Each image in this series is a portrait of a dog photographed through a material or substance: a wet pane of glass, faint smoke, dense material, bleeding light. Nearly all of the dogs are abandoned, untrained, often aggressive. One is a wolf. (Every dog was carefully handled and protected in the process). The images are titled with everyday phrases that so often hide subtexts.
(via Faith is Torment)
Bondi Haze, an atmospheric series from photographer Irenaeus Herok.
A Winter Daybreak by Kathrin Loges and Jan Wunderlich.
How to be Alone by Nich McElroy.
Between 2008 and 2010 I spent my summers walking in the Chugach and Talkeetna ranges in south-central Alaska. Alpine tundra, glacial valleys, bad weather, mountain huts. We would get sopping wet and stay up talking to keep warm. For the two years I worked on How to be alone I guarded my time walking in the mountains; I would carry around a 6×7 camera the size of a cinderblock and try to depict the big, indifferent, beautiful things I was seeing. I didn’t bring the photographs back to fetishize solitude or wilderness, but to remind myself that I had found sufficient space to shut-up, look and listen.
(via This is Paper)
Pop Art Portraits from Igor Klepnev.
Feet and Paws, an ongoing series about the relationship between humans and dogs from a different perspective from Alex Beker.
Ice Fishing, a nice series by Cory Treadway.
Kalaripayattu Fighters photographed by Armand Poblete.
First I observed the light and the action of the fighters. The dimly lit arena just gave it that feel of an ’80s kung fu poster, and I wanted to keep it that way. After a few camera adjustments and a few hundred missed shots I finally captured the two fighters in midair.
(via National Geographic)
Arizona-based photographer David Emitt Adams uses a unique, 19th-century process to create detailed photographs on the bottom of tin cans. The project, entitled Conversations with History, compares the past and present of photography as it relates to the desert landscapes of the American West. Adams collects discarded cans, some dating back to the 1970s, that have been scattered across the desert.
For this body of work, I collect discarded cans from the desert floor, some over four decades old, which have earned a deep reddish-brown, rusty patina. This patina is the evidence of light and time, the two main components inherent in the very nature of photography. I use these objects to speak of human involvement with this landscape and create images on their surfaces through a labor-intensive 19th century photographic process known as wet-plate collodion. The result is an object that has history as an artifact and an image that ties it to its location. These cans are the relics of the advancement of our culture, and become sculptural support to what they have witnessed.
(via This is Paper)
Shapes, an ongoing project by Filippo Minelli is stunning.
Decontextualization of a violent tool changing quickly the surroundings, creating chaos, blinding the eyes, used in natural landscapes. The result proves that beauty can be found in clashing visions with an approach and aesthetic similar to romanticism. Showing the power of nature with the implication of religious aspects. Juxtaposing violence and beauty as a political statement. Giving silence a physical shape to be aware of its presence in the age of information and communication technology. The idea of ‘hidden manifest’ is contemplated in most of religions: Orthodox, Islamic, Catholic, Jewish mysticism, ‘Yin Xian’ for Taoism, and also in great philosophies like Buddhism.
Beautiful photography from Cody Cobb, an American photographer based in Seattle, Washington.
I usually have a vague idea of the topography and a detailed understanding of my route and orientation, but the light and landscape is always unexpected. I shoot when I feel moved by that sense of discovery.
I made my first picture using camera obscura techniques in my darkened living room in 1991. In setting up a room to make this kind of photograph, I cover all windows with black plastic in order to achieve total darkness. Then, I cut a small hole in the material I use to cover the windows. This opening allows an inverted image of the view outside to flood onto the back walls of the room. Typically then I focused my large-format camera on the incoming image on the wall then make a camera exposure on film. In the beginning, exposures took from five to ten hours.
Over time, this project has taken me from my living room to all sorts of interiors around the world. One of the satisfactions I get from making this imagery comes from my seeing the weird and yet natural marriage of the inside and outside.
A few years ago, in order to push the visual potential of this process, I began to use color film and positioned a lens over the hole in the window plastic in order to add to the overall sharpness and brightness of the incoming image. Now, I often use a prism to make the projection come in right side up. I have also been able to shorten my exposures considerably thanks to digital technology, which in turn makes it possible to capture more momentary light. I love the increased sense of reality that the outdoor has in these new works .The marriage of the outside and the inside is now made up of more equal partners.
New Yorkers by Daniele Testa.
With this project I try to emphasize the mood that pervades one person when a stranger asks him to pose for a portrait. In that instant, his mind begins to melt feelings: awe, distrust, worry, selfishness, ostentation, joy, confidence; all translated into the one most honest, genuine and unrepeatable, facial and bodily expression.
Blurring the boundaries between reality and illusion, India Song is a magical series by photographer Karen Knorr.
Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the “other” through the use of photography, video and performance. The photographic series considers men’s space (mardana) and women’s space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography.
Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century.
On the Road, a photo series by Alexander Kuzmichev.
Nowadays almost every photographer use graphics software to complete the picture, like many painters used ‘original version’ in the past. Some artists use pure imagination to paint their artworks, others may prefer to create art by using a real life model as reference for the anatomy. What if these abstract models were real people?
Beautiful photos of Mount Bromo on the Indonesian island of East Java by Helminadia Jabur.
The volcano is noted for its spectacular sunrises and majestic views all the way to Semeru volcano which is located further behind it. Ever since I saw some images of the volcano, I just could not help myself to visit the area and capture it.
(via Faith is Torment)
Micromachina examines what makes the insect world tick, and considers our attempts to control nature and the consequences. Humanity’s blatant disregard for nature, where profit comes before life, will ultimately be our undoing. Pesticides, herbicides, genetic modification and massive urban expansion push the fine balance of life toward disaster. There has to be a point, when mother nature will say ‘too far’, and rid the earth of its biggest pest… us. When the planet’s soul is gone, all that’s left is cogs and pipes.
Photos of structures common along the northwestern shores of Illinois where hunters can hide as they shoot ducks.
What I found interesting was how each blind possessed a style and character all its own, distinctly different and unique, but each hunter having to adhere to the same basic construction principles, while using similar building materials. The end results, while utilitarian in purpose, are always playfully creative and original. These photographs are a homage to their individuality.
(via Faith is Torment)