A captivating set of journalistic style images from the East Side Access project as of February 12, 2013. These images serve not only as a historical record of the tunnel’s construction, but as a stunning example of how far high-end DSLR cameras have come in handling high ISO images. All these images were shot between ISO 3200 – 5000 on a Nikon D4, and – more notably – at sharp apertures and shutter speeds. Images this clean under those lighting conditions simply wouldn’t have been possible even a few years ago.
Oh yeah, the tunnel is pretty neat, too.
(Edit: was asked why ‘billy j mitchell’ was in the last frame. But of course, it was to illustrate how much detail and tone remains in Billy’s skin at high ISO and in dim lighting.)
I stumbled on Benoit Paillé the other day and was so totally captivated by his photography. Each photo tells a detailed story.
I think that photography doesn’t represent reality, but creates it.
In this series he used a plastic light square with 300 LED lights that were linked to a dimmer. He used fishing line to hang it from the trees. I’m not sure how he got it to hover over the dirt and rocks.
My approach towards landscape is to incorporate a poetical component that will trigger an emotional response linked to the form and the light. I wanted to create something that wasn’t really a landscape but rather something engineered, so as to move the viewer in a different way.
Between 1909 and 1915, Russian photographer/chemist Sergei Mikhailovich Prokudin-Gorskii traveled across his homeland, using the relatively new technology of color photography to document what he saw. Outfitting a private train car with his own dark room equipment, Prokudin-Gorskii captured landscapes, buildings, and people in a series of breathtaking images. Given the rarity of vibrant color photography from this era, Prokudin-Gorskii’s work is all the more striking: Without sepia tones’ time-distancing effects, the characters in these images feel right there, full of stories of a bygone era and a diverse, colorful culture on the brink of revolution.
Some inspiring artwork from Carolina Niño. The level of detail in her work is amazing. Just a small portion of a full image is a composition on its own. Be sure to check out her portfolio and if your are interested in prints you can find her on S6.
In terms of digital reproductions, there really isn’t much of Roloff Beny’s work online. So when I came across this Wine & Bowties post with gorgeous scans of Roloff Beny’s work in India from 1969, you bet I was totally stoked! (note: There are more images on their blog, so follow the link posted above)
From the write-up:
“…Beny was a world traveler, and India is one of a number of his works which could effectively be described as a love letter to the place it documents. One of the most impressive examples of his eye for color, scenery and natural beauty, India finds Beny exploring a place with no shortage of gorgeous landscapes, architecture, and rich culture. In some ways, these images read like an idyllic Westerner’s portrait, an aesthetically idealized version of a complex place…”
The fantastical black-and-white nudes of Asger Carlsen‘s Hester series are nothing if not provocative. The NY-based artist works in limbs and lumps, torsos and bulges, constructing figures that are human and yet not quite, and “shooting” them in gritty greytones. The resulting images are alternately grotesque, graceful, and thought-provoking. If you can suppress your gag reflex long enough, Carlsen’s deformed forms possess a strange beauty, and an unblinking skepticism about photography’s capacity for realism.
Over the past few years the creativity and aesthetic of the ski movie has reached exciting new levels. Whether you’re remised about it or not, the days of the Warren Miller lifestyle film are quickly fading, if not already gone. Studios like Sweetgrass Productions, Sherpas Cinema, Teton Gravity Research, and Solomon Freeski TV – among others – have redefined the genre with next level editing, production and storytelling.
Presented here is the teaser for Valhalla, a Sweetgrass Productions film set to be released in Fall of this year. I love the aesthetic they’ve created, and can’t wait to see the full movie if this is any indication of how it might turn out.