Archive for November, 2010

Jeremy Blincoe

“It is quite fitting that the amount of information available online concerning Melbourne photographer Jeremy Blincoe is relatively sparse, allowing the enigmatic mood and tone that permeates his work to be the sole bearer of meaning. His photographs, which principally capture solitary figures, possess a strange ambiguity that compels the viewer to look beyond the surface. In particular, his images of children evoke play and innocence, but also suggest a sense of unease and anticipation.

This tension, which runs through the majority of Blincoe’s photographs, enhances the aesthetic beauty of his compositions by suffusing his imagery with narrative intent. Not merely a photographer, Blincoe is a storyteller who leaves enough details in his work for the viewer to piece together a trace of a story within the visual elements.” – Kitsune Noir Blog

Link to Artist’s Website

Dark Light: The Art of Blind Photographers

Documenting the lives and works of three blind photographers, celebrated sports photographer Neil Leifer directs a compelling story of the production of art under extreme circumstances. Dark Light: The Art of Blind Photographers, which premieres on HBO2 on November 17, follows the creative exploits of Pete Eckert, who uses a Braille light meter and connects to his subjects via sound; Henry Butler, a jazz pianist that uses vibrations to capture his sitters; and Bruce Hall, who has limited sight and shoots underwater photography — day and night — and, more recently, makes portraits of his twin autistic boys.

Link to Full Article & Slideshow & Documentary Trailer

Christian Faur’s Amazing Crayon Pixel Portraits

For his series The Land Surveyors, artist Christian Faur took photographs from the Great Depression, and, using a digital mapping technique, deconstructed each image down to its pixels. From there, he hand-cast thousands of crayons and then reassembled them into wooden frames to create artworks that resemble highly-pixelated images.

Link to Slide Show

Obama honors inventor of digital camera

In 1975, as a young engineer who had no interest in photography but had taken a job with Kodak because he heard Rochester was nice, he invented the digital camera.

“Nobody really knew what we were working on in that lab,” Sasson says. “It’s not that we were trying to be secretive, it’s just that nobody cared. ‘Why would anyone want to look at images on a screen? What’s the point of an electronic photo album?’ ”

The camera was an afterthought, a “filler project” Sasson was asked to look into when not working on his main assignment of building a lens-cleaning machine. Its first image was an impromptu snapshot of a lab technician from down the hall. When it appeared on the television screen a minute later, the white office walls showed up, and so did the technician’s black hair. Her face, her clothes and everything else were a muted swamp of gray. The technician looked at the historic photograph of herself on the screen and shrugged. “Needs work,” she told him.

Now history happens immediately. Teenage girls snap photos of themselves, then check their lipstick in the preview window. No one’s eyes are ever closed in the final cut; everyone’s red eye is Photoshopped and color-corrected. Precious moments are not doled out by the frame, as if each event contained only 24 memories, 25 if there was an extra exposure (Let’s get one more with just Mom and Hannah), but rather heaped on by the megapixel.

Link to Full Article on WashingtonPost

Finding the Right Tool to Tell a War Story

Does it really matter what camera Damon Winter used to make these beautifully composed images? I don’t think so. It’s the images that are important.

But it happens that Mr. Winter quickly realized — after trying a few shots — that his iPhone would be an effective way to capture the day-to-day trials of the First Battalion, 87th Infantry of the 10th Mountain Division in northern Afghanistan.

Link to Slideshow & Article

Prix Pictet Prize in Photography and Sustainability

The theme of the prize this year is Growth, which “lifts countless millions out of poverty, [but] also has a huge and potentially unsustainable environmental cost.”

Link to slideshow

Cindy Sherman – Art 21 – Transformation

 

Art 21 – Season 5 – Transformation – Cindy Sherman

Alain Delorme and Shanghai’s Totems

Link to Artist’s Website (Text in Francais)

Pine Ridge – Aaron Huey

IN THE SHADOW OF WOUNDED KNEE:
Fighting for Survival on the Pine Ridge Indian Reservation

On the Great Plains, hidden away on little traveled back roads, is American Prisoner of War Camp Number 334.  This is also known as Pine Ridge Indian Reservation, home of the Lakota Sioux.  They are the tribe that suffered the infamous Wounded Knee Massacre, in December of 1890, in which an estimated 350 Lakota were killed.  Among the dead were over one hundred unarmed women and children.  Since that day Wounded Knee, and the Pine Ridge Indian Reservation, have been a symbol of the wrongs inflicted on Native Americans by the descendants of Europeans. Pine Ridge is the quintessential example of the failures of the reservation system, with staggering statistics on everything from violent crime to education. 

Link to Artist Website

David Chancellor and His Hunters

These portraits are the start of a new long term project documenting hunting, hunters, and the hunted, and those spaces associated with hunting.

As a child I was fascinated by the tales of Colonel Jim Corbett hunting man-eating Tiger in India. As an art student it was Peter Beard’s seminal work ‘The End of the Game’ that fascinated and inspired.
In 1965 he wrote the following:

‘The game is both the hunt and the hunted, the sport and the trophy. There was a time when the hunter killed only for his life and food, man had to be protected from the beasts, today the beasts must be protected from man’…

That was 1965, so where are we now..?

The hunter is still with us. When once his companions were aristocracy they are now self made men.  This was my starting point, but I should add, I’m not a hunter, I’m a photographer, a very recent observer of the industry, and I’m deeply convinced by what I’ve seen that it is only by dialogue and understanding that a sustainable harmony between nature and mankind can be forged. The relationship between man and animals is hugely complex and we’re both struggling to adapt to our changing environments. Hunting is an emotive subject, and in pretty much all it’s forms graphic, that’s obviously one of the reasons I chose to work on it, it can be toweringly beautiful and painfully raw at the same time whether it be by man, or animal.

This work will seek to explore the intricate and complex relationship between man and animals and how both struggle to adapt to their changing environments.”

Link to Article & Images

Artist’s Website