Ming Thein has a great post on petapixel on the ethics of photographing random strangers on the street and, as you’d expect, they are some wonderful shots throughout. It was interesting to read about some of the different techniques that can be used. I can’t remember where I first heard the line “If your photo’s not good enough, you’re not close enough”, but Ming has another way too.
There’s a slight snobbishness about shooting with a longer lens, too – it isn’t seen as being hardcore enough. In fact, these days, it seems if you’re not at f/8, hyperfocal distance and sticking your camera and flash right up to somebody’s nose, then you’re not really doing street photography.
There’s another approach, though. I think it’s much, much harder to shoot wide open with a relatively wide lens – say nothing longer than 35mm – and shoot without your subject knowing you’re there. This is what I like to call the stealth method – you don’t want to draw attention to yourself, and better yet, shoot without even bringing the camera to your eye.
I’d love to give this a proper go. It’s easier to blend in and look inconspicuous with a cameraphone than with a big lens perhaps, but the one I’ve got now isn’t up to much. I sense a post-Christmas shopping opportunity!
Crazy portraits from Cristian Girotto that “combine the haggardness brought on by adult life with the doughy cheeks and hopeful grins of youth.”
(Via Design You Trust)
An interactive fabric surface that reminded me of the old AudioRom days back in Newport.
Can’t begin to imagine how he’s gone about these (someone’s bound to spoil it for me by saying machines were involved), but I think their delicate intricacy balances well with their stark graphic nature. “Nature”, even. Also, is this sculpture?
Link: Feather Dioramas by Chris Maynard
Incredible transformation of a material normally thought of as straight, solid, rigid, dependable. These massive sculptures from Henrique Oliveira, consisting of a very natural material, feel anything but; threatening, almost. When Botany attacks! Photos. More photos.
Serena Malyon tilt-shifts some of Van Gogh’s classics.
Van Gogh’s paintings get tilt-shifted
Serena Malyon, has taken the classics works of Vincent Van Gogh and added a tilt-shifting…
I’ve no idea how she does these. Something to ponder as you’re sitting there, I guess.
Miniature art on toilet paper rolls by Anastasia Elias
Art is stationary conventionally. We can read it from a work of art, be it a painting, a sculpture or a drama. Technoetic art stresses interaction. You can interact with the environment, the painting and the sculpture. Our movements are making changes on them. No stationary works exist as long as there is interaction. Visitors and users are all involved in the creating of these works, whether the works are in words or in pictures. This represents a major innovation in art.
Roy Ascott on technoetic art — A Unique Monkey King Created by Father of Technoetic Arts Professor Roy Ascott
19th-Century Mathematical Illustrations of Consciousness
Simply cannot think of a more intriguing headline. I could quite easily reblog all these Brain Pickings articles, but this one in particular caught my eye. Imagine, being able to actually see–let alone draw–consciousness. Benjamin Betts thought he could.
“Lionel Bawden constructs elaborate and fluid sculptures strictly with Staedtler pencils.”
Inspiration for these drawings came from a leaf. While cross-country skiing, I came across an oak leaf with its stem stuck in the snow. As the wind blew, the leaf spun and its edges made marks in the snow. Back home, I cut some plastic bottles into different shapes and tied each one to a stick in the snow. Left all day to blow in the wind, the plastic cut into the snow making a record of the day’s wind conditions. Wanting a more permanent record, I constructed an apparatus to suspend a pen outfitted with sails over paper. Each drawing here is a record of one day’s wind conditions.
Peter Callesen’s A4 papercuts
“The paper cut sculptures explore the probable and magical transformation of the flat sheet of paper into figures that expand into the space surrounding them. The negative and absent 2 dimensional space left by the cut, points out the contrast to the 3 dimensional reality it creates, even though the figures still stick to their origin without the possibility of escaping. In that sense there is also an aspect of something tragic in many of the cuts.”
Sayaka Ganz sculptures
I love the sketchiness of the horse sculptures, they look really ad hoc, thrown together, very energetic but I can’t imagine for a moment that these were quick to build.
300 anamorphic optical illusions by Felice Varini
Very jealous of how perfect these images have turned out. Can’t get it right whenever I have a go. If it’s not perfect, it just doesn’t cut it.