This iconic Bubble series was created by fashion photographer Melvin Sokolsky for the Harper’s Bazaar 1963 Spring Collection.
Haunted by a particular image from Hieronymous Bosch’s ‘The Garden of Delights,’ Sokolsky experienced a re-occurring dream in which he saw himself floating inside a bubble across exotic landscapes. Inspired, he quickly used the idea for the series. The Bubble was crafted to emulate a Faberge Egg, for which Sokolsky had great admiration for its design and workmanship.
Complicated and unrealistic at first, he was able to realize his dream. Sokolsky commented:
“With the awareness that I was prone to live in my own head much of the time, and inclined to severe self-criticism, I began to have doubts whether I could create images on film that reflected the images in my mind’s eye.”
The Bubble was produced in ten days of Plexiglass and aircraft aluminum for the hinged rings. After a successful test run, Sokolsky was off to Paris to shoot the Spring Collections for Harper’s Bazaar. The challenge was to position a telescopic crane at each location from which the Bubble would be suspended. Using his favorite model at the time, Simone d’Aillencourt, she would get into the Bubble that was suspended a few feet off the ground, (hinged at the top like a Faberge Egg) so that it could easily swing open for entry. After being locked in safely and able to breathe due to the space between the hemispheres; the Bubble was raised into the final position. Sokolsky describes one particular event:
“There were times when this choreographed dance turned into a Laurel and Hardy comedy. The morning we shot on the Seine, the Bubble was lowered overzealously into the water, flooding it up to Simone’s ankles, and in turn ruining an important pair of designer shoes.”
Turning out to be an amazing adventure for him, Sokolsky was praised and congratulated for his unconventional yet triumphant work. He had ignited the world of fashion photography with his innovative style.
UK born photographer Eliot Lee Hazel takes gritty and cinematic photographs that are well composed, stylish yet with a raw edge. His images are like fragments of dreams or stories told, triggering the brain to start associating. Hazel’s images can be compared to cliffhangers, raising more questions than answers. He has worked for various musicians like Morcheeba, Yeasayer and Basement Jaxx, to name a few.
I recently travelled back to Santiago, Chile (where I grew up) for one of my best friends wedding, and while there I was amazed by how many good local bands I was exposed to and how good of a music scene that city has.
Amongst them was Zebra, a dream-wave trio formed by DJ/Producer Sebastian Roman (Roman/MKRNI), Miguel Irarrazaval (Treboles) and Enrique Escala (Treboles), who with their first EP “AD Portas I” caught the attention of Picnic Kubun’s label Endemika Records. I was instantly blown away by the level of sophistication in their arrangements and catchy hooks, not to mention how virtuosos they are in regards to live instrumentation, so when they asked me to design an album cover for their upcoming release, I was honored (I’m also working on an official music video…more on that later).
Today, Zebra unveiled the title track of that release, which carries the name of “Summer Love” and is set to drop early March, 2013.
The Chromosaturation by Carlos Cruz-Diez relates to the idea that in the origin of every culture lies a primary event as a starting point. A simple situation that generates a whole system of thoughts, sensitivity, myths, etc. The Chromosaturation creates an artificial environment composed of three color chambers: one red, one green and one blue, that immerse the visitor in a completely monochrome situation. This experience creates disturbances in the retina, accustomed to receive wide range of colors simultaneously. The Chromosaturation can act as a trigger, activating in the viewer the notion of color as a material or physical situation, going into space without the aid of any form or even without any support, regardless of cultural beliefs.
Expedition 31 Flight Engineer Don Pettit relayed some information about photographic techniques used to achieve the images:
“My star trail images are made by taking a time exposure of about 10 to 15 minutes. However, with modern digital cameras, 30 seconds is about the longest exposure possible, due to electronic detector noise effectively snowing out the image. To achieve the longer exposures I do what many amateur astronomers do. I take multiple 30-second exposures, then ‘stack’ them using imaging software, thus producing the longer exposure.”