In the newly-published book titled Hollywood Frame by Frame, author Karina Longworth examines the contact sheet, a necessity in film making before the advent of digital technology. The prints were used by photographer as a way to review and edit their work, and the sheets contain small thumbnails of multiple shots. They were marked, scribbled on, carefully examined to find the perfect shot later used in advertising.
These sheets are alluring; not for how interesting and different each individual frame is, but it’s a tiny glimpse into what went on behind the scenes in famous films. You’re able to see what was and wasn’t chosen, as well as the outtakes. A description for Hollywood Frame by Frame describes it as, “…it’s often the photos not chosen that best capture the true spirit of their subjects and the life they lead after the director yells cut. This was never truer than in the classic Hollywood era, where behind-the-scenes photos were carefully vetted for marketing purposes and unapproved shots were never expected to be seen again.”
Some of the films included in the book are: Some Like It Hot, Breakfast at Tiffany’s, Taxi Driver, and Silence of the Lambs. It was published by Princeton Architectural Press.
Photographer Gray Malin (@graymalin) takes us on a journey in his colorful, idyllic series titled Dreams. The sun-soaked images feature a herd of sheep whose coats are decorated with pink, purple, yellow, blue, and green pigment. Malin had the idea years before he actually made the work; he was inspired by a story about a Scottish sheep farmer who had colored the fleece of his flock in order to deter the thieves who had been stealing his sheep at night.
This powerful visual stuck with him for seven years. “I dreamed of creating a series where I could give these often overlooked animals a way to shine, bringing a rainbow of color to help inspire others to stand out and follow their own dreams.”
Malin consulted with a team of experts and eventually travelled to rural Australia where he worked hand-in-hand with a family of third-generation sheep farmers to make this series a reality. “Utilizing a non-toxic, vegetable dye that rinses off with water, the farmers misted each sheep with the same tool they use to administer a spray for ticks and lice,” he says.
Sheep yearn to be apart of a crowd; they prefer to blend in rather than stand out. So, each of Malin’s images are meant to encourage others to “wander from the flock” and go after their desires.
Vittorio Ciccarelli’s photographic series titled Invisible captures parts of the world that we pass by - what we look at, but don’t really see. The artist highlights fast food chain signs, lamp posts, factory windows, and more in these simplified and beautifully-designed images. Ciccarelli’s works feature vibrant blues, reds, and yellow hues, and it’s clear that he caught these places on a good day.
By zeroing in on just a couple of sets of windows or a portions of a sign, he creates abstract compositions. We now focus on the formal aspects of the work rather than where or what the image is of. Sure, we might recognize that the two lights are the top of a lamp post, but that seems secondary to the gorgeous shapes and how they interact with the cloudless blue sky. When you look at these places just so, as Ciccarelli has done, you see how peculiar the seemingly “invisible” things in the world really are.
Joel Parés is a U.S. Marine-turned-photographer who’s created a series titled Judging America that illustrates the prejudices we often have against people who are different from ourselves. As the old saying goes, “don’t judge a book by its cover,” and that’s what you’re liable to when you first see these stylized photographs.
Each image is broken up into the two parts – a stereotype of a particular societal group versus who the character actually is. The tattooed, gun-toting gangster turns out to be a Harvard graduate, a decorated stripper is a buttoned-up widowed mother of three kids, and more. You get the picture here – Parés is demonstrating that talented, incredible people come in all different packages.
“Many of us judge incorrectly by someone’s ethnicity, by their profession, and by their sexual interest,” Parés told PetaPixel. “The purpose of this series is to open our eyes and make us think twice before judging someone, because we all judge even if we try not to.” (Via Bored Panda)
Italian fashion photographer Lucia Giacani’s series Under My Skin shows just what kind of editorial liberties are taken in this interesting-yet-bizarre photoshoot. Originally shot for Vogue Italy, the colorful images feature a high-fashion model clothed in gorgeous garments while she dons unconventionally-colored makeup. It complements the props used in the photo; surrounding her are medical anatomy of the animal kingdom. Rabbits, goats, and chickens are all halved so we can see their insides.
Giacani’s photographic style is very clear and visual. Nothing is hidden in obscurity, and we see a lot of interesting details in the spotlight. The juxtaposition of the two main elements – the woman and the anatomy – creates a strange narrative. It makes us ask ourselves questions, like, who is this person? How do the two seemingly disparate subjects relate to one another? It’s this ambiguity that makes for a compelling and ultimately unforgettable image. (Via Illusion)
Photographer David Waldorf seeks to capture the truth in people’s eyes, and his series Trailer Park documents the people that live in these types of places. The slice-of-life images are in Sonoma, California and are partially what you’d expect from a place like this: double-wide trailers, faux wood panelling, and fake astroturf are visible. There are some peculiar elements to them as well. We see a picture of a woman in a wedding dress with a fire blazing in the foreground. She’s holding a shirtless man’s hand, and the scene is bizarrely reminiscent of the iconic painting American Gothic by Grant Wood.
If you aren’t familiar with a trailer park or have never been to one, Waldorf’s series offers a fascinating look into the goings-on. The plots where people live are technically mobile, but are decorated with performance. Some of the images detail the struggle of the working class – like the family of four that lives in these small spaces – while other photos are just plain odd, and seem like a throwback to the 1980’s except in present day. Time moves slower there. (Via Boingboing)
Long before the magic of Photoshop and its ability to manipulate came the work of Herbert List, a surrealist photographer working from the mid-1930’s through the 1960’s. His black and white images feature fake scientific models with their skin cut away and their guts partially exposed. This isn’t a particularly unusual sight- they are things you’d see in a classroom or museum – and show historical ways of practicing medicine. But, it’s how he frames the images that gives them an unnerving feel. Compositions are tightly cropped and provide us little context for what’s around them; it creates an air of mystery.
List was influenced by the paintings of Giorgio de Chirico, which is evident as we see these statues that seem to exist in a void. They’re moody and strange, and List’s documentary-style photographs show how strange things are when presented a deliberate way. (Via Boing Boing and My Amp Goes to 11)
As a generation in Palestine confronts misery, violence, and rejection, the hip hop scene is an outlet to express themselves. Photographer Pierre Mérimée and journalist Jacques Denis capture the young people involved in this scene in their new book, Intifada Rap. In it, we meet MWR’s Mahmoud Shalabi, the girls of Arapyot, and the “veterans” on the scene, including Said Mourad, the voice of the first Intifada.
The book’s press release describes it as:
A dive into the heart of the Palestinian hip hop scene, Intifada Rap bears witness to the incredible strength of the musical movement, from the suburbs of Tel Aviv through to Ramallah. Pierre Mérimée and Jacques Denis’ work shines a glaring light on the reality of Palestinian rap while offering an unprecedented view into the daily lives of a generation confronted with misery, violence and rejection, fighting back against it all to escape their imposed fates. Far from the shocking image of television news and the continual discussion of the Israeli-Palestinian conflict, the two journalists have documented the day to day lives of youth facing a dark future, for whom hip hope is more than just an escape. Armed only with their words, these men and women on the cusp of their twenties express their need for freedom, hope and equality through lucid texts and heavy beats.