In her series titled Wait Watchers, the photography of Haley Morris-Cafiero turns an eye back on those that turn an eye on her. While creating an image for another series Morris noticed a man “sneering” at her behind her back. Wait Watchers intentionally captures these reactions – the sneer, raised eyebrow, the frown that Morris says she is aware others make in regards to here weight. The sadly familiar scenes play out all the time. However, frozen in a photograph adds another emotional level to the work.
The work of Hungarian photographer Mate Moro is cool, nearly cold. His photographs carry an modern fluorescent cold – even the bodies of his subjects don’t lend much heat. They nearly seem to act as objects just as other objects in the images interact with the scene. Slightly surreal, his work is disconcerting like a waking dream in which something is vaguely out of place. Moro has a talent for composition – coupled with obscured faces the viewers eye never seems to settle on just one place in the photograph.
Photographer David Chancellor‘s series Hunter documents South African big game Hunting. Chancellor explains that while hunting safari’s were once particularly fashionable among the leisure class, the activity has since undergone some changes. Land that had once been dedicated to farming and livestock now serve as big game ranches – a place professional hunters can once again kill for sport. Chancellor captures the complex relationship between hunter and hunted, which is rendered even more complex by modernization. He says that the series is “a long term project documenting human/wildlife conflict in all it’s forms, Hunters explores the complex relationship that exists between man and animal, the hunter and the hunted, as both struggle to adapt to our changing environments.”
Ana de Orbegoso‘s series of photographes, titled The Invisible Wall, is a way of visually depicting personal prejudices. The photographs are a series of portraits each obscured by a pair of hands, as if the subject were hiding their face. Underneath the hands, though, a face subtly appears. Obviously, the series’ title refers to a figurative wall, a social one. Of these ‘walls’ she says:
“Behind our individual walls we each keep hidden our prejudices, our preconceptions, our highest aspirations. Our individual walls serve to protect us by enabling us to always hold something back, an edge between what is hidden and what is revealed.”
These are not photos of miniatures or models. Rather these are images from photographer Ben Thomas‘ Cityshrinker series and are actual cities around the world. Thomas uses what is called a ’tilt-shift technique’. Among other things, the technique basically corrects the distortion caused by perspective. This correction often has the appearance of miniaturizing the camera’s subject. Thomas’ images present the world as if it were a toy. Some of the world’s largest cities seem to shrink into playful places. The images turn a lighthearted eye onto some of our favorite places. [via]
Photographer James Florio created the series Homeless in Orlando. Alternating between slides of text and black and white photographs. The series captures the home and life of a homeless couple, Robert and Heather. Robert and Heather live in the woods of Orlando, Florida. The words and images describe the events that led to their home among the urban forests of the über-developed tourist hub.
The series feels much more like a film with its strong and touching narrative. Using a minimal amount of words and elegant photographs, Florio presents Robert and Heather in a way that is surprisingly emotionally engaging. He shows how typically simple tasks such as taking a shower, can become absurdly challenging. Homeless in Orlando provides a rare insight and is especially affecting. The rest of the Robert and Heather’s story unfolds after the jump. You’ll want to see it through to the last image.
Matt Perrin believes in the magic of classic photography. Perrin decidedly does not use Photoshop or manipulate his photographs once the shutter clicks. Rather, he fully utilizes the simple features of his camera and experimental lighting to create his dreamy images. His photographs glow like cosmic abstractions. Perrin is intentionally ambiguous as to the exact nature of his subject matter. Rather, he encourages a more open reading similar to abstract painting. He says of his process:
” Any object seen, in any photograph, was physically in front of the lens when the shutter opened and closed. It’s the twists and turns that have occurred between those points that have brought you here today.”