Posts Tagged: reality’

Isa Leshko : ‘Thrills & Chills’ Photography Series

Amusement park rides terrify me, which is why I began photographing them. I am fascinated by what compels people to surrender themselves to these mechanical beasts. The rides seem to challenge the very limitations of being human. We can’t fly; yet these vertigo-inducing machines allow us to soar through the open air. The experience combines elation with fear; thrills with chills.

Isa Leshko : ‘Thrills & Chills’ Photography Series

Amusement park rides terrify me, which is why I began photographing them. I am fascinated by what compels people to surrender themselves to these mechanical beasts. The rides seem to challenge the very limitations of being human. We can’t fly; yet these vertigo-inducing machines allow us to soar through the open air. The experience combines elation with fear; thrills with chills.

Daido Moriyama : Photography Series

Daido Moriyama (b.1938, Osaka) is one of Japan’s leading figures in photography. Witness to the spectacular changes that transformed post WWII Japan, his black and white photographs express a fascination with the cultural contradictions of age-old traditions that persist within modern society. Providing a harsh, crude vision of city life and the chaos of everyday existence,

Daido Moriyama : Photography Series

Daido Moriyama (b.1938, Osaka) is one of Japan’s leading figures in photography. Witness to the spectacular changes that transformed post WWII Japan, his black and white photographs express a fascination with the cultural contradictions of age-old traditions that persist within modern society. Providing a harsh, crude vision of city life and the chaos of everyday existence,

Isa Leshko : ‘Thrills & Chills’ (Photography)

Amusement park rides terrify me, which is why I began photographing them. I am fascinated by what compels people to surrender themselves to these mechanical beasts. The rides seem to challenge the very limitations of being human. We can’t fly; yet these vertigo-inducing machines allow us to soar through the open air. The experience combines elation with fear; thrills with chills.

Isa Leshko : ‘Thrills & Chills’ (Photography)

Amusement park rides terrify me, which is why I began photographing them. I am fascinated by what compels people to surrender themselves to these mechanical beasts. The rides seem to challenge the very limitations of being human. We can’t fly; yet these vertigo-inducing machines allow us to soar through the open air. The experience combines elation with fear; thrills with chills.

Lee Friedlander : Photography (Sequence 1)

Friedlander began photographing the American social landscape in 1948. His photographs bring to the surface the juxtapositions of everyday life that comprise our modern world. Beyond the vigorous outward eye he turns to the world around him, Lee is also recognized for his investigation of the self.

Lee Friedlander : Photography (Sequence 1)

Friedlander began photographing the American social landscape in 1948. His photographs bring to the surface the juxtapositions of everyday life that comprise our modern world. Beyond the vigorous outward eye he turns to the world around him, Lee is also recognized for his investigation of the self.

Lee Friedlander : Photography (Sequence 2)

Friedlander often included oblique references to himself by including his own reflection or shadow in the photographs. – “I suspect it’s for one’s self-interest that one looks at one’s surroundings and one’s self. This search is personally borne and is indeed my reason and motive for making photographs.”

Lee Friedlander : Photography (Sequence 2)

Friedlander often included oblique references to himself by including his own reflection or shadow in the photographs. – “I suspect it’s for one’s self-interest that one looks at one’s surroundings and one’s self. This search is personally borne and is indeed my reason and motive for making photographs.”

Daido Moriyama : Photography Series

Moriyama emerged as a photographer in the 1960’s at the tail end of the VIVO collective, a revolutionary and highly influential group of Japanese artists who reexamined the conventions of photography during the tumultuous postwar period. William Klein’s loose, Beat style images of New York City in the 1960s also served as a major turning point for Moriyama, who found inspiration in Klein’s free-form photographic style.

Daido Moriyama : Photography Series

Moriyama emerged as a photographer in the 1960’s at the tail end of the VIVO collective, a revolutionary and highly influential group of Japanese artists who reexamined the conventions of photography during the tumultuous postwar period. William Klein’s loose, Beat style images of New York City in the 1960s also served as a major turning point for Moriyama, who found inspiration in Klein’s free-form photographic style.

Matthieu Gafsou : Photography Series

Photography always implies a relationship between a body – the man with a camera – and the world. Even today, photographic gear remains heavy and cumbersome, an impediment. Landscapes, too, are related to the body: we are wandering somewhere about the world when suddenly, without any perceivable signal, reality emerges with force and becomes an image.

Matthieu Gafsou : Photography Series

Photography always implies a relationship between a body – the man with a camera – and the world. Even today, photographic gear remains heavy and cumbersome, an impediment. Landscapes, too, are related to the body: we are wandering somewhere about the world when suddenly, without any perceivable signal, reality emerges with force and becomes an image.

Ward Roberts – ‘Billions’ Photography Series

One may find the concepts explored in Ward Roberts’ Billions series confronting, given that the images within this series represent a fast-forming reality, predicted to be the dystopian future not so long ago. But the present is never perceived as the future we envisaged in the past.

Ward Roberts – ‘Billions’ Photography Series

One may find the concepts explored in Ward Roberts’ Billions series confronting, given that the images within this series represent a fast-forming reality, predicted to be the dystopian future not so long ago. But the present is never perceived as the future we envisaged in the past.