Todd Hido

 

STRANGER From Outskirts Text by Luc Sante

"Things look strange, when you're a stranger.  Things that to locals, natives, homies are so familiar they are barely visible anymore, look strange to you.  What might be dully familiar or vaguely comforting in you own neighborhood can look desolate, forbidding, strange, if you see it somewhere else, at night, in fog."  

 

 http://www.toddhido.com/

Abelardo Morell

"Since 1991 I have con­verted rooms into Cam­era Obscuras in order to pho­to­graph the strange and delight­ful meet­ing of the out­side world with the room’s inte­rior.

In an effort to find new ways to use this tech­nique, I have worked with my assis­tant, C.J. Heyliger, on design­ing a light proof tent which can project views of the sur­round­ing land­scape, via periscope type optics, onto the sur­face of the ground inside the tent. Inside this space I pho­to­graph the sand­wich of these two out­door real­i­ties meet­ing on the ground. Depend­ing on the qual­ity of the sur­face, these views can take on a vari­ety of painterly effects."

http://www.abelardomorell.net/

Bill Jacobson

 

 "...these shadowy pale photographs evoke the loss experienced by so many during the height of the AIDS epidemic. With their blurred human subjects, they indicate the futility of capturing true human likeness in both portraiture and memory.

 His next body of work, Thought Series (1996-1998) is a nearly monochromatic deep-black evocation of the flow of life. Photographing a broad spectrum of subjects from tightly cropped faces to fields of grass and surfaces of water, Jacobson deliberately links the human figure to nature, suggesting their constant but subtle connections."

http://www.billjacobsonstudio.com/wp

Johan Thornqvist

http://www.snarlik.se/category/art/

Uta Barth

 

 "In the 1988–89 series Untitled, she began to explore questions of photographic abstraction, mixing painting reminiscent of Op art and preexisting photographs into her images. In Ground (1992–97) and Field (1995), she introduced the imagery for which she has become known: blurry backgrounds created by focusing her camera on empty foregrounds. Ground was exhibited site-specifically (in a Los Angeles house-turned-gallery), and much of Barth’s subsequent work has engaged the notion of the photographic environment as opposed to the photographic subject...Barth extends her exploration of light and the nature of vision in photographs that capture the natural sheens, glares, and shadows that travel daily through our everyday habitats."

  

 

http://www.tanyabonakdargallery.com/artist.php?art_name=Uta%20Barth
http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Uta%20Barth
http://dpope4.wordpress.com/2011/02/04/uta-barth/

Jamie Beck and Kevin Burgh

 

A Cinemagraph is an image that contains within itself a living moment that allows a glimpse of time to be experienced and preserved endlessly.

Visual Graphics Artist Kevin Burg began experimenting with the .gif format in this style in 2009 but it wasn't until he partnered with photographer Jamie Beck to cover NYFW that Cinemagraphs were born. Marrying original content photography with the desire to communicate more to the viewer birthed the cinemagraph process. Starting in-camera, the artists take a traditional photograph and combine a living moment into the image through the isolated animation of multiple frames. To quote supermodel Coco Rocha "it's more than a photo but not quite a video".

Beck and Burg named the process "Cinemagraphs" for their cinematic quality while maintaining at its soul the principles of traditional photography. Launched virally through social media platforms Twitter and Tumblr, both the style of imagery and terminology has become a class of its own. The creative duo are looking forward to exploring future display technologies for gallery settings as well as pushing this new art form and communication process as the best way to capture a moment in time or create a true living portrait in our digital age while embracing our need to communicate visually and share instantly.

http://cinemagraphs.com

Claudia Ficca + Davide Luciano

 

After a sudden collision with a canyon sized crater of a pothole we decided to channel our frustration into a positive project where the useless pothole would be a source of humor and creativity.

Our imaginative and diverse application for potholes led us on a relentless quest in search of the perfect pothole. On site we set up our props as required to build the set we desire. The entire shoot takes approximately 5 to 10 minutes to complete.

Our shooting sessions are evenly divided with each of us taking a turn behind the camera. Camera angles and model placement and direction are discussed and at times improvised on the set, we don’t use Photoshop to create the image or add props. Of course, the menial yet crucial task of watching for traffic is shared by all. Since the POTHOLES series is shoot entirely on location during uninterrupted traffic, vigilance is key. 

http://mypotholes.com/