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
With her series Wonderlust, Winnipeg-based photographer Sarah Anne Johnson explores sexuality and intimacy, touching not just on desire and ecstasy, but also boredom and self-doubt. Johnson found subjects—friends and friends of friends—who she first photographed nude, then documented the sexual interactions of the couples who chose to participate in this way. To the prints, she used paint, ink, glitter, burning, scratching, gouging and retouching to visually communicate the intangible but palpable emotional aspects of the physical interactions depicted in the photos. The alterations also serve to add a layer of anonymity to her subjects, thereby adding a level of privacy to the intimate acts we are exposed to.
Wonderlust is currently on view at Stephen Bulger Gallery in Toronto through March 29, 2014.
One of the judges of the National Transportation Safety Board (the NTSB) ruled yesterday that the FAA has no authority to regulate drones, striking down a six-year-old ban on commercial drones and saving a Swiss drone operator $10,000 that the FAA was trying to fine him.
The battle began in 2011 when drone pilot Raphael Pirker was issued a $10,000 fine for flying a styrofoam drone around the University of Virgina to capture footage for a commercial he was shooting for the university’s medical school.
As far as the FAA is concerned, commercial drone flight has been illegal since 2007; however, according to the court papers, they never actually created an enforceable rule. All they did was issue a policy statement.
From 2011 to 2013 Erika Larsen traveled to many locations in the western U.S. to learn about the significance of the horse in Native American culture. Many people shared their stories and experiences about this connection with her, as well as the word for “horse” in their respective languages. Larsen’s photographs documenting this bond are featured in the March 2014 issue of National Geographic.
The saying goes, “your cell phone has more computing power than all of NASA in 1969. NASA launched a man to the moon. We launched a bird into pigs.”
Thankfully, in addition to launching furious balls of feathers into evil swine, we also use our phones for taking photographs. And just as our phones have more computing power than all of NASA in 1969, our phones also have better imaging capabilities than many of the astrophotography endeavors of the past.
Case in point is the above image featuring a comparison of two almost identical photos taken of the Orion Nebula, but done so over a century apart, with very different gear.
On the left you have the first photograph ever captured of the Orion Nebula. Taken in 1880 by physician and amateur astronomer Henry Draper. With complete access to an observatory and its accompanying tools, Draper used “an 11-inch Clark Brothers photographic refractor” to capture the image with an approximate exposure time of 51 minutes.
On the right you have an image taken in 2013 by Andrew Symes, an amateur astrophotographer. What did he use to capture his photograph over 130 years later? Nothing more than an iPhone and amateur telescope with an exposure time of approximately a second.
Camera #244 was left with bartender at Revolution Brewing in Chicago.
In one photo of the healthy head of hair of 70-year-old Greenland native Uunartoq, photographer Ciril Jazbec has managed to poetically encompass his entire project of Greenland’s last true subsistence hunters. In the image, Uunartoq’s hair, taken from above and behind, is a swirl of greys and blacks and whites—chaotic and unkempt, healthy and wild. As he approaches old age, we can appreciate this unruly head of hair even more for its stubbornness and resistance to change. At the same time, its messy swirls also resemble the unpredictable and oftentimes harsh climate of Greenland itself.
The Stan Terg mine, part of the Trepca complex, in northern Kosovo, has been in operation intermittently since the Middle Ages. Shuttered by the Kosovo war in 1998, the mine reopened in 2005 and has recently become a mirror for larger issues facing the young republic. In his series “The Bread with Honey,” the photographer Andrew Querner documents the Stan Terg miners and their quiet community. Many of the miners Querner photographed are in their sixties, and face forced retirement. They expressed serious concern that their pensions would not support their extended families. Nevertheless, the mine is still rich in lead, zinc, and silver; it has become, according to Querner, “a beacon of potential for the newly independent Kosovar state—a promise to deliver an economic independence to match (and perhaps guarantee) its newfound sovereignty.”
In reaction to a story by NPR’s Planet Money team about the financial collapse and its effect on Southwest Florida housing market, the The Big Picture photography column at Boston.com spent some time scouring Google Earth to document exactly how man-made structures and development planning has altered the land, coast and the way we cover that natural beauty we desire so much.
Light painter Jason D. Page recently got in touch to show us an impressive series three years in the making that he has just completed. It’s called ‘Icons,’ and it features a set of psychedelic light portraits Page calls ‘Light Prints’ that are done entirely in-camera.
On the project’s webpage, Page explains that the series is loosely inspired by Andy Warhol’s work:
While looking at some prints of Mr. Warhol in 2011, I wondered if I could replicate a print making process working with the medium of light instead of ink. I began working on my light print making process in late 2011 and have been developing it ever since. The images in the Icons series are the first “Light Prints” ever created.