I am absolutely delighted with the work of finnish artist Ville Varumo’s calm images. I am drawn to the soft colurs and absence of people.
Today I found these lovely snow images by Yosigo. I find it fascinating how we all look for completely different things in a similar environment. I know snow and snow and snow is never the same, but sometimes I cant help but wonder what would happen if you take say ten photographers and give them an identical object?
I am definitely a summer girl, but every so often I wish I would have the opportunity to go and loose myself in whiteness. I love the silence and softness, snow leaves behind. These gorgeous & almost invisible images are by Nicolai Howalt.
Today instead of continuing to work on my online journal, I got side tracked by a few amazing websites and could not wait to share this one. I think Naomi Vanderkindren is my absolute favourite today. These images are from her series “Tintypes: Early”. She says on her website: “Tintype” refers to a photograph made through a direct positive process on a blackened metal plate. The highlight areas represent exposed silver, while the shadow areas reveal the blackened background (this is opposite of conventional black & white photography, where the shadows are made up of silver against a white background).
All of my plates are hand cut and prepared and thus each plate reveals unique differences and artifacts within the under-coating and emulsion. My earliest tintypes, as on this page, were made with an inter-positive, while my later tintypes are exposed directly in camera.” Now I wish I could do a workshop to learn how to do these.
When I first saw Allison Grant’s work, it took me a while to realise the illusions she created for us, and then I could not get enough. I am drawn to her work because it is so simple & beautiful and yet you have to take a moment to look deeper and see her play. Make sure you read her statements.
I came across Keith Johnson via Fraction Magazine and really enjoyed “The extended Landscape” I found on his website.
This is his statement: “The idea of an extended photographic document is not new, in fact I am aware of a constructed panoramic image with full Daguerretype plates of San Francisco harbor dating from 1848. Sometimes the single image does not or can not present the idea in the way the photographer conceived it. Sometimes the concept is derived from a re-view of the images made, sometimes they are previewed, and sometimes they are constructed from an idea unrelated to the original event. Once the contact sheets are made or files viewed in Lightroom, I am able to see how the images relate to one another. It’s then that my extended landscapes speak. Standing in a field of grass in 2004, the light was grand, the grass looked great, a picture that Callahan made came to mind and in a bit of time I had shot eight or so negatives. The contact sheet made clear the relationships between images and my involvement. The grease pencil is my tool, connections are made, pictures are friends and want to work together.”