For more than 20 years photographer Daniel Ranalli has been actively collaborating with the ecology of Cape Cod, with one of his most collaborative projects being his Snail Drawing series. The works each contain two images, the first capturing the snails in a simplified pattern of Ranalli’s choosing on the beach, and the second showcasing the ways the snails have decided to move out of this neatly formed configuration. The second image allows the viewer to see the trace of the snail’s movement in the sand, the small bodies slowly scattering away from center.
“The best pieces depend on a certain degree of randomness for their success,” said Ranalli. “I tend to think of the snail pieces as a metaphor for the order we establish in our lives, and how the element of chance enters in to affect the result—regardless of how much we attempt to structure it.”
One evening last week, C.S.I. Walker Berg of the Portland Oregon Police Bureau looked out a window on the 12th floor of the Justice Center to discover an incredible sight: trees freshly covered in thick white snow were covered in yet another layer of thousands of black crows. Berg grabbed a Nikon D700 and snapped this amazing shot of the trees eerily lit from below by street lamps before the birds disappeared. The police department shared the image dubbed “Crows on Snow” on Facebook and Twitter where it quickly went viral.
Here’s a fun series from artist Daniel Barreto who animates infinite loops of flame in these surreal gifs. The brief animations continue his experimentation with light and long exposure photography as seen here last year in his short film Ignight. (via This Isn’t Happiness)
Utilizing a variety of light tools, Finland-based artist Hannu Huhtamo works in the dark to create these delightfully unusual light paintings. Appearing like alien flowers blooming in forests and abandoned buildings, each piece is created in-camera without the aid of Photoshop. Great Big Story recently met with Huhtamo to go behind-the-scenes and learn more about how he conceives and executes each photo in the video above.
Artist Suzanne Moxhay produces photomontage scenes which seem to effortlessly combine elements from both her own photography practice and her large archive of collected images. To compose her taken and collected photographs, Moxhay relies on a film technique dating back to the early 20th century called matte painting, a process where backdrops are illustrated on glass panels and integrated into live-action sets. Using this method she creates the illusion that all of her disparate pictures are one cohesive image, first arranging the fragments on glass, then re-photographing the new configuration, and finally touching up the compositions digitally.
“In my recent work I have been exploring concepts of spatial containment in montages built from fragments of photographed and painted interiors,” says Moxhay. “Architectures are disrupted by anomalous elements – contradictory light sources, faulty perspective, paradoxes of scale. Light casts shadows in the wrong direction, walls fail to meet in corners, an area of the image can be seen either as an enclosing wall or dark overcast sky.”
Moxhay lives and works in London. You can see more of her photomontage scenes on her website. (via ArtistADay)
28-year-old photographer Craig Burrows photographs plants and flowers using a type a photography called UVIVF or “ultraviolet-induced visible fluorescence.” If you haven’t heard of it, that’s not a surprise, as it is a relatively unknown process which brings out the glowing fluoresce in plant matter through the use of high-intensity UV lights.
Typically UV is removed through a camera’s lens, however Burrows photographs with a 365nm LED light which is passed through a filter to transmit only UV and infrared light. The dazzling plant life Burrows’ photographs absorbs this UV light and releases visible light at different wavelengths, which allows him to capture colors far more vivid than those seen in a typical viewing condition.
Although Burrows has limited his photography to singular flowers and small arrangements, his next step is aimed at illuminating entire scenes, like gardens, glades, and greenhouses, with 100-watt floodlights. You can see more of the Southern California-based photographer’s glowing plant portraits on his Flickr and portfolio site. (via Colossal Submissions)