Early this morning NASA launched an experiment to measure nitric oxide in the polar sky from the Poker Flat Research Range in Alaska. Staff photographer Jamie Adkins captured this amazing view. (via This Isn’t Happiness)
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.”
Some of Ranalli’s work will be exhibited with Laurence Miller Gallery this weekend at Classic Photographs Los Angeles from January 21-22. You can see more of his snail series as well as other gesture-based photography (like his Erased Chalkboard series) on his website. (via La Boite Verte)
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.
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.”