Genevieve Blais, a photographer based in Toronto, borrows imagery from classic art history paintings to unpack sexual politics relative to today’s contemporary palate.
Of her intention, Blais states, “The aesthetic/topical dissonance aims to elicit an uneasy response in order to subvert the implicit authority and sanctity of the icon.”
The result confronts and critiques art culture by sitting in an uneasy space between not only imagery, but also mediums– cameras and brushes, forcing us to clearly see the model as the true determinant– a staged powerful variant that has been with us since Caravaggio’s rule, humanizing the myth.
The colorful skies of Matt Molloy‘s photographs nearly seem built from dozens of chunky brush strokes. However, these photographs are actually a type of time lapse photography which Molloy calls “timestacks”. Molloy shoots several photographs of the same location or image over a specific period of time. He then takes those photographs and merges them into one image. For the timestack photographs featured here, Molloy merges huge amounts of images – up to 500 photographs for only one image! [via]
Photographer Matej Peljhan created these vividly imagined images with the help of twelve year old Luka. Luka suffers from muscular dystrophy. The muscle disease has severly limited Luka’s movement to mostly his fingers making even the most basic task difficult or impossible. Luka worked with Peljhan to create photographs of fun activities that would usually be impossible for Luka to take part in. Using simple props, Luka would be positioned on the ground as Peljhan shot the photographs from above. The resulting images form a heartwarming series titled The Little Prince. [via]
The work of Sara K Byrne is definitely multilayered. Her images are double exposures – a technique that originated with film cameras. Basically a segment of film would be exposed to light twice. The darker areas in the first photograph would record light in the second photograph. Byrne uses a digital camera, one of a handful of models that can perform the same technique. In addition to more examples of her work on her website, you’ll find a tutorial on how to recreate the effect. [via]
Kathryn Mayo and Doug Winter, a husband and wife photography team based in Sacramento, collaborate with their models to create vintage portraits, seemingly of the past, using the traditional wet plate collodion process. This type of photography was born in the 1850s, but soon faded from the foreground, due to the proliferation of more practical, less time consuming processes involving dry gelatin emulsion.
However, in today’s fast-paced iPhone app culture, where formatting is clean, easy, and instantaneous, ironically, the slow painstaking process is exactly what this artistic pair prefer about collodion. Mayo elaborates, “Each image takes about 15-20 minutes to complete from focusing the camera, coating and sensitizing the plate, exposing, and processing. So, models need to have patience as not each image comes out perfect, and it takes a few to get one we like–sometimes, there are times when the chemistry isn’t working up to par and we don’t get anything at all.” Regardless of outcome, their passion is not just about product, but discovery and investigation. Mayo continues, “I love the idea of using a process steeped in history and with the ghosts of photographers who have come before me. It is a process that is wholly addicting.”
While many of us as tourists may walk looking up at the tops of buildings, artist Thomas Lamadieu is looking at the sky. Lamadieu uses negative space to create playful drawings and illustrations. Utilizing photographs of a sky squeezed between rooftops, he illustrates within the patches of blue. The pieces of sky cut out by the buildings are a point of inspiration for Lamadieu culling stories from the shapes he’s dealt. Rather than being a limit, they become a point of departure.
In a classical compositional style, Photographer Phillip Toledano‘s series A New Kind of Beauty depicts subjects that have drastically augmented their bodies. The photographs contrast classical ideas of beauty with the contemporary and nearly obsessive pursuit of it. A fixation with beauty is ancient, but the images examine it in the light of modern body modification. Toledano says of the series:
“I’m interested in what we define as beauty, when we choose to create it ourselves. Beauty has always been a currency, and now that we finally have the technological means to mint our own, what choices do we make?”
The images of photographer Álvaro Sánchez-Montañés‘ series Indoor Desert seem like elaborate installations. However, he actually found them this way. These buildings were once part of a town named Kolmanskop in southern Namibia. It had been situated near a gold mine. When the mine ran dry it was abandoned as was the town. The strong winds quickly overtook the town filling its buildings with the sand of the nearby Namib desert. The homes now filled with desert instead of families only emphasizes each photographs loneliness and underscores the immense power of nature.