I post what interests and inspires me, and I hope to inspire you in the process.
I blog about Photography, Art, Music, Coffee, Craft Beer,Food, & Politics,
Plus a bunch of random nonsense I find entertaining on the web.
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I also run "Take a Photo, Pass it On" as well as several other Tumblr blogs
“The Underground Railroad was America’s first Civil Rights Movement,” says photographer Jeanine Michna-Bales, who has spent the past ten years plus researching the railroad for her project Through Darkness to Light. Finding that there were few visual records of the secret stations along the escape route, she herself traced the steps taken by many of the 100,000 slaves between the Southern plantations of Louisiana to the border of Canada, where slavery was prohibited. Along the way, she creates an archive of historical sites both famous and obscure, discovered through academic inquiry at historical societies and oral histories passed down through generations.
Insomnia can be a cruel burden. When you stay awake past the witching hour, loneliness inevitably sets in. What’s a person to do at 4 a.m. when everyone else is deep in their own REM stages?
For Stevie Nicks, the ethereal singer and songwriter who endured her fair share of sleepless nights, the answer could be found in photography. Self-portraits, to be exact.
Caught on the Hercules’ camera was this rare siphonophore. The Siphonophorae (or Siphonophora, the siphonophores), are an order of the Hydrozoa, a class of marine animals belonging to the phylum Cnidaria. Although a siphonophore appears to be a single organism, each specimen is actually a colony composed of many individual animals. Most colonies are long, thin, transparent pelagic floaters. Some siphonophores superficially resemble jellyfish. The best known species is the dangerous Portuguese man o’ war (Physalia physalis).
Before the use of moving pictures became prevalent, a well-know nineteenth century photographer was called upon to settle a bet. The photographer was Eadweard Muybridge and the bet was whether or not all four of a horse’s legs leave the ground when galloping. The inquiry into this investigation was instigated by the then-governor of California and race-horse owner, Leland Stanford who hired Muybridge to settle the bet. Through experimentation using twelve cameras to record a horse’s motion, Muybridge was able to photographically prove that all four of the horse’s legs do indeed leave the ground at once while galloping. Muybridge continued his photographic studies into motion by using different subjects including people and American Bison and also experimenting with stop-motion.
It’s been an ongoing battle amongst avid photographers for years: shoot with your iPhone, and be able to share the results instantly, or shoot with your DSLR, and either go through a awkward Wi-Fi process, or worse yet, wait until you’re back on your computer? The Relonch Camera solves this problem by adding a high-quality camera to the back of your iPhone. It connects via Lightning, boasts a large APS-C sensor and a prime lens with a wide aperture for excellent detail and bokeh, and even sports a separate battery so your phone charges while you’re making photos.
For six years the Dutch photographer Willeke Duijvekam followed the lives of Mandy and Eva, documenting their inner and outer attempts to align their sex assignments at birth with their gender identity — both girls were born as boys.
Only three photos? Shit, How the hell am I supposed to narrow it down to my three best instagram photos!?!!
We Are The Youth is a photo-documentary and essay project that compiles the stories of LGBTQ youth from around North America. It’s a simple project that packs an honest punch. Each story is personal and demonstrates the completely different experiences of the participants. They speak about the need for role models or their role in becoming one, about their own struggles with their identity, where they situate themselves on the gender/sexuality scale, and how that can change from day to day. The project is a collaborative effort between Laurel Golio who takes the photographs, Diana Scholl who writes the biographic essays, and of course, the LGBTQ youth.
Drone photography and videographer is allowing image makers to capture footage that would have been impossible to shoot just a few years ago. Case in point: never before could a photographer get so close to a volcanic eruption that the face of his or her gearmelted!
But now, if you’re brave enough and responsible enough to do it right, you can do just that… and capture some never-before-possible footage in the process.
The video above was captured by DJI‘s own Eric Cheng, the drone company’s director of aerial imaging. On a recent trip to Iceland, he and photographer Ragnar Th. Sigurdsson trecked all the way to the Bardarbunga volcanic system eruption so they could set some DJI Phantom 2′s loose.
A portrait session that results in the death of the subject should be called a failure.
As reported by the Salt Lake Tribune, a group of photographers and onlookers experienced precisely that level of catastrophic botchery last week in Grand Teton National Park when crowding too close to a moose (not a good idea).
The moose, already agitated by the presence of a nearby bull moose, was scared by the approaching park-visitors and bolted before stumbling over a picnic table and landing on a fire grate. With its hoof caught in the grate, the half-ton animal collapsed and broke its leg so badly that park rangers were forced to put it down.
For Iranian Fathers & Daughters, photographer Nafise Motlaq enters the homes of families in Iran, capturing the diverse bonds that tie young women and their dads. Her own relationship with her father changed when he fell into a coma while she was living in Malaysia. After he recovered from a life-threatening illness, Motlaq explains that the two of them became closer, and on her first trip back to Iran in over seven years, she was inspired to seek out other father-daughter pairings that defied the stereotypes she encountered abroad.
Given the brief time she had to execute the project, Motlaq chose to keep it strikingly simple. She met her subjects through a network of friends and family and photographed them in intimate household settings, allowing the daughter’s words about her father to serve as the caption for each image. Like all father-daughter relationships, each is colored by its own ambiguous joys and frustrations, connections and strains.
Surreal photographs that from the title of the series seems to suggest a person offloading something unwanted in their lives—maybe stress or personal problems that the viewer can only speculate.