Errol Morris is at it again, publishing book-length blog posts for the NY Times. This time, he's examining the photograph evidence of Abraham Lincoln and, I think, what those photos might tell us about Lincoln's death. Here's the prologue and part one (of an eventual four).
My fascination with the dating and interpretation of photographs is really a fascination with the push-pull of history. Facts vs. beliefs. Our desire to know the origins of things vs. our desire to rework, to reconfigure the past to suit our own beliefs and predilections. Perhaps nothing better illustrates this than two radically different predispositions to objects -- the storyteller vs. the collector.
For the collector the image with the crack [in one of Lincoln's photographs] is a damaged piece of goods -- the crack potentially undermining the value of the photograph as an artifact, a link to the past. The storyteller doesn't care about the photograph's condition, or its provenance, but about its thematic connections with events. To the storyteller, the crack is the beginning of a legend -- the legend of a death foretold. The crack seems to anticipate the bullet fired into the back of Lincoln's head at Ford's Theater on Good Friday, April 14, 1865.
It should have a name. I call it "the proleptic crack."
Mr. Vollmann is 54, heterosexual and married with a daughter in high school. He began cross-dressing seriously about five years ago. Sometimes he transforms himself into a woman as part of a strange vision quest, aided by drugs or alcohol, to mind-meld with a female character in a book he's writing. Other times it's just because he likes the "smooth and slippery" feel of women's lingerie.
He said his wife, who is an oncologist, is not thrilled with his outré experiments and keeps her distance. "Probably when the book comes out, it'll be the first she's heard of it," he said. "I always try to keep my wife and child out of what I do. I don't want to cause them any embarrassment." He asked that his wife not be interviewed for this article.
The only crew that volunteered, of course, was Jay Zeamer and the Eager Beavers. One of the crew, bombardier Joseph Sarnovski, had absolutely no reason to volunteer. He'd already been in combat for 18 months and was scheduled to go home in 3 days. Being a photo mission, there was no need for a bombardier. But if his friends were going, he wanted to go, and one of the bombardier's battle stations was to man the forward machine guns. They might need him, so he went.
They suspected the airstrip at Buka had been expanded and reinforced, but weren't sure until they got close. As soon as the airfield came in sight, they saw numerous fighters taking off and heading their way. The logical thing to do would have been to turn right and head for home. They would be able to tell the intelligence officers about the increased number of planes at Buka even if they didn't get photos.
But Zeamer and photographer William Kendrick knew that photos would be invaluable for subsequent planes attacking the base, and for Marines who were planning to invade the island later. Zeamer held the plane level (tilting the wings even one degree at that altitude could put the photograph half a mile off target) and Kendrick took his photos, which gave plenty of time for over 20 enemy fighters to get up to the altitude Old 666 was flying at.
In her series City of Brother Love, Hannah Price photographs the men who catcall her on the street. A selection of her images and a short interview is available on The Morning News.
Once a guy catcalls me, depending on the situation, I would either candidly take their photograph or walk up to them and ask if I can take their photograph. They usually agree and we talk about our lives as I make their portrait.
But sometimes, a heckler still makes himself heard, like the wheezing smoker on a park bench who called out to me: "I could give you a better workout, love," as I ran past him earlier this week.
I suddenly thought of that 16-year-old stuck indoors on the treadmill, and turned around. "You know what I want?" I said, as he shrank back in alarm. "I want you to never, ever speak to another woman or girl like that, you pathetic old fool." I was very sweaty, very pink and very angry, and he was plainly terrified.
In Gruyeres, western Switzerland, from mid-May to mid-October, the fifth generation of the Murith family produces its distinctive mountain pasture Gruyere cheese. Each wheel of cheese weighs between 25 and 40 kilograms, and takes a minimum of six months to mature. The family produces 200 wheels each year to sell locally, using unpasteurized milk from their own herd of cows. Reuters photographer Denis Balibouse spent time with the Murith family over this past grazing season, capturing days and nights in the alpine pastures of Switzerland.
This enormous mosaic showing the flattened globe of Saturn floating amongst the complete disk of its rings must surely be counted among the great images of the Cassini mission. From Earth, we never see Saturn separate from its rings. Here, we can see the whole thing, a gas giant like Jupiter, separated at last from the rings that encircle it.
Taking this idea one step further, I removed the rings completely, along with the "ringlight" lighting up the night hemisphere, creating a more-or-less pure look of what Saturn would look like without its rings.
Photographer Edward Burtynsky's latest project is called Water.
While trying to accommodate the growing needs of an expanding, and very thirsty civilization, we are reshaping the Earth in colossal ways. In this new and powerful role over the planet, we are also capable of engineering our own demise. We have to learn to think more long-term about the consequences of what we are doing, while we are doing it. My hope is that these pictures will stimulate a process of thinking about something essential to our survival; something we often take for granted -- until it's gone.
This is powerful and amazing (and upsetting): Project Unbreakable is a photography project that features images of sexual assault survivors holding signs showing what others (attackers, family members, cops, etc.) said to them about the assaults.
It's difficult to pick the yuckiest bottom-of-the-barrel sludge here, but the comments from the police officers really get my dander up.
"If you were my daughter I would have killed you." - Lady police officer while being interrogated
"If you don't tell us how many people you've slept with, the ADA won't even consider your case." - Interviewing Dectective
"This is why we have underage drinking laws! THIS IS YOUR FAULT! If you hadn't been drinking this wouldn't have happened to you!" - St. Petersburg police when I tried to press charges
Sickening, sickening. The police are supposed to protect the vulnerable, not persecute them. (via @rebeccablood)
In the parlance of NYC graffiti enthusiasts, going "all city" means getting your stuff known all over the five boroughs. Now a group of designers are challenging each other to go "all RGB", to make images that contain all of the 16.7 million colors that make up the RGB spectrum once each. This entry is amazing because it still looks like an actual photograph when you zoom out (many others do not):
I watched a lot of pro wrestling when I was a kid and this photo of Brutus "The Barber" Beefcake, Greg "The Hammer" Valentine, and fashion photographer Terry Richardson is just too much for me. If nostalgia truly is death, someone better make some arrangements for me.
I have a soft spot for photography that reaches, seemingly impossibly, back into time...e.g. early color photography. It's an inexpensive form of time travel. The American Revolution took place back in the days before photography and the way we remember it visually is something like this:
But, some Revolutionary War participants lived long enough to have their daguerreotypes taken in the 1850s and 1860s. This is a photo of Lemuel Cook, the last official surviving veteran of the Revolution1, taken sometime before his death in 1866.
The source of many of these photos is a book published in 1864 by E.B. Hillard called The Last Men of the Revolution. The book contains six photos of surviving war vets and brief biographies of each man. (via @ftrain)
 Daniel Bakeman lived until 1869 but could not prove his service in the war. However, Congress passed a special act in 1867 that provided him with a war pension. Bakeman's longevity (he lived to 109) contributed to another astounding achievement: he and his wife Susan had the longest marriage on record, 91 years. Their marriage began 3 years before the Revolution and continued until Susan's death in 1863, right in the midst of the Civil War. Amazing. ↩
Yum, I can almost taste the blueberries through the screen. Well, that's all the time we have today, folks. You've been a great group of contestants, and we hope to see you next week on Golf Ball Innards or Bowl of Gelato? (via edible geography)
That's the iconic "Lunch atop a Skyscraper" photo taken in 1932 during the construction of the RCA Building (aka 30 Rock) in NYC. Eleven construction workers eating lunch on a steel girder 840 feet in the air. The shot was a PR stunt to drum up excitement around the near completion of the new skyscraper...no one even knows for sure who took the photo because it was likely a multiple photographer situation. On the same day the lunch photo was taken, some of the same men were photographed taking a nap on the same girder:
Photographer Clayton Cubitt and Rex Sorgatz have both written essays about how photography is becoming something more than just standing in front of something and snapping a photo of it with a camera. Here's Cubitt's On the Constant Moment.
So the Decisive Moment itself was merely a form of performance art that the limits of technology forced photographers to engage in. One photographer. One lens. One camera. One angle. One moment. Once you miss it, it is gone forever. Future generations will lament all the decisive moments we lost to these limitations, just as we lament the absence of photographs from pre-photographic eras. But these limitations (the missed moments) were never central to what makes photography an art (the curation of time,) and as the evolution of technology created them, so too is it on the verge of liberating us from them.
Photography was once an act of intent, the pushing of a button to record a moment. But photography is becoming an accident, the curatorial attention given to captured images.
Slightly different takes, but both are sniffing around the same issue: photography not as capturing a moment in realtime but sometime later, during the editing process. As I wrote a few years ago riffing on a Megan Fox photo shoot, I side more with Cubitt's take:
As resolution rises & prices fall on video cameras and hard drive space, memory, and video editing capabilities increase on PCs, I suspect that in 5-10 years, photography will largely involve pointing video cameras at things and finding the best images in the editing phase. Professional photographers already take hundreds or thousands of shots during the course of a shoot like this, so it's not such a huge shift for them. The photographer's exact set of duties has always been malleable; the recent shift from film processing in the darkroom to the digital darkroom is only the most recent example.
What's interesting about the hot video/photo mobile apps of the moment, Vine, Instagram, and Snapchat, is that, if you believe what Cubitt and Sorgatz are saying, they follow the more outdated definition of photography. You hold the camera in front of something, take a video or photo of that moment, and post it. If you missed it, it's gone forever. What if these apps worked the other way around: you "take" the photo or video from footage previously (or even constantly) gathered by your phone?
To post something to Instagram, you have the app take 100 photos in 10-15 seconds and then select your photo by scrubbing through them to find the best moment. Same with Snapchat. Vine would work similarly...your phone takes 20-30 seconds of video and you use Vine's already simple editing process to select your perfect six seconds. This is similar to one of my favorite technology-driven techniques from the past few years:
In order to get the jaw-dropping slow-motion footage of great white sharks jumping out of the ocean, the filmmakers for Planet Earth used a high-speed camera with continuous buffering...that is, the camera only kept a few seconds of video at a time and dumped the rest. When the shark jumped, the cameraman would push a button to save the buffer.
Only an after-the-fact camera is able to capture moments like great whites jumping out of the water:
And it would make it much easier to capture moments like your kid's first steps, a friend's quick smile, or a skateboarder's ollie. I suspect that once somebody makes an easy-to-use and popular app that works this way, it will be difficult to go back to doing it the old way.
Photos, once slices of a moment in the past -- sunsets, meetings with friends, the family vacation -- are fast becoming an entirely new type of dialogue. The cutting-edge crowd is learning that communicating with a simple image, be it a picture of what's for dinner or a street sign that slyly indicates to a friend, "Hey, I'm waiting for you," is easier than bothering with words, even in a world of hyper-abbreviated Twitter posts and texts.
"This is a watershed time where we are moving away from photography as a way of recording and storing a past moment," said Robin Kelsey, a professor of photography at Harvard, and we are "turning photography into a communication medium."
Dave Pell worries that the realtime availability of all these photos is getting in the way of our experiencing selves.
Maybe it was a bad angle. Maybe I didn't get his good side. Maybe he just didn't have that surfer vibe. Whatever it was, the photo wasn't all that cool. Given time to reflect (even the few days I used to get between my own childhood birthdays and my mom picking up a set of 4x6 prints at the local pharmacy), my son probably would've developed a version of that day that had him riding a giant a wave, looking like a cross between Laird Hamilton and Eddie Vedder. Instead, he pretty much looked like a landlocked three year-old on a beach-bound surfboard who was suffering from a rare -- but particularly punishing -- bad hair day.
The instant my son looked at the image, his imagination-driven perception of himself was replaced by a digital reproduction of the moment he had just experienced. He had a few seconds, not nearly long enough, to create is own internal version of what that moment looked -- and by extension felt -- like.
[Sherlock season 2 spoilers ahead...] At the end of the second season of the excellent BBC series Sherlock, Holmes jumps off the roof of a building in Smithfield, London. Ever since then, fans of the show have been leaving notes near where he would have landed.
In the early 1900s, photographer George Lawrence built what he called the Lawrence Captive Airship, a series of kites and wires able to hold aloft a camera mounted on a stabilizing mechanism. With his invention, he was able to take aerial photos of cities all over the country -- Brooklyn, Atlantic City, Chicago, Kansas City. You've probably seen his photos of a burnt-out San Francisco after the 1906 earthquake.
You gotta love anyone whose company motto was "the hitherto impossible in photography is our specialty". (via coudal)
Photographer Bela Borsodi fastidiously manipulated household items in the photograph below to create an image that looks like 4 photographs. Created as an album cover for the band VLP, I can confirm it's possible to stare at this picture for many minutes.
Ah, the good old days, when people used to talk to each other in public rather than looking at their phones or listening to headphones all the time. Except that's not been the case for awhile as XKCD demonstrates with a series of quotes from various publications dating back to 1871. This is from William Smith's Morley: Ancient and Modern published in 1886.
With the advent of cheap newspapers and superior means of locomotion... the dreamy quiet old days are over... for men now live think and work at express speed. They have their Mercury or Post laid on their breakfast table in the early morning, and if they are too hurried to snatch from it the news during that meal, they carry it off, to be sulkily read as they travel... leaving them no time to talk with the friend who may share the compartment with them... the hurry and bustle of modern life... lacks the quiet and repose of the period when our forefathers, the day's work done, took their ease...
In 1946, a young Stanley Kubrick worked as a photographer for Look magazine and took this shot of NYC subway commuters reading newspapers:
Click through to YouTube to watch it in the original 4K resolution, which is much better than even 1080p. They produced the video in conjunction with the Night Sky edition of their Field Notes notebooks.
Jacob Riis came to NYC in 1870 at the age of 21. He had $40 in his pocket, which he quickly spent. Unemployed, he lived for a time in the city's notorious slums before working his way up the social and economic ladder to become one of New York's strongest advocates for reform. Riis also took early advantage of flash photography to steer his camera into the city's darkest corners -- tenements, dark alleys, sweatshops, opium dens, beer halls -- and emerged with photographs that helped shift public opinion on NYC's poverty and slums.
To understand what is happening in color photography today it is beneficial to know what has been previously accomplished. The quest for color photography can be traced to Louis-Jacques-Mandé Daguerre's 1839 public announcement of his daguerreotype process, which produced a finely detailed, one-of-a-kind, direct-positive photographic image through the action of light on a silver-coated copper plate. Daguerreotypes astonished and delighted, but nevertheless people complained that the images lacked color. As we see the world in color, others immediately began to seek ways to overcome this deficiency and the first colored photographs made their appearance that same year. The color was applied by hand, directly on the daguerreotype's surface. Since then scores of improvements and new processes have been patented for commercial use.
This is a photograph made by Louis Ducos du Hauron sometime between 1869-1879, a particularly early example of a vivid color photographic print that wasn't colored by hand.
The story goes that the photo was taken in 1879 in Las Vegas, New Mexico, at a time when each of the men may have been in town. It's entirely plausible that these men all met and posed for a photo, but as there doesn't appear to be any provenance for particular photo, we're left with trying to ID the long-dead from the very few authenticated photos that exist. So...maybe? But probably not? (via if charlie parker were a gunslinger...)
Update: Ah, here's an even better photo that's almost certainly mislabeled, purportedly featuring Wyatt Erp, Teddy Roosevelt, Doc Holliday, Bat Masterson, Butch Cassidy, and the Sundance Kid:
Update: Max points out I may have misread the article and these 57 girlfriends are not necessarily Jerry's only. Supporting this is Sarah Silverman's inclusion in the composite even though she's was a love interest of Kramer's.
The most amazing is the spiral escalator made by Mitsubishi Electric. Curving escalators were conceived from early on when escalators were invented, but they are very difficult and even today Mitsubishi Electric is the only one in the world who can make them. If I hadn't come across this spiral escalator in Yokohama I don't think I would have committed myself to escalators as much as I have.
For a project called The Fundamental Units, Martin John Callanan used a very powerful 3D microscope to take 400-megapixel images of the lowest denomination coin from each of the world's 166 active currencies. This is the 1 stotinki coin from Bulgaria:
And this is a small part of that same coin at tremendous zoom:
After an exhaustive search, I have decided this photo most exemplifies life in these United States during the 1980s:
And if not that one, then one of several other possible candidates from Roger Minick's Sightseer project, for which he took photos of tourists at popular US tourist destinations during the early 1980s and into the 2000s.
When I approached people for a portrait, I tried to make my request clear and to the point, making it clear that I was not trying to sell them anything. I explained that my wife and I were traveling around the country visiting most of the major tourist destinations so that I could photograph the activity of sightseeing. I would quickly add that I hoped the project would have cultural value and might be seen in years to come as a kind of time capsule of what Americans looked like at the end of the Twentieth Century; at which, to my surprise, I would see people often begin to nod their heads as if they knew what I was talking about.
While French balloonist Gaspard-Félix Tournachon first photographed Paris by air in 1858, those photos were lost, and this photograph of Boston from 1860 by James Wallace Black is the earliest known aerial photo. The title is 'Boston, as the Eagle and the Wild Goose See It.' If I had to guess where in Boston this is, I'd say somewhere along Atlantic Ave.
Update: Several people have identified the steepled building at center left as the Old South Meeting House, which Wikipedia confirms: "Depicts area resembling Old South Meeting House; Milk Street; India Wharf, Central Wharf; and vicinity." Looks a bit different these days.
Paris even does rainbows better than the rest of the world. This is a photo of a horizon rainbow taken over the Parisian skyline last week by Bertrand Kulik.
What the heck is going on there? Astronomy Picture of the Day explains:
Why is this horizon so colorful? Because, opposite the Sun, it is raining. What is pictured above is actually just a common rainbow. It's uncommon appearance is caused by the Sun being unusually high in the sky during the rainbow's creation. Since every rainbow's center must be exactly opposite the Sun, a high Sun reflecting off of a distant rain will produce a low rainbow where only the very top is visible -- because the rest of the rainbow is below the horizon.
Technically this photo was taken several years (probably in 1986 or 1987) before Radiohead officially came to be, but it features four out of the five members, back when the group was called On a Friday.
From left to right, Thom Yorke, Phil Selway, Ed O'Brien, and Colin Greenwood. This occasion marked one of the last times that Yorke smiled for a photo. (via buzzfeed)
Maybe the most depressing part of this threepartseries of photographs of Iraq from the past ten years is not the photos of all the horrible things people are capable of doing to each other, not the [God, I can't even think of the right set of rage-adjectives here] faces of Bush, Cheney, and Rumsfeld, but the fact that there is a part two to this series that starts in 2003, just after the fucking asinine MISSION ACCOMPLISHED banner.
But maybe it was all worth it? To see these happy faces riding an amusement ride? Or these young people able to express themselves? Was it the right thing done the wrong way for the wrong reasons? I dunno. I just don't know.
But how they play can reveal a lot. "The richest children were more possessive. At the beginning, they wouldn't want me to touch their toys, and I would need more time before they would let me play with them," says the Italian, who would often join in with a child's games before arranging the toys and taking the photograph. "In poor countries, it was much easier. Even if they only had two or three toys, they didn't really care. In Africa, the kids would mostly play with their friends outside."
This reminds me of Peter Menzel's photos of what families from different parts of the world eat in a typical week. (via df)
Babies create strong emotions for the bearer, holder, and observer. I have discovered this holds true even when it is known the baby is not real.
I am photographing dolls that are created to look and feel like living babies. They are constructed and weighted to feel like infants, which includes a head that must be supported while in one's arms. They are the most powerful objects I have ever worked with, I am struck by the strong and palpable emotional reactions they produce. They provoke the dominant biological instinct to nurture and the entire spectrum of human behavior.
Many of the women involved have an especially strong passion for the stage of mothering babies and this is a method to keep this stage permanently in their lives. There is a wide range of personal stories and motivations for being involved in this community. Some create or collect these dolls because they cannot continue to give birth to living babies, or have lost a child, or cannot have one of their own. Some women admire the art form and are doll collectors, others create nurseries in their homes and integrate the babies as part of their families and lives.
Sometimes, women who have lost a newborn have commissioned artists to make a reborn doll that looks exactly like their deceased baby. Modeled after photographs of the real infant, these dolls are called portrait babies.
If this photo series from 1950 of the interior of the White House being ripped out so that the building could be structurally reinforced isn't an apt metaphor for the current state of American politics, I don't know what is.
Experts called the third floor of the White House "an outstanding example of a firetrap." The result of a federally commissioned report found the mansion's plumbing "makeshift and unsanitary," while "the structural deterioration [was] in 'appalling degree,' and threatening complete collapse." The congressional commission on the matter was considering the option of abandoning the structure altogether in favor of a built-from-scratch mansion, but President Truman lobbied for the restoration.
"It perhaps would be more economical from a purely financial standpoint to raze the building and to rebuild completely," he testified to Congress in February 1949. "In doing so, however, there would be destroyed a building of tremendous historical significance in the growth of the nation."
So it had to be gutted. Completely. Every piece of the interior, including the walls, had to be removed and put in storage. The outside of the structure-reinforced by new concrete columns-was all that remained.
The documentary about recently discovered street photographer Vivian Maier that was funded via Kickstarter almost two years ago is finally getting somewhere. Here's the trailer for the film, which appears to involve a crazy twist in Maier's story.
Seeing so many CSI and police procedural shows on TV today, it's easy to take for granted being able to rapidly and accurately identify criminals. Fingerprinting, as probably the biggest technological advancement in identifying criminals, is a big part of that. But what'd we have before fingerprinting?
Alphonse Bertillon was a French criminologist who first developed this anthropometric system of physical measurements of body parts, especially components of the head and face, to produce a detailed description of an individual. This system, invented in 1879, became known as the Bertillon system, or bertillonage, and quickly gained wide acceptance as a reliable, scientific method of criminal investigation. In 1884 alone, French police used Bertillon's system to help capture 241 repeat offenders, which helped establish the system's effectiveness. Primarily, investigators used the Bertillon system to determine if a suspect in custody had been involved in previous crimes. Law enforcement agencies began to create archives of records of known criminals, which contained his or her anthropometric measurements, as well as full-face and profile photographs of the perpetrator (now commonly known as "mugshots," which are still in use today).
It was essentially a criminal justice Dewey Decimal System, the first step in taking police out of the dark ages. Before Bertillion standardized measurements, police just had a jumble of descriptions and photographs with no way to organize them so they'd almost never be able to cross reference existing records when people were arrested.
Of course Bertillion's system was just a stop-gap measure. The system was only really in use for about 30 years before fingerprints became the dominant identification method.
In 1903, a man named Will West was committed to the penitentiary at Leavenworth, Kansas, where he was photographed and measured using the Bertillon system. Will West's measurements were found to be almost identical to a criminal at the same penitentiary named William West, who was committed for murder in 1901 and was serving a life sentence. Furthermore, their photographs showed that the two men bore a close physical resemblance to one another, although it was not clear that they were even related. In the ensuing confusion surrounding the true identities of the two men, their fingerprints conclusively identified them and demonstrated clearly that the adoption of a fingerprint identification system was more reliable than the older Bertillon system.
Edith, Hellrider, and Dadmonster pose for a photograph. In Botswana, heavy metal music has landed. Metal groups are now performing in nightclubs, concerts, festivals. The ranks of their fans have expanded dramatically. These fans wear black leather pants and jackets, studded belts, boots and cowboy hats. On their t-shirts stand out skulls, obscenities, historical covers of hard-rock groups popular in the seventies and eighties, such as Iron Maiden, Metallica, and AC/DC. They have created their own style, inspired by classic metal symbolism, but also borrowing heavily from the iconography of western films and the traditional rural world of Botswana. Their nicknames, Gunsmoke, Rockfather, Carrott Warmachine, Hellrider, Hardcore, Dignified Queen, may appear subversive and disturbing as their clothing, but they are peaceful and gentle. "We like to get dressed,, drink meet friends and feel free , this music is so powerful . We are lucky to live in a country tolerant and open" argues one of the leaders. A precious rarity for Africa.
Botswanian heavy metal fans and other great selections from the 2013 Sony World Photography Awards
After landing, Huygens photographed a dark plain covered in small rocks and pebbles, which are composed of water ice. The two rocks just below the middle of the image on the right are smaller than they may appear: the left-hand one is 15 centimeters across, and the one in the center is 4 centimeters across, at a distance of about 85 centimeters from Huygens. There is evidence of erosion at the base of the rocks, indicating possible fluvial activity. The surface is darker than originally expected, consisting of a mixture of water and hydrocarbon ice. The assumption is that the "soil" visible in the images is precipitation from the hydrocarbon haze above.
And a special close-but-no-cigar award goes to the NEAR Shoemaker probe, which snapped this photo from about 400 feet above the surface of the near-Earth asteroid Eros:
The probe landed on the surface of Eros in February 2001 and transmitted usable data for about two weeks afterwards, none of which was photographic in nature.
That's from a series called Darkened Skies by Thierry Cohen; he photographed various cities (NYC, Paris, Tokyo, SF) and matched them up with starry skies from more remote places like Montana, Nevada, and the Sahara. New Yorkers can see Cohen's work at the Danziger Gallery starting March 28.
There's some weird perspective stuff going on with this photo (do those waves break right on shore?) but holy crap look at the size of that fucking wave!
The teeny speck speeding down that wall of water is Garrett McNamara, who already holds the world record for the largest wave ever surfed and will likely extend that record with this estimated 100-footer.
There's no video of the ride but in this promotional video, I think you can briefly see McNamara riding the monster wave at 38 seconds and perhaps again at 42 seconds.
Sworn Virgins of Albania is a project by photographer Jill Peters documenting Albanian women who have chosen to live as men for cultural reasons.
As a tradition dating back hundreds of years, this was necessary in societies that lived within tribal clans, followed the Kanun, an archaic code of law, and maintained an oppressive rule over the female gender.The Kanun states that women are considered to be the property of their husbands. The freedom to vote, drive, conduct business, earn money, drink, smoke, swear, own a gun or wear pants was traditionally the exclusive province of men. Young girls were commonly forced into arranged marriages, often with much older men in distant villages.
As an alternative, becoming a Sworn Virgin, or 'burnesha" elevated a woman to the status of a man and granted her all the rights and privileges of the male population. In order to manifest the transition such a woman cut her hair, donned male clothing and sometimes even changed her name. Male gestures and swaggers were practiced until they became second nature. Most importantly of all, she took a vow of celibacy to remain chaste for life. She became a "he".
During her reign, Queen Elizabeth II of England has met 10 sitting US Presidents, every one from Eisenhower to Obama except for Lyndon Johnson. She also met Harry Truman as a princess in 1951 and former President Herbert Hoover in 1957.
BTW, Elizabeth is creeping up on Queen Victoria as the longest-reigning British monarch, just another two-and-a-half years to catch her. Victoria reigned during the terms of 19 different Presidents but never met any of them and had an unfair advantage...lots of short terms and one-term Presidencies back then. (via mlkshk)
Cassidy traveled over 20,000 miles, crisscrossing the country to meet with gun owners in their homes. Cassidy's photo essays create a powerful, thought provoking and sometimes startling view of gun ownership in the U.S. These "everyman" portraits, and the accompanying views of gun owners, fashion a riveting and provocative hardcover book.
Paul: My family had guns the whole time I was a kid. then i went off and joined the army and went away and come back. I have guns now largely for the same reason I have fire extinguishers in the house and spare tires in the car. I'm a self reliant kind of guy. and there could come a time when I need to protect my family and i'm a self reliant kind of guy.
Beth: I have one for self protection. I was raised to never rely on anyone else to protect me or watch my back. It took me a year to pick out one that I liked.
Bashir: I just think it's a good thing to have
Joe: The first time I was introduced to guns was when I was 5 years old; hunting with my dad, grandfather and uncle. I remember my dad shooting a ringneck pheasant and a rabbit. I carried those two animals until I thought my arms were going to fall off. As a little guy, that made a great impression on me. I've hunted all of my life; in Pennsylvania, Idaho, Colorado and Maine. I have a tremendous respect for life, especially wildlife. It never ceases to amaze me how much satisfaction I get from just simply being in the Great Outdoors, whether I make a kill or not.
We know that some of your best photo moments happen on the fly, so we've made it easier to get the perfect shot when inspiration hits. Once you get the shot, there's a built-in editor to quickly correct, crop, or enhance it with one of the new high res filters.
I haven't had a chance to check it out in detail yet, but from everything I'm hearing, people are jazzed about it.
Although the photographs look like long-exposure shots, they're actually composite images created by combining ten thousand individual photographs of each dancer. The result is a look in which each model's body is (mostly) lost within the blur of its movement.
I moved to the West Village in 2002 and, after a few stops in other neighborhoods around the city, moved back a couple years ago. Walking around the neighborhood these days, I'm amazed at how much has changed in 10 years. Sometimes it seems as though every single store front has turned over in the interim. (via @kathrynyu)
Why would Hugo Jaeger, a photographer dedicated to lionizing Adolf Hitler and the "triumphs" of the Third Reich, choose to immortalize conquered Jews in Warsaw and Kutno (a small town in central Poland) in such an uncharacteristic, intimate manner? Most German photographers working in the same era as Jaeger usually focused on the Wehrmacht; on Nazi leaders; and on the military victories the Reich was so routinely enjoying in the earliest days of the Second World War. Those pictures frequently document brutal acts of humiliation, even as they glorify German troops.
The photographs that Jaeger made in the German ghettos in occupied Poland, on the other hand, convey almost nothing of the triumphalism seen in so many of his other photographs. Here, in fact, there is virtually no German military presence at all. We see the devastation in the landscape of the German invasion of Poland, but very little of the "master race" itself.
It is, of course, impossible to fully recreate exactly what Jaeger had in mind, but from the reactions of the people portrayed in these images in Warsaw and Kutno, there appears to be surprising little hostility between the photographer and his subjects. Most of the people in these pictures, Poles and Jews, are smiling at the camera. They trust Jaeger, and are as curious about this man with a camera as he is about them. In this curiosity, there is no sense of hatred. The men, women and children on the other side of the lens and Jaeger look upon one another without the aggression and tension characteristic of the relationship between perpetrator and victim.
It's still amazing the extent to which early color photography can transport us back to the past in a way that black & white photography or even video cannot.
Danxia refers to a "type of petrographic geomorphology" found in China. What that means is you get these mountains that look as though they were decorated with crayons by a five-year-old channelling Dalí.
In Reckless Unbound, photographer Christy Rogers takes photographs of brightly-clothed people underwater resulting in photos that resemble Baroque paintings. GUP Magazine says:
Without the use of post-production manipulation, Rogers' works are made in-camera, on the spot, in water and at night. She applies her technique to bodies submerged in water during tropical nights in Hawaii. Through a fragile process of experimentation, she builds elaborate scenes of coalesced colours and entangled bodies that exalt the human character as one of vigour and warmth, while also capturing the beauty and vulnerability of the tragic experience that is the human condition.
Gentlemen of Bacongo is a book of photography by Daniele Tamagni documenting a group of men from the Congo who dress in designer suits. Meet Le Sapeurs.
Photographer Daniele Tamagni's new book Gentlemen of Bacongo captures the fascinating subculture of the Congo in which men (and a few women) dress in designer and handmade suits and other luxury items. The movement, called Le Sape, combines French styles from their colonial roots and the individual's (often flamboyant) style. Le Sapeurs, as they're called, wear pink suits and D&G belts while living in the slums of this coastal African region.
In interviews with some notable sapeurs, Tamagni unearths the complex and varied rules and standards of Le Sape, short for Société des Ambianceurs et des Personnes Élégantes, or the Society of Tastemakers and Elegant People. Sapeur Michel comments on the strange combination of poverty and fashion, "A Congolese sapeur is a happy man even if he does not eat, because wearing proper clothes feeds the soul and gives pleasure to the body."
Photographers Stephanie Bassos and Timothy Burkhart are working together on a project called People vs. Places.
This double exposure project allows us to step back from having full control of the image making process and trust in one another while allowing coincidences to happen naturally on film. Stephanie exposes a full roll of 35mm film of only "people," and Timothy reloads the film again into the same camera, to imprint only "places" and locations to the same roll. These images are all the end result of our ongoing series and are unedited negatives straight from the camera.
Many of the images are unremarkable but every once in awhile, boom:
Manga Camera is an iPhone app that allows you to convert regular photos to Manga style comics. It's fairly simple, and provides several different backgrounds, but I don't think you can convert existing photos. Despite the cat picture rule, below are a few quick examples of Manga Camera in action. Some better examples here.
Freelance underwater photographer Yoji Ookata recently discovered a curious underwater pattern not unlike a crop circle:
When I first saw the pictures, this seemed like a hoax on the part of Ookata (which it might still be, I guess) or the work of someone who enjoys making sand art where no one will ever see it. But Ookata convinced a camera crew to check it out and the mystery circle's artist turns out to be a fish!
The unlikely artist -- best known in Japan as a delicacy, albeit a potentially poisonous one -- even takes small shells, cracks them, and lines the inner grooves of his sculpture as if decorating his piece. Further observation revealed that this "mysterious circle" was not just there to make the ocean floor look pretty. Attracted by the grooves and ridges, female puffer fish would find their way along the dark seabed to the male puffer fish where they would mate and lay eggs in the center of the circle. In fact, the scientists observed that the more ridges the circle contained, the more likely it was that the female would mate with the male. The little sea shells weren't just in vain either. The observers believe that they serve as vital nutrients to the eggs as they hatch, and to the newborns.
This camera will be the mother of all limited editions based on one simple fact: only a single unit of the camera will ever be produced. Aside from announcing this camera, not much else was revealed. It is, however, for more than just a publicity stunt: the camera will be auctioned off, and the proceeds will be donated to charity.
The regular M retails for almost $7000 so I imagine the iLeica will go for about eleventy gajillion. Also, designed? How much leeway will Ive have to really change the camera? He'll just slap some new colorways on it, yes? (via df)
From Harlem and upper Manhattan to Brooklyn, Queens and the Atlantic Ocean - New York city's A Line subway route covers over 30 miles, takes two hours to ride from end to end, and is the inspiration for one of jazz's best known tunes.
Here -- with archive images and vibrant present-day photographs from Melanie Burford -- New Yorker columnist Adam Gopnik takes a ride on one of today's A trains, and explores the communities living along the route.
The values were almost comparable to general Japanese workplace values, actually. Most yakuza gangs actually have neighborhood offices, and the plaques they have on the door state core values like "respect your superiors," "keep the office clean," and so on.
One thing I noticed early on with gang life was how subtle everything was. Everything was unspoken, and will was expressed through group pressure. A pressure was constantly there. There was this innate understanding of form-if someone did something wrong, no one would say anything; he would simply be expected to apologize. And the fact everyone would be so silent about it made the pressure really intense.
Noah Kalina, one of my favorite photographers, has taken a self-portrait of himself every day for the past 12 and a half years. After six years, he released a video of the results, which video went crazy viral and brought the attention of the world to Kalina's door. Now he's released the 12.5 year version.
I hope I live to be 100 to see the 75th anniversary edition.
Water Wigs is a project from LA artist Tim Tadder, introducing the heads of bald men to water balloons. The Water Wig Club for Men, I'm not only the president...
We just finished shooting a new project we call Water Wigs. The concept is simple and it is another visual exploration of something new and totally different. We found a bunch of awesome bald men and hurled water balloons at their heads, to capture the explosion of water at various intervals. The result a new head of of water hair! We used a laser and sound trigger to capture the right moments for each subject to create just the head of hair that fit best with the face.
The storm had an unusually low central pressure area. Paul A. Newman, chief scientist for Atmospheric Sciences at NASA's Goddard Space Flight Center in Greenbelt, Md., estimates that there have only been about eight storms of similar strength during the month of August in the last 34 years of satellite records. "It's an uncommon event, especially because it's occurring in the summer. Polar lows are more usual in the winter," Newman said.
Arctic storms such as this one can have a large impact on the sea ice, causing it to melt rapidly through many mechanisms, such as tearing off large swaths of ice and pushing them to warmer sites, churning the ice and making it slushier, or lifting warmer waters from the depths of the Arctic Ocean.
My projections about increasing global temperature have been proved true. But I failed to fully explore how quickly that average rise would drive an increase in extreme weather.
In a new analysis of the past six decades of global temperatures, which will be published Monday, my colleagues and I have revealed a stunning increase in the frequency of extremely hot summers, with deeply troubling ramifications for not only our future but also for our present.
This is not a climate model or a prediction but actual observations of weather events and temperatures that have happened. Our analysis shows that it is no longer enough to say that global warming will increase the likelihood of extreme weather and to repeat the caveat that no individual weather event can be directly linked to climate change. To the contrary, our analysis shows that, for the extreme hot weather of the recent past, there is virtually no explanation other than climate change.
In many ways, the phrase "global warming" is grossly misleading. "Oh," we think, "it's gonna be a couple degrees warmer in NYC in 20 years than it is now." But the Earth's climate is a chaotic non-linear system, which means that a sudden shift of a degree or two -- and when you're talking about something as big as the Earth, a degree over several decades is sudden -- pushes things out of balance here and there in unpredictable ways. So it's not just that it's getting hotter, it's that you've got droughts in places where you didn't have them before, severe floods in other places, unusually hot summers, and even places that are cooler than normal, all of which disrupts the animal and plant life that won't be able to acclimate to the new reality fast enough.
'There's a popular belief that projects like this are going to be very advanced but there are things that mitigate against that. These designs were proposed in 2004, and you don't get to propose one specification and then go off and develop something else. 2MP with 8GB of flash [memory] didn't sound too bad in 2004. But it doesn't compare well to what you get in an iPhone today.'
The cameras were also supposed to be outfitted with zoom lenses but that part of the project was scrapped.
Nate Jones was disappointed about how women's Olympic beach volleyball has been photographed at the Olympics so he decided to show us what other sports look like through the lens of women's Olympic beach volleyball photographer's lens. The results are hilarious.
Belgian photographer Kurt Stallaert's "Bodybuilders' World" is a project showing a world where children are more ripped than you. It's creepy as hell imagining these kids lifting weights every day since they were born.
Nice cumulonimbus mammatus in #s 4, 14, and 16. And by coincidence, the NY Times Lens blog also featured Seaman's work yesterday, an earlier project that entailed shooting portraits of icebergs.
I like Seaman's portraiture approach to things like clouds and icebergs:
"They are like humans in that each one reacts to its environment and its circumstances in its own way," Camille Seaman, 42, said. "I've come across icebergs that were very stalwart and just refused to dissolve or break up. And there were others -- massive, massive icebergs -- that were like 'I can't take it anymore' and in front of my eyes would just dissolve into the sea. There's so many unique personalities. There's a sadness to them."
In an interview with Nicola Twilley and Geoff Manaugh, photographer Edward Burtynsky talks about his use of film and drones, his current big project photographing water, and the challenges of finding ways to photograph the ubiquitous.
I'd say, actually, that I've been careful not to frame the work in an activist or political kind of way. That would be too restrictive in terms of how the work can be used in society and how it can be interpreted. I see the work as being a bit like a Rorschach test. If you see an oil field and you see industrial heroism, then perhaps you're some kind of entrepreneur in the oil business and you're thinking, "That's great! That's money being made there!" But, if you're somebody from Greenpeace or whatever, you're going to see it very differently. Humans can really reveal themselves through what they choose to see as the most important or meaningful detail in an image.
In Singapore, it is a common practice for entire families to gather on special occasions for a formal picture, often at a studio, with the resulting image framed and prominently displayed at home. The growing tendency of younger family members to take jobs abroad, however, has left many modern portraits missing a relation or two. So the Singaporean photographer John Clang devised a solution, piggybacking on the video-calling technology that already helps ease the dislocation of separated family members: Skype.
If you make a series of horrifying photos of little girls dressed like Vegas cocktail waitresses, I will apparently always click through. First it was Susan Anderson's High Glitz, a series of child beauty pageant contestants.