures on their phones, so we thought it would be funny to show the other, non-beautiful, photos people take.”
Frank Relle captures stunning shots of his hometown, New Orleans, late at night using long-exposure photography. The images show often overgrown and sometimes destroyed buildings devoid of human life.
I decided to pursue photography. I went to New York to find photography, but lost it in the bright lights and darkrooms. I came home to New Orleans and listened to Bob French’s voice on
Sabato Visconti has created a wonderfully diverse body of glitch photography. He uses a variety of techniques to digitally tweak the photographs — sometimes he relies on applications like Pixel-Drifter, and in other cases he manipulates the code directly.
For the past seven decades, 90-year-old San Francisco photographer Fred Lyon has been documenting his hometown in gorgeous street photography. His photographs spanning the period 1940 to 1960 have been collected in his beautiful new photo book San Francisco, Portrait of a City: 1940-1960.
With a landmark around every corner and a picture perfect view atop every hill, San Francisco might be the world’s most picturesque city. And yet, the Golden City is so much more than postcard
vistas. It’s a town alive with history, culture, and a palpable sense of grandeur best captured by a man known as San Francisco’s Brassai. Walking the city’s foggy streets, the fourth-generation
San Franciscan captures the local’s view in dramatic black-and-white photos— from fog-drenched mornings in North Beach and cable cars on Market Street to moody night shots of Coit Tower and the
twists and turns of Lombard Street.
France-based artist Nicolas Amiard has digitally inserted images of wrecked Star Wars spaceships into actual photos of major cities around the world. A destroyed Imperial Star Destroyer ends its
journey in Paris, the legendary Millennium Falcon gets stuck in New York City, and more.
This image of Satan absorbs what the church wanted to condemn and politically control: not just the pagan background of Europe, but specifically the rural and aboriginal faith in the circularity of nature and the self-regeneration of the whole countryside (that is the regeneration of the means of production themselves). The idea of the eternal return of life – with no divine intervention, no Genesis and no Apocalypse, but rather an alchemic and gastronomic cycle of digestion and regeneration – had to be excommunicated and personified in the pansexual body of a cannibalistic Satan.
This fresco in the church of San Petronio in Bologna, dated 1410, depicts Satan in a fashion quite characteristic of the imaginary of the Middle Ages. The Devil is a gigantic beast devouring human souls. At the same time he is giving birth to them through a second mouth-vagina between his legs, in a circular damnation and movement of ingestion-defecation-rebirth which reminds of the uncanny symmetry of the bicephalous Roman god Janus.
Mira Nedyalkova gets inspiration from the life -
beauty and pain, the love and eroticism as constant part of our life…In her images she uses pain as a beauty, erotic as a psychological way of life. She expresses herself and her intimate inner
life. She loves to express her
emotions through a woman's body...in general, the human presence in her photos is fundamental.
Photographer Beth Moon has captured a series of striking images of some of the oldest trees on Earth against the night sky titled Diamond Nights. The series is a follow-up to Moon’s earlier work
where she photographed the trees during the day. To get to her subjects, Moon had to travel to remote parts of Botswana, Namibia and South Africa.
Back in 2013, we first posted about the fantastic retrofuturistic paintings of Swedish artist Simon Stålenhag. Stålenhag’s paintings combine nostalgic imagery from the artist’s childhood in 1980s
Sweden with hovercraft, dinosaurs, robots, and other sci-fi elements. For the first time his works will be available to English-language audiences in a pair of art books: Tales from The Loop and
Swedish Machines, Lonely Places. The books will be published by Free League Publishing, who is raising funds for the books on Kickstarter. Prints of Stålenhag’s work are also available for
Argentina-based street artist Guri adds
whimsical cartoonish characters to otherwise drab buildings in his delightful street art. While most of his murals adorn a wall or a building facade, occasionally Guri will transform an entire
structure into a character: Windows become eyes, and illusions of depth are created with anamorphic techniques.
New York City-based street artist JerkFace has recently created a large mural featuring Ren Höek and Stimpson J. “Stimpy” Cat, the main animated characters from The Ren & Stimpy Show, outside of Grandma Rose’s Pizza in Brooklyn, New York.
Artist Cal Lane uses a blowtorch to adorn surplus ammunition cans, car parts, and other salvaged
metal objects with delicate lacy patterns. Lane’s cut patterns are inspired by traditional decorative art forms including tapestry, lace, and metal filigree. More of her sculpture work can be
viewed on her Art Mûr gallery page.
Artist Charles Leval (aka Levalet) adorns the streets of Paris with playful street art installations that take advantage of urban fixtures, garbage, and other detritus. We previously posted about his street art installation Dance Macabre last year.
At the 2015 Sundance Film Festival, photographer Victoria Will set up a photo studio and shot tintype portraits of the Sundance festival’s celebrity attendees. Will explains the (rather involved) production process in thisbehind-the-scenes http://alessandroniccolaisjourney.tumblr.com/
Brassai. Pour l'amour de Paris - Palazzo Morando, Via Sant'Andrea, 6 - Milan
Current exhibition from March 20 to June 28, 2015
Exhibition of one of most popular photographers of the early twentieth century: Gyula Halász (Brassaï). 260 original photographs tell us about its indissoluble bond with Paris.
He became one of the most influential photographers of the 20th century, thanks to his classic and dramatic street photographs taken during the deserted hours of ‘The City of Light’, either at night or during fog, a condition that was rare during that era.
Brassaï became interested in photography as a way to record encounters on his nightly walks through the streets of Paris. He enjoyed these long strolls after dark and began carrying a camera and tripod in 1929. Two years later, he compiled some of these photographs in a book entitled Paris de nuit (Paris by night). It was a stunning collection of black and white images that juxtaposed luminous, dreamlike nightscapes with contemporary documentary images of the nighttime’s denizens. It was a technical marvel as well, for he was one of the first photographers to shoot extensively at night.
“Night does not show things, it suggests them. It disturbs and surprises us with its strangeness.”
These photographs are very different from Cartier-Bresson’s as they are theatrical performances rather than decisive moments. Brassaï’s subjects are not only aware of the photographer, they collaborate with him. Brassaï’s unique style gave Paris de nuit its distinctive intimacy and led to its huge public success. It was a revelation too for his artist friends. Fellow night owl Henry Miller wrote:
“Brassaï is a living eye…his gaze pierces straight to the heart of truths in everything.”
The critic Jean Paulhan put it another way, “this man has more than two eyes.”
During my sojourns, works and photo shoots in South Korea I got to deepen my knowledge of Korean traditional theater and its masks. I have always loved the theater of masks since i was a child … since I first saw the italian “commedia dell’arte”.
The Hahoe Maskdance Drama traditionally features eight madangs, (acts or perhaps skits), which incorporate music and dancing, but also slapstick and satire. It is told from the perspective of the Joseon Dynasty’s commoner class, which offers a great opportunity to learn about history as told by powerless peasants.
Rather than portraying supernatural beings, almost all of the masks depict a class of Joseon society embodied in human — albeit grotesque — form, most of which are called out on their hypocrisy. They were originally used in shamanistic ceremonies that lambasted the empowered in Joseon society. The plays were full of sex, violence, and nongak (farmers’ music), and the content is not too far removed from modern-day celebrity tabloid scandals.
The Hahoe masks themselves are carved from wood, unlike most other Korean masks which were made of paper or gourds which were immediately burned after use. Hahoe masks, in contrast, were considered sacred and were intended for reuse. They were stored in a box, and many performers before taking it out would offer a sacrifice. It is said that, due to their unique design, when an actor wearing a mask smiles, the mask smiles too, and when the actor gets angry, the mask gets angry too.
This is probably the best-known of the Hahoe masks, a symbol which is often used to represent Andong or even Korea. It has a wide nose with big nostrils and gentle, flowing lines for the eyes and eyebrows, indicating a generous yet arrogant character. Perhaps the most remarkable feature of the Yangban mask is the detached jaw, held together by a piece of string at each end. It allows the performer to change facial expressions: looking up creates a broad smile as the lower jaw separates, and bowing one’s head forms a menacing grimace as the upper and lower lips are pressed together.
I’ve heard the Yangban mask likened to a Guy Fawkes mask (the last man to enter Parliament with honest intentions). Actually that’s not an unfair comparison, at least in the intentions behind the masks. Actually the Yangban mask represents a twisted, grotesque reflection of Joseon’s aristocratic class.
Like any feudalistic society, the commoners held a great deal of resentment toward the Yangban, and found it difficult to approach the Yangban to address problems that needed solving. Thus, using this mock Yangban figure was an easy way to engage with and also tear down the Yangban’s high position. The main message of the maskdance was for the ruling class to reconsider its role in society.
The Bune mask is famous alongside the Yangban mask, often depicted side by side in folk artwork. Sometimes they are compared to the Comedy and Tragedy masks of English theatre, although neither Yangban nor Bune represent such abstract ideas.
Bune is depicted with an ovular face, small mouth, high nose, and makeup, and the mask represents the standards of classical beauty in Joseon society. The mask has at times in its history represented a widow, a concubine, a gisaeng (Korean version of the Japanese geisha), or a mistress to either the Yangban or Seonbi.
In the maskdance play, Bune is flirtatious with both Yangban and Seonbi, never saying a word but massaging Seonbi’s shoulders and picking lice from Yangban’s hair. They compete for her attentions, driving themselves to more absurd actions and statements.
The maskdance performance seems to suggest the hypocricy in her character, which mimics chastity but barely conceals wanton sexuality.