Photography has long been used to document the scientific process and display visual evidence, so when Ulric Collette began to use the medium to show how genetics can exhibit itself, it was both the obvious similarities, and differences, that caught everyone’s attention. Working out of Quebec, Canada, Ulric, a self-taught photographer and graphic designer, began the photoseries in 2008 where family member’s faces were spliced together to create portraits that compared physical appearance with contrasting ages. The process seems like a no-brainer, but it was truly born from an accident. The photographer explains, “I was attempting to create something totally different with another project, and in the process I came up with the first picture, me and my then 7-year-old son,”. Realizing the easily viewed comparison between generations when shown spliced together, Ulric began to enlist the help of others to show the effects of genetics. He continues, “I decided to try the same process with a few family members and the project was born.”
Collette uses specific portraits edited down from hundreds of tightly-controlled photos, to create his finished works. Acknowledging that even with the advances of editing software, it is still very difficult to find an appropriate match that works, he explains the difficulty of the project, “I need to take a lot of pictures in a controlled environment of each model, compare the picture to one another, chose the right ones and stick them together in Photoshop” .
The photographer used many of his own family members to investigate these connections, including his daughter and mother (above, Ginette & Ismaëlle), and even himself and his own brother (below, Christopher & Ulric). Collette explains, “The reaction to the project never ceases to surprise me…A few of the ones I’m in shocked me – me and my brother Christopher, for example, we totally look the same!” (via huffington post and bbc)
In Texas it is illegal for children to have unusual haircuts.
In Alabama it’s illegal to have an ice cream cone in your back pocket at all times.
In California nobody is allowed to ride a bicycle in a swimming pool.
In Connecticut pickles must bounce to officially be considered pickles.
In Texas, it is illegal for a child to have an unusual haircut. In Alabama, you can’t carry an ice cream cone in your back pocket at any time. You can forget about riding your bicycle in a swimming pool if you’re in California. Yes, that is illegal, too! All states have weird and obscure laws that don’t make any practical sense. But, we love to laugh about them, and photographer Olivia Locher has taken this one step further. Her series, I Fought the Law, depicts some of these absurd laws in some equally absurd photographs.
Locher has some great source material to work with and does it justice. Formally, her photographs are beautiful. They are colorful, well-lit with engaging compositions. Even something as mundane as pickles is made interesting. While some images are just simply nice to look at, others are more narrative, like the man biking in the swimming pool. I’m also curious at the potential story behind the several dildos places among fine China.
The eight photographs of I Fought the Law has whet my appetite for more. I’m happy to know that Locher intends to disobey the laws of all 50 states and continue this series. I’m looking forward to seeing what my state, Maryland, has come up with! (Via Feature Shoot)
How would you like to see a photo of the 1937 Hindenburg disaster in color? Rather than experiencing the destruction in black and white, how much more powerful would that image be if we could see the intensity of the flames against the night sky ? Well, thanks to the work of an increasingly popular online trend, now you can. And it’s not limited to the Hindenburg. Photographic colorizing is illuminating portraits of long-past world leaders, scenes from 1930’s US Great Depression, and the ever heart-breaking Thich Quang Duc’s self-immolation.
A number of photographers have taken to this challenge, and one company, Dynamichrome, explains the appeal of this change. They write:
Black and white photography can be an artistic choice, but with images taken before the advent of mainstream colour photography, it was usually the only option. As a result, historical photographs are a far less vivid depiction of the past. Skilfully restored and authentically colourised photos allow the viewer to connect with a past era and see details they never noticed before, bringing history to life and drawing attention to images previously unseen in full colour.
The colorizing of popular historical photographs isn’t something that is just for the professionals. There is a whole subreddit, History in Color, that features this practice. Obviously, some attempts are better than others. Regardless, when done well, it’s a powerful way to revisit history.
English photographer Carl Warner creates realistic landscapes that are made out of food. As an experienced landscape photographer, Warner puts his talents to work in order to reinvent the conventional type. The ‘Foodscapes’ are created in Carl’s London studio where he crafts out each and every little detail (all components completely made out of food) through intricate and laborious steps. The scenes are photographed in layers from foreground to background. The food products used tend to wither quite quickly under the beaming lights, this might take each landscape even more time to get finished.
He first starts off with a set of drawings; he lines up the model-drawings that he would like to work with, and from those he picks the one that will be worked on.
Warner has a team of food stylists and other artists that help him with the process.
“ Although I’m very hands on with my work, I do use model makers and food stylists to help me create the sets. I tend to start with a drawing which I sketch out in order to get the composition worked out, this acts as a blue print for the team to work to.”
Daddy Bunny (7 ½) Height 14” -Belongs to: Zoe Bracken
Flopsie (6) Height 14″ Belongs to: Lua Spencer
Photographer Mark Nixon creates portraits of worn-out vintage teddy bears in the series Much Loved Bears. These nostalgic portraits immortalize the innocence of youth; better yet, the goodness and appreciation of a child, as they hold on to the old with no remorse. The photographs are paired with text provided by the owner and they are part of a book called Much Loved.
The funny looking portraits project a sense of irony, as seeing the teddy bear, a signifier of early age, and their ‘wear’ and ‘tear’, a signifier of old age, together generate an interesting tension between the two. The battered teddy bears are a symbol of love, respect and friendship- moreover an undenying preservation of a friend that was important, and therefore hard to replace.
“When you see these teddy bears and bunnies with missing noses and undone stuffing, you can’t help but think back to childhood and its earliest companions who asked for nothing and gave a lot back.”
It feels as if these photographs also expound on a critical string of thoughts regarding the journey of becoming older, and what it means to be an owner of something today. The fact that we so easily get rid of ‘damaged’ material things with the eagerness of wanting more and ‘better’ is something that contrasts Nixon’s attention to the teddy bear’s ‘battlescars’; for a kid,however, the damaged but useful and loved, is not something to easily get rid of. (Via My Modern Met)
Since living in Baltimore, I’ve had the chance to attend several burlesque shows and enjoyed them all. I’ve seen performers of all ages, including a few older women, which is often my favorite part of the show; I love seeing these women confident about their bodies, especially in a society that values youth. A photography series by Stephanie Diani captures this same idea. She photographed The Legends of Burlesque, an older group of women burlesque dancers. Diani found these women when she visited the Miss Exotic World pageant many years ago. They made an impression on the photographer, and years later she sought these woman for her project.
All the women photographed are septuagenarians, and performed in burlesque shows well after turning 50, 60, or 70. Even at this age, they still exude a mature sexuality and eroticism. In each portrait, Diani had the women pose for pictures in their favorite Burlesque ensembles or meaningful garment. The resulting images portray glitzy, over-the-top outfits, complete with feathers, fur, beading, and jewels. This is an amusing juxtaposition with their homes, which, not surprisingly, are reminiscent of your grandmother’s home. Each woman looks self-assured and strong, and it isn’t an act. Diani remarks about the women on the Slate photo blog, Behold:
I loved spending time with the women: they were wry and smart and playful. In June 2009, I photographed Hall of Fame legend Big Fannie Annie, by her own account 450 pounds of sizzling sex, in a hotel room in Vegas where she and Satan’s Angel were getting ready to perform during over Hall of Fame weekend. Angel asked Fannie: ‘Do you have any of that cum-in-a-can I can use?’ — a reference to the industrial strength hairspray that is an essential tool of their trade. Another, Toni Elling, took her name from Duke Ellington, whom she used to know. (via Huffington Post)
Have you ever thought about how people will remember you when you are gone? Do you wish to be remembered in a particular way? Perhaps with a specific outfit, or at a specific age? Why would you have someone else choose the picture? You have a choice while you are alive.
Belgian photographer Frieke Janssens is offering her services in order to create the ultimate headshot, the one that you would like on your grave and everyone’s minds once you’ve past away.
The eerie yet beautiful and polished headshots are Janssens’ way to change people’s mindsets when it comes to ideas of death and memory. The series of ‘Your Last Shot’ reflects a combination of the sitter’s wishes and the photographer’s style. With make up assistance, styling and post-production, Jenssen creates master portraits that defy the ugliness that death brings about. In a sense, having a say on what you’ll look like to those alive when you are dead is a way to take control. This will perhaps leave us a bit more at ease about the whole death process.
The ‘last portrait’ will be finished in porcelain so that it can actually be used when the time comes.
“My personal preference goes to static portraits as they were taken at the occasion of weddings at the beginning of the 20th century. My aim is to make an iconic portrait that is beautiful, serene and fearless, preferably with a gentle smile, indicating that the model is clearly aware of the fact that this portrait will be used for a very long time to come.”
You can check the project’s website to find out more on how you can participate- it is a limited time thing,so if you want in, go check it out now!