|Everything is relative. You don’t need to be Einstein to understand that. A human is as big to an ant as a building may be to him. However, the world always seems such a huge place; so many countries, cities, forests, oceans, lakes, icebergs. So many animals and species. So much history. But ever since we developed the ability to look beyond our atmosphere, it became more and more apparent that our blue marble is tiny. Too tiny to even comprehend, when compared to other planets, stars, galaxies and the universe itself. So just to give you an idea of how tiny we really are here on planet earth, here are some visual aids.|
If you love discovering extraordinary travel destinations off the beaten path, do we have a place for you. Though this may look like a scene straight out of a fairy-tale, this blue forest is, in fact, real. Just 30 minutes south of Brussels, in Belgium, is a forest called Hallerbos. During the spring, the forest’s floor is covered in bluebell flowers which creates a carpet-like effect. Recently, photographer Kilian Schönberger went deep into the woods to capture these incredible shots.
Glassy Sunset, 2013 Continue reading…
Why This Photog Sets His Negatives Ablaze
HE’S NOT PROTESTING, OR EVEN ERASING THE EVIDENCE: PHOTOGRAPHER PETER HOFFMAN BURNS FILM NEGATIVES TO MAKE AN ENVIRONMENTAL STATEMENT.
Back in 2010, the photographer Peter Hoffman attended an artists’ workshop. The BP oil spill had recently occurred off the Gulf of Mexico, and it got Hoffman thinking about oil and water: “These substances are symbolic,” he tells Co.Design. “Water means things like purity, healing, nourishment. Oil, to me, is reminiscent of destruction, consumption and greed.” The artist was, at the time, also looking for a way to create a more chaotic, less prescribed kind of photography.
The result is a series called Fox River Derivatives, and it’s layered with metaphors. On film, Hoffman took classic landscape portraits of the Fox River (near his home in Illinois), chosen for its banks that are partly commercialized, partly untouched by man. He douses the developed negatives in small amounts of gasoline, and ignites. “The process only lasts a few seconds…but it’s not controlled on a micro level, and that’s part of the beauty of it.” (Perhaps not surprisingly, Hoffman says he scrapped a lot of negatives–“burnt to a crisp”–at the beginning).
A series of Winter photos by Mikko Lagerstedt, all taken 2012 and 2013 in Finland.
Photographing the nude is just about as old as the camera itself… from cheesy pinups to surreal body landscapes, the form has been explored in just about every way imaginable. That’s why, when I ran across the work of Arno Rafael Minkkinen I was truly blown away. His work is filled with almost magical abstract forms created using just creatively positioned figures in the landscape and his well placed lens… nothing more. Each photograph is a revelation, something to decipher for its mysterious form and appreciate for its lyrical beauty.
Making these images even more astounding, most of them are self-portraits. Minkkinen says he does this because of the often underestimated danger in creating such images (which sometimes involve hanging off cliffs or staying under frozen snow for long periods). He also uses no assistant to position himself in the shots, so he must click the shutter button and accurately dance himself into position in just 9 seconds before the shutter fires. For more difficult shots he has sometimes employed a long cable release which he throws out of the scene before the image is taken. Continue reading…
Satellites are powerful tools. They beam our TV signals, phone calls and data around the planet. They help us spy, they track storms, they power the GPS signals in our cars and on our phones. But they also send back striking, totally disarming images of planet Earth.
For the yearlong photo project “6:30 AM Series,” photographer Robert Weingarten took a photo at 6:30 each morning of the exact same view of Santa Monica Bay, as seen from his home in Malibu. He did so for every day he was home during 2003. To keep the photos consistent, Weingarten strictly followed a set of rules: the aperture and focus settings were fixed, the color transparency film was from a single production batch, and the camera and lens were securely fixed to a tripod to maintain the frame. The only variable he allowed himself was shutter speed. Continue reading…