When thinking of paint colors for your room, it’s unlikely that black will enter the picture as a first consideration, but for those of you searching for new answers, it’s time to rethink black’s place in the design world and take a walk on the dark side. The fact is: black is not a color; instead, it is the “result of
With his gorgeous and patiently realised black and white images, Kobayashi searches for a spiritual dimension in the calm beauty of nature
Facebook Page www.facebook.com/RebeccaBathory Website www.rebeccabathory.com Instagram www.instagram.com/rebeccabathory Shot with Canon 5Diii Body, Canon 16-35mm 2.8ii Available as Limited Edition Signed Prints, Please message me for more information Available in small size in editions of 15, medium size in editions of 10 and large size in editions of 5, printed on art paper and all come with a hologram certificate of authenticity. Shares, likes and especially comments are appreciated so much, I love to hear what you think of my artwork and sharing with the world, helps my page to grow, thank you so much.
Brooklyn-born photographer Ken Schles moved to Alphabet City in 1983, and his apartment was pretty darkliterally. His landlord insisted on boarded-up windows because "junkies could steal the gates...
The Hungarian artist who pioneered photojournalism, influencing Cartier-Bresson and Brassaï, is back in the spotlight with an auction of his most moving images
Fade to gray by Jiwoon Pak - Limited Edition. Edition of: 150. Signed. Various sizes. Photography print, mounted or framed. Order now!
Situated in the scenic town of Paradise Valley, Arizona, this new spec project built in partnership with E&S Builders encompasses a striking 6,400 sqft foot home with an additional 1,200 sqft casita. View more of THELIFESTYLEDCO's #53rdBuild on our portfolio.
Portfolio & Interview Amy Friend on Dare alla Luce Are we stardust? This question is posed by Canadian photographer Amy Friend as an image title for one of her new works in the Dare alla Luce series, and yet also serves to aptly represent the underlying theme and tone contained within the project. March 28/42 17 Years, 2015 – © Amy Friend Are we stardust? This question is posed by Canadian photographer Amy Friend as an image title for one of her new works in the Dare alla Luce series, and yet also serves to aptly represent the underlying theme and tone contained within the project. Originally introduced to the Photographer's Showcase in 2014, Friend began work on Dare alla Luce in 2012 by first attempting to embroider vintage photographs, but while holding one image up she quickly realized the light pouring though the photograph's pierced surface was more dynamic. Quickly pivoting the project to rephotograph the effects created by her technique, Friend's Dare alla Luce has complex relationships with light, permanence, nostalgia, and memory as they relate to common photographic practice. photo-eye Gallery's Lucas Shaffer recently interviewed Amy Friend to find out more about the series, how it has evolved, and where it is headed. Are we Stardust?, 2014 – © Amy Friend Lucas Shaffer: How is the project progressing? What has changed since you first started making these images? Amy Friend: The project is ready to become “something else” — what I mean by this is I am responding to the photographs differently than a few years ago when the project began. I have become more and more interested in the light and less interested in the what is occupied in the photographs. Now to contradict myself, I am also more intrigued by the individuals I come across in the photos. There is a certain essence to an image that hits you and won’t let you go. I allow guttural responses to remain. I love the quick jolt and unexpected response it instigates. LS: Why is the light of greater interest for you? How do you view the light in your images and what is it doing? AF: There are many consistencies in the process of making this work with the light being the most constant element. As I consider my methodologies in this series and in earlier work, light has a strong weight in terms of concept and application. In the Dare alla Luce series we encounter light several times — the light that reflected off of the subjects in the original image (as it is necessary to create the image), again as it filters through the manipulated perforations in the photos and it is present in the final image. This amalgamation is interesting to me. Aside from this description, it is the layering of meaning that occurs when we look at photographs. They change with each “visitation” and that is where the idea of light as a portal comes forward. Light mediates meaning; it plays with the technical aspects of photography, the theories that reference how light is “an umbilical cord.” But, most of all I am interested in its potential for multiple “reads,” it keeps my interest as it disallows a full viewing of the original image and (I think) lures us to consider the source of the light. Before the War, 2014 – © Amy Friend LS: On your website your statement lists the work in paradoxical terms – the images are “fragments of everything and nothing.” Can you elaborate on that statement? AF: I view these photographs (somewhat) as a marker of an entire life, an “I have been here” statement and yet everything else is lost. Most, if not all information about the photograph is absent. This is sometimes a consequence of the “seller,” they remove photos from an album and they are dispersed. We see only a fragment of a much larger history. I relate this to life in general, we, those of us that are here now, only experience an infinitesimal piece of existence, whatever that means. LS: Are your images attempting to illuminate a connection between people that is outside the present? The here and now? AF: In a way, yes… but what I am most interested in is the complexity of time and the layers of meaning that occur when you engage with a visual form of the past — in this case a photograph. I am interested in how we negotiate the meeting of “here and now” and “the past.” LS: I see these images as an intriguing combination of nostalgia and the supernatural. Are you thinking about either of these while making the pictures? Isolde, 2015 – © Amy Friend AF: Yes, I think the work beckons this type of encounter. I see myself in the work. I am reminded of those I have loved. I mourn and celebrate during the process. Yet I am always thinking about the medium of photography. It is so specific. LS: What do you mean by that? AF: Photography brings with it a certain type of encounter. With that said, this encounter is nuanced by the actual subjects and technical processes related to the photographs. The connection to the “real” is of course questioned but still an unshakeable layer that is tied to the medium. LS: I think that is interesting because the source images, especially the people, in your work feel familiar yet anonymous. Can you speak to that? AF: They are all anonymous to me, (although, I have worked with “familial archives” in the past). I wonder if that familiarity comes from my own preference for the photos I choose to work with or for what is available in the market? It may also be that these images are all of everyday people, as far as I know. That commonality may be what feels familiar? As I write this, I think about my choices and how I genuinely am curious about the people in the photos and about the photographer who shot the image as well. I see them from multiple points of view. LS: What do you like most about making these images? What keeps the project going for you? AF: I am interested in the subtle fluctuations of my focus with each piece. As I have searched for the photos I work with, I have also learned a great deal about what is collected and why. It is interesting to learn about this vernacular aspect from my point of view. Atlantic City 1948 (Part 2), 2014 – © Amy Friend LS: What’s next? Where is Dare alla Luce headed? AF: I have reached a place with this work where I will slow down with it and let it rest for a while. I have been so immersed in it for a few years now that I am ready to do something new. I know there is unfinished business with the ideas I have, but I like to let things ferment. Time will tell where it goes, but I know, as I mentioned earlier, that the “light” is at the forefront of my thoughts for the new chapter of this work. As for what is next specifically? I am in the throws of exhibiting and continuing to work on a new series titled Assorted Boxes of Ordinary Life. I have some of the work up on my website now and I will update that with more work shortly. This new work was shot off of projections on a selection of vintage mirrors. LS: Who are your favorite artists? Is there any one in particular you’re drawn to for inspiration. AF: Oh gosh, I am inspired by so many things and artists. I will just set down a random list as it suits the way that my own thoughts work when it comes to inspiration. Anish Kapoor, Petah Coyne, rain, stars, water, my daughter’s fascination with the moon, Susan Derges, John Chiara, Masao Yamamoto, birds, dirt, sky, Chris, McCaw, Sara Anne Johnson, Osheen Harruthoonyan, Lhasa De Sela, Pablo Neruda… Winter, 1931, 2013 – © Amy Friend View Dare alla Luce - Portfolio 1 (2014) View Dare alla Luce – Portfolio 2 (2016) Read More about Amy Friend For additional information, and to purchase prints, please contact Gallery Director Anne Kelly at 505-988-5152 x 121 or [email protected].
Fawnicate - Love No.8 F.W 2012 Shot by: Mert Alas & Marcus Piggott Styling: Katie Grand Models: Malgosia Bela, Mariacarla Boscono, Saskia De Brauw, Justus Eisfeld, Oliver Greenall, Kristen McMenamy, Kate Moss, Julia Nobis, Rosie Tapner & Guinevere Van Seenus
The narrative in my new waterscapes continues to follow the thread of my most celebrated collections, with a process that allows myself and my subjects to experience first hand the vulnerabilities and beauty of the human body in an underwater setting. The colors and cascading bodies take on late Renaissance and Baroque tones, with chiaroscuro contrasts of light and darkness creating movement and purpose within each scene. Water is the giver of life.
Toned silver gelatin photograph, 15 x 22 cm, special edition, Napoli, 2023.
Een overzicht van het uitzonderlijke oeuvre van de Amerikaanse fotograaf Francesca Woodman (1958-1981).
Albarrán Cabrera "The mouth of Krishna" Japan, 2013. #136. Platinum/Palladium print tea toned.
Since discovering Natalia Drepina’s work on Pinterest I’m fascinated by the bleak and sober style of this talented artist from Russia. Besides the gloomy atmosphere Drepina’s work has a mysterious, dark vibe which perfectly suits the current cold weather. Enjoy! Natalia Drepina at DeviantArt […]
One of the most breathtaking places I’ve ever visited in my life. I felt so fortunate to have met this loving couple and capture their intimate wedding. Suggested song “Found Love” by We the Lion . A million thanks to Tafnes and Erwin for showing me this magical place. Venue: Biopark Decor
