I was excited to discover photographer Thomas Jackson (previously here and here) has continued his Emergent Behavior series where he photographs airborne swarms of common objects like Post-It notes, cheese balls, and plates in environments where you would least expect them. He also reverses the concept, shooting items from nature like sticks and leaves against an urban backdrop. You’re probably wondering how some of these are made, so I’ll quote Jackson from over on Flak Photo’s Facebook:
I have struggled with the role of Photoshop in my work. I can’t make my images without it, yet I don’t really want it to be an integral part of my creative process. So I’ve set up some rules of the road for myself, and I’ve stuck to them while creating all my recent images. Basically I want the images to be as “in camera” as possible, so instead of employing PS to composite or more things around, I simply use it to remove elements I don’t want to be there. The sculpture in this image (175 glow sticks attached to a wire armature) is real, and it was photographed on the beach in Greenport, NY. I simply used PS to remove the support that was holding the thing up, and to make a few other minor tweaks. So on the spectrum between “retouched image” and “real time image”, I’ve strived to make it closer to the latter.
Jackson also mentions by email that the photo above using the leaves falls outside the realm of his usual approach and does involve a bit more digital editing. See much more here. (via flakphoto, thnx tanner!)
Update: Added a quote from Jackson about his process.
This summer, New York artist Kurt Perschke brought his famous RedBall project to the UK for the first time, installing his massive inflatable red ball in a total of 20 sites around the country. Photos of the public installations flooded the news and photo sharing sites like Flickr and Instagram, and I tried to live vicariously through them and imagine what it might be like to stand in the completely transformed spaces inhabited by this giant red sphere. Lucky for us filmmaker Danny Cooke was on hand during the entire RedBall UK trip and edited together this fantastic timelapse of the installation as it moved from location to location around the country. I recommend sitting back and watching it much larger for the full effect.
Crocheted Jacaré is the latest work from Brooklyn-based artist Olek, who traveled to Brasil for the 2012 SESC Arts Show in order to encase a massive playground shaped like an alligator in her trademark crochet covering. With the help of several colleagues Olek covered the reptilian playscape in North Carolinian acrylic yarn and Brazilian ribbons over a period of several weeks. The SESC show runs through July 29th and you can see much more of Olek’s work on her website. All images courtesy Lost Art. (via designboom)
Every time I think I’ve had enough of the tilt-shift phenomenon, something amazing like this comes along. Behold the wonderful camera work of filmmaker Joerg Daiber of Spoonfilm, shot in locations around Seville, Madrid and El Chorro in Spain. Resisting. Urge. To charge. Plane tickets. (via vimeo)
I’ve been known to pocket the occasional sentimental wine cork, but that’s nothing compared to the thousands of used and recycled corks needed by Grand Rapids-based illustrator and artist Scott Gundersen to complete his large scale portraits. Starting with a large photograph that’s transferred to a drawing, Gundersen pins each cork to the canvas, creating a correlation between the hues of the wine-stained corks and the value of light or shadow in the portrait. His latest work, Trisha, took 3,621 corks to complete, but other works have required over 9,000. Watch the timelapse videos above to see how he does it. And can I add, what I wouldn’t give to have a completely idyllic barn studio. Such a beautiful space.
Stumbled onto this striking 2010 photograph by Cuban artist Liset Castillo while poking around on ArtStar.
In my new body of work, “Human Studies,” from 2010, I subvert notions of enduring beauty with life-size images of women sculpted in a labor-intensive process out of sand, which I then photographed before destroying them. I create life-size sand sculptures of models typically found in high-gloss fashion magazines, photograph the works in sand and then I destroy them as a commentary on the ephemeral nature of beauty, America’s obsession with youth culture and decay.