Monochrome Portraits a photography project by Trine Søndergaard (quotes from this interview)
“The images balance between the darkness, the color, and the introspection that are their subject — or rather it’s where they balance between all three elements that I think
they work best.”
“I know the people in the images, so who they are as individuals isn’t my focus. I try to depict a mental state by directing the person I portray to a point where they turn inwards. An introspective state that encompasses feelings like confinement and depression, but also meditative reflection.”
“[…] I think other feelings and moods emerge due to the visual aspect.
The feeling is one I know really well, and that I direct the subjects —purely physically—to express. I don’t care what people are thinking about. I mean I don’t sit down and ask them how they are feeling and then photograph that. So the portraits don’t depict individuals. There is no intention to generate recognition or identification.”
“In a way, Everything you do is [a self-portrait]. The other projects I’ve done are too. That’s what’s fascinating about photography. When you look at a series of images or a photographer’s entire oeuvre, what’s been noticed says a lot about who’s behind the camera. There’s always that duality—the viewer looking at the image and the presence of the photographer looking at the subject of the image.”
“It’s about hearing a pin drop.
About investigating how quietly I can say it and
yet it still be heard.”
Lady Things, a 2008 photography series by Robyn Cumming.
“If Robyn Cumming were a creature she would be a troll baby because they’re small, creepily strong and totally adorable. If she were an object it would be a stack of 500 million 10 dollar bills which, in turn, would be used to buy more objects. If she were an emotion it would be laughing that turns into coughing…and then dry-heave style crying.”
pic of the day:
Anthony Gerace (previously featured)
Shard of Light , 2011
Thought Form (Tetrahedron), 2011
Beautiful light sculptures by James Nizam, made using sunlight and mirrors:
“Nizam, who has worked on various projects in abandoned houses, shot the pictures in a vacant property in Delta, Canada, after negotiating access from the local government. For the Shard of Light image, he cut a one-inch wide slit from floor to ceiling through the main room the house, and diagonally across the veiling from the corner for several feet; at midday the sun moved into alignment with the cut, concentrating a perfect shard of light that he documented with a large format camera.”
“For Thought Forms […] he took a west-facing room and covered up the window with a bling, then cut a small hole in it to let in the light. […] By locating an aperture to the far left of the window I focused the sunlight into a beam that landed roughly in the centre of the room. […] The aperture focused the sunlight into a beam giving me a line segment of the sorts; using small mirrors mounted to a ball joint, I could redirect this line segment to another point in the room” (Click here to read full article from the British Journal of Photography.)
Thought Form (Dart), 2011
Thought Form (Cube), 2011
Thought Form (Fan), 2011
Thought Form (Fold), 2011
Wendy Given’s 2009 photography project On Myth and Magic:
“I am very interested in photographing images that resonate in the deep, dark and unstable ground between consciousness and collective memory. These mysterious images of objects and scenes, the places between reality, metaphor, allegory and fiction, are constructed to evoke and honor humankind’s fascination with “myth and magic”. Ultimately, my intent in producing this ongoing body of work is to address and foster visual ideas that are accessible as cues for opening up universal narratives.”
There’s an indescribable freshness to Clayton Cotterell’s photographs, most likely due to his eye for isolating subjects within a pristine, bright and white light.
ᔥ (please excuse the mess)
Niv Tishbi & Noa Snir (both of whom also do great illustration work) collaborated on this amusing photography project focusing on mutilating classic couple portraits. Apparently by gluing a picture of the identical backgrounds on top of the couple pictures, we are left with two bodies in generic poses across various generic scenes.