Every once in a while you come across a series of images that explode off the page with a beautiful simplicity and Christopher Colville’s photographs have quite literally done just that – because they’re created using gunpowder!
One look around Emily Scaife’s website is all it takes to see that this photographer is full of great ideas. Scaife uses photography, film making and illustration in her work and she has an extraordinary skill in turning the seemingly mundane into a visual delight, creating optical illusions by isolating her subject matter through either a macro lens, microscope or scanner and tricking us into thinking we’re looking at something entirely different. My favourite of these series are the ‘Cosmic Crispies‘. Scaife has given them the byline ‘Meteorological breakfast’ and they certainly make a wonderful feast for the eyes:
By photographing them in black and white against a pitch black background she makes them snap, crackle and pop in our brains as little asteroids (we’ve seen this type of imagery coming back from NASA – they’re not cheating and using Rice Crispies too are they?!). They are fascinating to look at and compare, who’d have thought each Crispie would be so different?
Here are some more from the series: Continue reading
Synaesthete James Wannerton experiences a sensation of taste in his mouth when he hears different words and sounds. Teaming up with photographic artist Sam Cornwell they have created a visually stunning set of photos as part of a synaesthesia style campaign for the UK’s 2015 general election.
James says the tastes he experiences are involuntary and in no way reflect political allegiances he may hold. The fact Nick Clegg gives him the disgusting sensation of a meatless bone of lamb is neither here no there. While ‘Labour party’ derives a taste of vinegary chips, ‘Conservatives’ taste of hard toffee and these sensations cannot be changed.
ABOVE: David Cameron / Conservatives tastes of hard toffee, macaroons, blue ink & the texture of cloth.
Representing the seven main political parties, the posters are linked by only the cursive line of a restaurant table draped in the party colours. James says he can elaborate extensively on the tastes he experiences with words. He explains The Liberal Democrats and Nick Clegg without holding back: Continue reading
Last week during a cold February evening in the Borders of Scotland, the lights of a small photographic art gallery were turned on for the first time and a new exhibition was unveiled. The walls were devoid of landscapes, portraits and the traditional visual art you’d come to expect with photographers. Instead a large, garish print hung on the far wall, unmistakably red. A small sign to the left gave it the name ‘Tacky Red Cameras.’
We’ve got used to seeing camera collections in many different shapes and forms, especially ones with high price tags on eBay. What makes this collection different from all those is the overwhelming abundance of the colour red. Upon further inspection, The Becher-esque style grid is filled with 81 (9×9) individually coloured red cameras.
Tacky Red Cameras is a five year long study into mass production practises of the 20th century and how we have continued to consume in the present and beyond. A seemingly unobvious collection of red cameras all of which are still in their purchased, second hand state take place in three forms; a sculpture, a photographic print and a 3D printed object. The past, present and future.
The large print fills the white wall it is homed on and is big enough for the viewer to get up close and personal to inspect the different models on display. The actual cameras in sculpture form are presented beautifully encased in clear tubes close to the print.
It’s wonderful when photographic communities get together and create something special, and that’s just what the project Moment Mile did on November 1st 2014.
Organised by conceptual photographic artist Sean Busher, the plan was to gather 138 local photographers together in the Charlotte NC area to create a gigantic 1.2 mile long panorama of Tryon Street. Then at a specific time, to the second, every single photographer lined up along the street would take a single frame and create what may possibly be the largest, seamless moment in time panoramic photograph ever.
Sean says “There was so much that could’ve gone wrong with this project, I was fearful there would be holes all along these two massive panoramics…” [sic] however as it turned out all 138 photographer’s cameras worked (phew.)
The project was put on to celebrate the reopening of The Light Factory a contemporary gallery of photography and film in Charlotte. On display during tonight’s opening (17th December 2014) will be two 100 foot long panoramas, which you can see in part towards the end of the ‘Making of’ video uploaded to Youtube below.
If you’re desperate to see an online version of the panorama, you’ll have to wait for the time being as an exclusive unveiling at the Mint Museum, 500 S. Tyron is happening right now. There have been a few frames ‘leaked’ to Twitter, like this unusual image by Jeff Cravotta outside of the Centre for Dance.
You can also get a sneak preview of the exhibition in this video by the Charlotte Observer which gives away some details including the wonderfully placed ‘double yellow line’ (that’ll confuse the British folk) running between both East and West facing panoramas.
We’ll update this post as soon as an online version of the Panoramas are available.