INCREDIBLY MACRO SOAP PHOTOGRAPHY BY JANE THOMAS
Photographer Jane Thomas (facebook) - Colours and patterns arising naturally from the interference of reflected light rays from the front and rear surface of a thin film of water and soap held in a tiny frame (a ‘bubble wand’).
I have a photographer crush on Tim Davis.
I’m really inspired by the way he works within artificial constraints: themes, locations, processes. His images are striking and say really interesting things about the subjects and settings. The way he uses light is really beautiful, too: blown-out reflections from oil-painted surfaces, layers of light on plastic sleeves, a colorful sign carefully framed in the window across the street, and beautiful, soft renderings of what in reality is harsh, unflattering fluorescent light.
His images are truly beautiful, and I’m so glad to have come across such a talented artist.
Goodbye, spring break productivity. The crossword puzzles have me now.
Olafur Eliasson - The Weather Project (2003)
“Representations of the sun and sky dominate the expanse of Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space.
At the far end of the hall is a giant semi-circular form made of hundreds of mono-frequency lamps.
Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colors other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape.”
I just want this back on my blog.
NIcholas Alan Cope & Dustin Edward Arnold - Aether (2012)
Christoph Meier, Setting #14, 2008
16mm-Projector, Super-8-Projector, 3 Slide projectors
Yesterday in class my photography professor made an off-hand comment about how I’d rather be photographing in the 19th century.
This is super true. I’m a film junkie, and I love working in the darkroom. This semester I’ve been working with much longer exposure times than I have before, setting up with a tripod and cable release. We’ve been working with medium format cameras (I’m using a 6x7), but I’ve been itching to get my hands on a large-format, and I have some photo paper that’s sitting in a box at home that I’m going to experiment with this summer.
This semester I’ve been having a lot more technical difficulties with my camera than the last time I took a photo class, since we’re using MF rather than digital, but I’m feeling so much more inspired by the medium. The immediacy and ease of digital has never really sat well with me. I’ve always been attracted to the risks that are taken when shooting with film; for any given roll, you could have loaded it wrong, under- or over-exposed, smudged the lens, leaked light, or left the lens cap on (if you’re using a rangefinder rather than SLR). You could have just completely wasted hours of time, and you won’t know until the roll is developed. It’s crushing when the photos don’t come out, but incredibly rewarding when they do. The uncertainty is strangely addictive.
François Bertillon, 23 months. Crime: Gluttony, nibbling all the pears from a basket
Alphonse Bertillon (French, 1853–1914)
October 17, 1893. Albumen silver prints
MoMA
