M. Lynn Proper Exposure: How to Make a Photo Blog

mythologyofblue:

Eric William Carroll, from Plato’s Home Movies

“I didn’t pay any special attention to trees until I stopped seeing them.” -Eric William Carroll

(via artspotting)

athousandfacets:

Bibi van der Velden

From “Stainless” Series by Adam Magyar

“While spending extensive time in cities like Tokyo, Hong Kong, Shanghai, Kolkata and New York, I was getting increasingly fascinated by man-made structures. I consider all man’s scientific achievements an integral part of human evolution. So, to me the city is not less of a natural environment than the rainforest. It is an ever-present human desire to go further and leave some trace behind in the fraction of the time we are given.

My drive is not different. I aim to grasp the devices at hand, push towards new frontiers by converting already existing technologies for photography in the hope of coming up with something new, a new device, a new language, a new frontier.

The factor of time is essential both in our private history and for humanity as a community. I am more interested in the drama of our own transience. In my works I capture man’s finite time in infinity. In my images I “stage” a situation where people are seen from a distance and I depict them as particles in a system. The observer of this scene is an imaginary person, looking at the whole as an outsider, as if being exempt from the laws of time.

I also perceive time and events taking place subjectively, consequently inappropriately. I find particular events more important than others, so I would instinctively emphasize them in my compositions. To eliminate this problem, I am experimenting with systems that relate to reality like watches and record series of events objectively. I build digital camera systems, adopt industrial machine-vision cameras and set up script-driven post processing methods.

In STAINLESS I scan rushing subway trains arriving to stations. The images record a number of tiny details of this moment. We see people staring towards their destinations standing at the doors framed by the sliding door windows. They are scrutinizing the uncertain future. Similarly to all my images, their main motivation is arrival. The darkness of the tunnels deep below the city turns these chemically clean mock-ups into fossils of our time.

URBAN FLOW is a study of quantifying motions and analyzing the rhythm of our environment. The outcome is an abstract transformation of reality. The technique I used for it is identical with that of photo-finish cameras used in the Olympic Games.
Making these images means constant data collection about life passing by in front of me. The photos taken this way are sections of infinite time flowing by relentlessly, like our own life spans.

Perspective and depth are missing from these photos, people are like beads on a string.  As if predestined, they follow the same track, heading to the same destination. 

SQUARES is a series of non-existent urban places. I created fake aerial photos and city vertigos by sequencing the same section of sidewalks and meticulously assembling collections of people.

mhsteger:

Pictured above, Woman with Long Hair, a 1929 photograph by Man Ray (1890-1976)

Approach, by Tristan Tzara (born 16 April, 1896; died 25 December, 1963)

magic step of unfinished nights
nights gulped down in haste bitter drinks gulped down in haste
nights buried under the muddy mat of our slow passions
barren dreams in far looks of pecking crows

soiled sodden night rags we have built
within each one of us a coloured tower so lofty
that the view is no longer blocked beyond mountains and waters
that the sky no longer turns away from our star nets
that the clouds lie down at our feet like hunting dogs
and we can stare into the sun until oblivion

and yet my peace only finds its reason
in the nest of your arms the night tide
after the burst of squalling storms streams down death
it’s the loose body of an earthly suit of armour
that drops away from the necklace of our dreams of oblivion

(translated from the French by Lee Harwood)

in-fi-nity:

Crop on the Behance

(via lime-in-limpid-water)

sealmaiden:

franflow

(Source: , via lime-in-limpid-water)

(Source: terrible-reflection, via lime-in-limpid-water)

wonderfulambiguity:

Romualdas Rakauskas

lacesup:

Child Labour Photographs of Lewis Hine. 

The Mill. A moment’s glimpse of the outer world. Said she was 11 years old. Been working over a year. Rhodes Mfg. Co. Lincolnton, North Carolina

From 1908 to 1912, Hine took his camera across America to photograph children as young as three years old working for long hours, often under dangerous conditions, in factories, mines, and fields. Some of his images, such as the young girl in the mill glimpsing out the window, are among the most famous photographs ever taken.

lacesup:

fuckyeah-arthistory:

Untitled - Francesca Woodman, 1976

Francesca Woodman (Denver 1958 – New York 1981) spent the most part of her childhood in Italy in the Florentine countryside, where she lived in an old farm with her parents, who were also artists. The charm of the old house had a notable influence on Francesca’s research; the high-ceilinged rooms, the crumbling walls, the old decorations are all felt to be surfaces like ‘skins’ in which to cover oneself. Many of her photographs show young nude women, blurred by camera movement and long exposure times, merging with their surroundings, or with their faces obscured. Woodman’s photographs have consistently garnered critical attention since her premature death at the age of 22 (suicide) in the early eighties

lacesup:

snowce:

At warm springs, 1991, © Sally Mann.

 (American, 1951 - )

Taken against the backdrop of her woodland home in Virginia, Sally Mann’s black and white photographs of her children portray the universal qualities of dignity, individuality and intimacy. Sally Mann has exhibited and taught nationally. Her work is in collections including the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the Smithsonian Institution, Washington D.C.; the San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York. She has received numerous awards including N.E.A. grants; N.E.H. grants; and a Guggenheim Foundation Fellowship.