An installation by Andrea Mastrovito using 3,307 individual black and white photocopies that were pieced together to create the view outside the gallery walls. Incredible. (thnx, chelsea!)
Love the concept of this modular LED film light by Davide Groppi. Each individual unit containing 10 slides can be attached to another for a potentially unlimited stream of photos or colors. (via mocoloco)
German photographer Heiko Schäfer captured these delicate yet haunting portraits of wooden boats used by African refugees trying to enter the EU illegally via the Mediterranean. (via pitch design union)
So in case you haven’t heard Chicago got a few feet of snow last night. My son was thrilled to wake up to 6-foot snow drifts and snowmobiles zooming around on the street for his third birthday. I grabbed a camera and headed down to the lake for a bit this morning to snap a couple shots. As I write this I still can’t feel my face but it was fun to be out there in the middle of it.
What you’re looking is not the result of Photoshop. This incredible collection of photos entitled INFRA from Eastern Congo was shot by 30-year-old photographer Richard Mosse using discontinued Kodak Aerochrome film. Mosse chose this infrared film to intentionally subvert traditional photos taken from the region to help draw attention to an often overlooked conflict.
INFRA; examines the conflict in Eastern Congo using Kodak Aerochrome, a recently discontinued film that was originally developed for military reconnaissance. These extraordinary colors are not the result of Photoshop. The project seeks a new strategy to represent Congo’s intangible conflict. Mosse chose to use this infrared aerial surveillance film out of context in order to explore how photography represents a place like Congo, a place deeply buried beneath its past cultural representations, from Heart of Darkness to Tin Tin. Infrared light is invisible to the human eye, and so the work alludes metaphorically to the conflict’s lack of visibility in our global consciousness, as well as (paradoxically) this endless war’s over-saturation in the mass media. Color infrared film portrays the world in a pink palette which the photographer uses to subvert the ways in which Congo and the African continent are traditionally photographed. He deliberately wishes to break the generic rules in order to question how we see (or don’t see) this war.
(via black harbor — at the time of posting this, the site appears to be down)
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