Posts Tagged ‘photographers’
Photographer Gray Malin‘s “A La Plage, A La Piscine” series shrinks sunbathers down to specks. Shot through open helicopter doors, Malin’s aerial photographs manage to capture serene patterns on the otherwise crowded beaches and pool decks of Europe, Australia, South America and the U.S.
While the photographer’s artist statement notes the color, light and shape of these “celebrations of summer,” one can’t help but also notice a pattern of what appears to be luxury and decadence in these photographs. From Las Vegas to Copacabana, the glitz of sunbathing seems to only be magnified when seen from above—which is, of course, ironic considering the scale of the people in these shots is shrunken down. The series is truly mesmerizing to look at, no matter what ultimately catches your eye.
(Beautiful/Decay, via Lenscratch)
photo: Jamie Beck / From Me To You
“When I first started there were 6-7 photogs shooting the shows. Vogue, WWD, NYT, the top publications. Before you had to be with a magazine or newspaper but now it has changed,” Condé Nast photographer Robert Mitra tells New York-based photographer Jamie Beck in a great interview on Beck’s site, From Me To You, about the realities of working the Fashion Week “pit” for 25 years.
If you follow fashion week photography, you know that saying “it has changed” is an understatement. These days, everyone from solo street style bloggers to online publications big and small are firing off photos of the runways and the beautiful people in the front rows from New York Fashion Week all the way through the final shows in Paris. And of course they’re doing so on DSLRs and iPhones alike, with Instagram shots uploaded in real time often serving as the public’s first views of the collections.
In the behind the scenes interview, Mitra lists his gear of choice (Canon 1D Mark IV, 70-200mm lens, monopod) in addition to sharing his tips for capturing candid backstage shots of the models and discussing why he shoots JPG rather than RAW. Check out the full interview on From Me To You.
At first glance, photographer Andre Ermolaev‘s stunning aerial shots look more like paintings, or maybe even CGI landscapes, than actual photographs of the Icelandic countryside. And yet, photographs they are. My Modern Met quotes Ermolaev as saying that, as a photographer, “What has become a real discovery for me is the bird’s eye view of the rivers flowing along the black volcanic sand. It is an inexpressible combination of colors, lines, and patterns.”
Can you believe these are photographs? Also, how badly does this make you want to befriend a helicopter pilot so that you can take your camera up high and discover what unlikely scenes are yet to be captured of your local landscape?
(My Modern Met)
If developing and printing photographs is a foreign process to many shutterbugs of the digital age, then one photographer’s “bacteriography” technique will seem downright unimaginable. Like a true Renaissance man, Zachary Copfer—a self-proclaimed microbiologist masquerading as an artist”—has developed a process for printing photographs that blends the fields of art and science in a decidedly da Vinci-esque manner.
Copfer’s bacteriography mimics in some ways traditional darkroom photography— and, as PetaPixel points out, is also similar to the Collodion photographic process of the mid-19th Century—except that, as Copfer puts it, “the enlarger has been replaced by a radiation source and instead of photographic paper this process uses a petri dish coated with a living bacterial emulsion.” You know, just makin’ photos with bacteria. NBD.
Check out Copfer’s bacteriographs over at his website, including the especially impressive series called “My Favorite Scientists.” Of course, among those who’ve inspired him is Leonardo da Vinci himself.
(PetaPixel, via HuffPost Arts)
photo: Leonardo da Vinci Bacteria (Serratia marcescens), Nutrient Agar, Petri Dish by Zachary Copfer
Rineke Dijkstra: Decades of the Dutch Photographer’s Striking Portraits
by Elizabeth Inglese
This week the Guggenheim Museum unveiled its mid-career retrospective of the work of Dutch photographer Rineke Dijkstra. Being a longtime fan of Dijkstra’s photography, I immediately made my way to the museum to check out the exhibition, which commands four floors and showcases photographs from the past 20 years as well as installations of video work.
Dijkstra’s work is at once arresting and inviting. The large-scale color prints from Beach Portraits, which were photographed over a decade from 1992-2002, feature adolescents positioned squarely in front of the camera on an empty stretch of sand, the horizon line behind them. The soft focus of the scenery trains the viewers’ attention on the details of the subject, young beach-goers in their swimwear. Their vulnerability and bravery as they pose engage the viewer in an intimate relationship.
The inspiration for Beach Portraits came during a lengthy rehabilitation Dijkstra underwent following a broken hip. Still wet from the pool in which she exercised, Dijkstra photographed herself and found her exhaustion had enabled her capture a rawness difficult to access.
She sought to recreate this candidness by photographing subjects in states of exertion: bullfighters with blood spattered across their faces and mothers following the birth of their babies. These states, in which the barrier of self-presentation dissolves, allow Dijkstra and the viewer glimpses of authenticity.
Dijkstra’s video installations utilize movement and dialogue to explore her interest in the empathetic relationship between viewer and subject. In one collection, young club-goers dance alone against a white backdrop, their timidity and their confidence both on display. In another, school children discuss their reactions to an abstract Picasso, revealing much of their own preoccupations and concerns.
While physically and emotionally exposed, Dijkstra’s subjects confront their viewers with directness. Their frankness invites us to gaze upon them, but in their bare humanity we see reflections of ourselves.
Rineke Dijkstra: A Retropective is on display at the Guggenheim Museum until October 8, 2012.
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