by Frank Schott
Each image was created with a combination of night photography and long-exposure photographs of the animation below:
This animation represents the entire data set (1,871 slices) of the male cadaver from the Visible Human Project. The animation was played fullscreen on a computer, which was moved around by an assistant while being photographed in a dark environment. The resulting images are long-exposure “light paintings” of the entire cadaver. Variations in the movement of the computer during each exposure created differences in the shape of the body throughout the series.
When I first began to experiment with sea life photography, I tried shooting small invertebrates for fun with an old camera, and without any professional lights or lenses. I found and collected the invertebrates underwater, and then shot them in the lab. After two or three months of failure after failure, I ended up with a few good pictures, which I showed to the crew. These inspired us to buy a semi-professional camera, complete with underwater housing and strobes. I then spent the next season trying to shoot the same creatures, but this time in their natural environment. It was much more difficult, and I went at it for another two months without many great results. But when you’re working at something every day, you inevitably gain a lot of experience, and eventually, I began to get some interesting photos—one or two from each dive. Now, after 4 years of practice, I get several good shots almost each time I go and I still have a lot of things to study about underwater photography.
The artistic duo Joschi Herczeg and Daniele Kaehr create light illusions using highly complex pyrotechnics. In their series Explosion, they built a custom-made detonator, which is connected to the cameras and synchronized to snap a photo at the very moment of the explosion. In this way, they were able to capture motion and time in a split second of an explosion. Their fascination lay in making order out of chaos and freezing an ephemeral creation; each image is like a chance sculpture – the artists themselves were uncertain of the shape, colour and size they would form. The explosions take place in a domestic setting to play upon feelings of anxiety and unrest.
I could look at the underwater photography of Nicholas Samaras for hours on end … Especially ones of jelly fish!
Twitter Handle: @SHNEAKYofficial
It provides a locally based online platform to promote collaboration between photographers, stylists, fashion designers and models. Go to the site and create a profile if you’re a fashion designer, model, photographer or stylist? Get community input about your work or find people in your area to collaborate with!
Really great idea!
Kate MccGwire gathers, collates, re-uses, layers, peels, burns, reveals, locates, questions, duplicates, plays with and photographs.
Her practice probes the beauty inherent in duality, exploring the play of opposites - at an aesthetic, intellectual and visceral level - that characterises the way we conceive the world. She does this by appealing to our essential duality as human beings, to our senses and our reason, and by drawing on materials capable of embodying a dichotomous way of seeing, feeling and thinking. The finished work has a consistent ‘otherness’ to it that places it beyond our experience of the world, poised on a threshold between the parameters that define everyday reality.
His career as a photographer has two main aspects … He has worked as a trainer and researcher on new digital post production techniques, and on the other hand he has work as an independent photographer.
He is currently the the coordinator of Arte / Facto, an on-line training school where he teaches digital post production.
Although I don’t really identify myself as a “Photographer”, I am a maker of images that holds film near and dear to his heart.
Are there any of you out there that are still using film?
What are your thoughts on the whole film vs. digital debate?
by Lori Tomita
Transparent specimens? They are far from what you might imagine from the word specimens. Although being organisms, they appear as if they were beautifully sculpted from minerals. Originally the method of making transparent specimens is enzymatically turning the protein transparent, dyeing the bones magenta and dyeing the cartilages blue. It was established for scientific purposes to study the skeletal system. Taking this a step further to refine the form and coloration of the specimens requires time and experience. I create transparent specimens as pieces of work that help people feel closer to the wonders of life. People may look at my specimens as an academic material, a piece of art, or even an entrance to philosophy. There is no limitation to how you interpret their meaning. I hope you will find my work as a lens to project a new image, a new world that you never seen before.
The light spot orders show television screens, which were photographed at the moment of switching off. The shutter button is pressed while the power switch on the TV. The camera captures the image at the moment when it breaks down. The television picture is no longer visible - instead, a structure made of light, which in a split second, disappears back into the picture tube and collapses. The TV image is abstracted in this process and reduced to its essential element: the light or an order that is generated from the light beam of the tube. This order is different for each TV. Also, the exposure time and the time of admission have a significant influence on the visual object - is the later the camera is triggered, the more advanced the collapse of the picture. The release of the camera and turning off the television so manually. The photographs broach the essential difference between abstraction and concretization in photography or more precisely: the ratio of external reference and self-reference. They show the collapse of the television image and thus the collapse of the reference.The red dot systems therefore describe one of the essential characteristics of the concrete Photography.
Really outstanding example of double exposures. Such a beautiful atmosphere to them …
by Kris Graves
Kris Graves creates photographs of landscape and people to preserve memory. The stillness causes the viewer to acknowledge the inevitability of change and the passage of time.
These views will never be exactly as they were at their precise recorded moment. Graves suspends his belief and knowledge of this change, not to document a moment or state, but rather to sustain it.
Really beautiful landscapes that look like something out of a dream …
Corinne has many other great images to look at, but I was exceptionally fascinated by the photographs in a series of hers entitled “Photo Opportunities”
She collected hundreds of snapshots of tourist locations, from the Internet, and layered them on-top of one another.
- “By collecting and then bringing together successive layers of around a hundred similar “photo souvenirs”, these images conjure up questions about representation and memory of places.”
Really Beautiful
