Photographed at five sanctuaries, the animals were rescues that can never be rewilded. As a result, it was safe for human strangers to be close to them, photographed so close to them, within the same frame.
The fog on location is the unifying visual motif, conveying the sense of an ever-increasing limbo, a once-recognizable world now fading from view. However, despite their respective losses, these people and animals have survived, and therein lies possibility and hope. All About Nick Brandt. Fugue State. By Aline Smithson. This Peanut Portfolio Book includes one signed and numbered original photograph and one signed and numbered hardcover book, 40 pages, 18 color plates.
Aline Smithson's award-winning portraiture has been shown in numerous exhibitions and publications internationally and is held in many public and private collections. Smithson has also exhibited her portraits at the National Portrait Gallery in London and was commissioned to create a series of portraits for the Smithsonian Art and Space Museum in Washington, D.
Fugue State asks us to think about the permanence of photographs. Both digital and analog images can be destroyed by time, and here, Smithson hastens the process herself.
When has destruction been so beautiful? All About Aline Smithson. More Info Buy Now. Snapshots In the summer of , Michael Lesy and a friend found most of the snapshots in Snapshots —77 in a dumpster behind a gigantic photo-processing plant in San Francisco. The photos were in the trash because the machines that printed them made them so fast — duplicates, triplicates, quadruplicates — that the people on the processing line couldn't stop them.
Week after week, Lesy took home thousands of snapshots from the dumpster. He studied them as if they were archeological evidence.
By the end of the summer, he'd formed his own collection of images of American life. He took that collection with him when he returned to Wisconsin to finish his graduate work in American history.
His understanding of the snapshots from California as reflections of the troubled state of American society influenced the PhD research he was doing in Wisconsin - research that became the American classic Wisconsin Death Trip Over the next six years, Lesy added to his collection of California snapshots with hundreds of snapshots that had been left unclaimed and then discarded by a photo processor in Cleveland.
While Lesy looked through other people's lives in pictures, the world was coming apart at the seams. The Vietnam War, the murderous rampage of the Manson Family, and the Attica State Prison uprising filled news headlines — and the general public carried on their lives, with hope and abandon and everything in between: chaos, cruelty, familial bonds and breaks, materialism, lawlessness, unwitting humor.
Lesy's collection of snapshots from the s is a time capsule of things familiar and alien. Now, fifty years later, everything and nothing about our lives has changed. In Wisconsin Death Trip Lesy pulled back the curtain of "the good old days" to reveal the stark reality of American life from to The anonymous images in Snapshots serve as prophesies of present-day broken dreams, toils, and tribulations.
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Check out our new post on the 7 most expensive photographs ever sold. Leaving your camera on its default settings will produce blurry results. Share with friends Share. Show Comments 58 Hide Comments. Related Articles. What's In a Pet Photographer's Bag? All photographers have a go-to kit that they carry with them to all photoshoots. While peering into a professional's camera bag, we can learn a…. What Is Lab Color Space? Those are the two most commonly used color spaces. But they're not the only color spaces.
Lab Color…. And How to Open One! It stands for 'Sony Alpha Raw'. The influence of the Bechers on Gursky must not be underestimated, the duo worked collaboratively on projects that pushed the boundaries of photography to something on par with conceptual art in which they juxtaposed industrial images with images depicting their cultural function.
We can see this particularly well in works like Tour de France , which takes in a scene of the race in a beautiful mountain-scape, and Hong Kong Island , which depicts a construction site amidst the innumerable skyscrapers that dominate the skyline.
This technique not only creates truly epic images but also reminds viewers of the craft and sheer effort that goes into producing them. Gursky is no stranger to using helicopters, cranes and private rooftops in order to get that perfect shot. Gursky embarks on such a painstaking process to create his images that he only produces a handful each year.
Along with the research and technicalities that precede the work, Gursky embraces digital technologies and uses them to enhance and manipulate his photographs in post-production.
In this case, Gursky uses technology to exaggerate the presence of humans. In Rhine II he uses such technology to do the exact opposite: he removes all traces of people. The deserted horizon thus becomes something uncomfortably uncanny, the familiarity of the river itself juxtaposed with the haunting absence of the bustling evidence of life normally associated with the scene.
Gursky himself is a man of mystery, by and large refusing to comment upon his work. He prefers to let the images talk for themselves, which lends itself to the initial mystery of his work.
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