Shared posts

19 Jun 12:19

Photography: Ars-Imago Lab-Box + Monobath Review

by Michael Nguyen

Photography: Ars-Imago Lab-Box + Monobath Review

Switzerland/Italy based analog photography equipment extraordinaire Ars-Imago caused quite the stir nearly 2 years ago when they announced a kickstarter campaign to produce the Lab-box. The long awaited release of the home developing kit has finally started making its ways to the eager little fingers of its backers.
With film use on the rise yet costs still high and rising, home developing manifested itself for many of us non-1%-ers as the only viable resolution to perpetuate our silver halide and color dye fixes. Now that it’s actually here, does it live up to all the hype and ballyhoo?

Ars-Imago Lab-Box


Ars-Imago Lab-Box

If you don’t even know what the Ars-Imago Lab-box is, it is a plastic box that essentially combines everything you need for a home developing kit: a film tank, agitator, film reel, and other tools, minus the need for a changing bag to load your film. You don’t even need scissors or a can opener!

The Lab-box is a multi-format tank that allows to develop film from start to end, in full day light, bypassing the need to load the rolls in the dark. This daylight loading tank promises to simplify DIY film developing for newbs and pros alike. Since it has a detachable 135 and 120 module, it’s easy to switch between developing 35mm and medium format film when you need to.

I think it’s a cool idea that it has interchangeable modules to swap between 35mm and 120 format. It will certainly save on space for those of us living in tiny boxes they call apartments in the big cities. It’s small enough that if you really wanted to, you could just throw it in a backpack and take it out with you.

Ars-Imago Lab-Box modules

Check out the official video below to see it in action.

LAB-BOX, HOW IT WORKS from ars-imago on Vimeo.

Agfa Rondinax vs. Ars-Imago Lab-box

Haters will quickly point out “That ain’t nothing new! It’s just a total rip off of the Agfa Rondinax!” Indeed, they are quite similar in design and mechanics and no doubt the Rondinax was the inspiration for the Lab-box. The OG Rondinax was made from the 1930s until the 1970s and designed for 120 and 35 mm film. Clones operating similarly or identically were also made in England in the 1950s (Essex, Kent) and the Soviet Union (Sputnik).

Ars-Imago Lab-Box

Ars-Imago Lab-Box

Rondinax tanks and their clones are now only available from such sources as eBay. A quick peek will reveal that 35 mm film tanks (Rondinax 35, Essex 35) can be had for roughly $100 USD and the 120 version(Rondinax 60, Kent 20) fetch higher prices at almost $200 USD. That’s for used plastic that’s anywhere from 40-80 years old. For about $150 USD, a brand new Ars Imago Lab-box that can do both 35mm and 120 film can be had. Though not revolutionary, the Lab-box combining two formats into one unit is a nice revolutionary touch and hits a reasonable price point.

The Lab-Box is designed with multiple options for balancing agitation frequency and chemical waste. As little as 250 ml can fill half of the tank, but will require constant agitation by turning the green crank that rotates the film reel. Alternatively, 500 ml of developer will fill the entire tank and submerge the entire roll, which requires less agitation but obviously requires using more chemicals.

Developing with the Ars-Imago Monobath

Ars-Imago Monobath

The Ars-Imago Lab-Box is also designed to be used with simple all-in-one develop-and-fix chemicals such as Ars-Imago’s own Monobath. Our first go at this will be with this simple solution.

Ars-Imago Film Retriever

Ars-imago offers this film retriever tool to pull out the lead from film canisters but I found it to be completely useless. After about 15 minutes of trying and many expletives, I had to resort to the tried and true spit trick to get started. Old school rules! If anyone else out there knows a better solution, I’m all ears.

Ars-Imago Lab-Box

Other than getting the leader pulled out, everything was pretty straightforward and hassle free. There are just a couple things to be careful with. Don’t forget to slip the film under those metal bars, otherwise you won’t be able to cut the film at the end. Also make sure that the clip snaps on to the film well. Otherwise you risk it slipping mid spool onto the developing reel.

Ars-Imago Lab-Box

Mixing Parts A and B of the Monobath together will yield you 600ml of solution but the Lab-box itself only fits 500ml. I learned that the hard way. So be careful to pour in no more than 500ml if you want to fully submerge the reel to agitate less. I pretty much followed the online demo, agitating for the first minute then 30 secs every minute after.

After the 8 minutes are up, pour out the solution back into a container for reuse and rinse the box thoroughly with water. Take a deep breath and hope something shows up as you pull your film out. Ars-Imago claims the solution can be used up to 15 times.

Sample Images (35mm)

The below images were taken on JCH Streetpan 400, shot normally on a Leica M6 + Summicron 50mm and developed for 8 minutes with the Ars-Imago Monobath in the Lab-box. Scans are from a Plustek Opticfilm 8200i.

JCH Streetpan developed with Ars-Imago Monobath

JCH Streetpan developed with Ars-Imago Monobath   JCH Streetpan developed with Ars-Imago Monobath

JCH Streetpan developed with Ars-Imago Monobath

JCH Streetpan developed with Ars-Imago Monobath JCH Streetpan developed with Ars-Imago Monobath

JCH Streetpan developed with Ars-Imago Monobath JCH Streetpan developed with Ars-Imago Monobath

I did find some weird streaks and scratches on random frames such as in the shots below. The midtones are mild and balanced but shadows appear grainier and has a weird dusty looking layer over it which leads me to think the film was not spooled evenly onto the developing reel.

Sample Images (120)

The below images were taken on JCH Streetpan 400, shot normally on a Pentax67 + Takumar SMC 105mm and developed for 8 minutes with the Ars-Imago Monobath in the Lab-box.

JCH Streetpan 120 developed with Ars-Imago Monobath JCH Streetpan 120 developed with Ars-Imago Monobath JCH Streetpan 120 developed with Ars-Imago Monobath JCH Streetpan 120 developed with Ars-Imago Monobath

Streetpan is traditionally quite a contrasty film but the midtones are well balanced and there is more detail in the shadows and highlights.

We hope to do more testing with other solutions in the near future so stay tuned. We’re also eager to try some home color development with this bad boy in the near future. We will also report back on the longevity of the monobath. So far after 5 rolls with the same solution we’ve only encountered the weird scratches as stated above.

Purists probably won’t be ditching their Jobos and Patersons but if you’re new to self developing or looking for a simple developing tank that can easily switch between 135 and 120, the Ars-Imago Lab-box warrants a better investment over older variants such as Agfa’s antiquated offerings. Would love to hear about others’ experiences with this or something similar and as always, comments are encouraged and welcome.


The post Photography: Ars-Imago Lab-Box + Monobath Review appeared first on Japan Camera Hunter.

06 Jun 07:40

Michael Ernest Sweet

by Eyeshot Magazine
Nuno Cruz

Been a while since I saw some street work that I felt an edge to it!

The New York Photos These photographs, of New York City, aim to capture the idiosyncrasies of New York life. Many street photographers aim for the face – to capture the eyes – not me. I look for those “other things” that make us individuals. Eyes are too easy, they seduce, but to make a photograph that equally seduces without the human face, without the eyes, that’s is a real feat. As an added bonus, these images make the average viewer uncomfortable. My photographs are not easy to like and that’s how I like it.

COUNTRY | United States

BIO | Michael Ernest Sweet is a Canadian photographer and writer. He is the author of two books of street photography, The Human Fragment, and Michael Sweet’s Coney Island, both from Brooklyn Arts Press. Michael’s work has appeared in many publications including Popular Photography, Black and White Magazine, HuffPost, Photo Life, Digital Camera World, British Journal of Photography, and the legendary Evergreen Review, among others. Michael lives in New York City.


The post Michael Ernest Sweet appeared first on Eyeshot - Street Photography Magazine.

03 Jun 10:06

Amsterdam to block vacation rentals in some neighborhoods to tackle housing shortage

by Janene Pieters

Amsterdam is changing its Housing Regulations in an effort to tackle the problems in the local housing market. Some of the main changes proposed for 2020 include a quota on Bed & Breakfasts, banning holiday rentals in certain areas, giving young locals and healthcare and education staff priority for rental housing, and limiting room-based rentals to create more space for families, the city said in a press release. 

Submitted by Janene Pieters on May 29, 2019 - 14:45
03 Jun 10:05

Amsterdam homes are ‘least affordable in Europe as prices outstrip wages

by robin
Amsterdam homes are the least affordable in Europe, with buyers needing to pay 22 times the city’s residents’ average disposable...
03 Jun 10:05

Philips joins Shell in admitting it does not pay profit tax on Dutch ops

by robin
Dutch healthcare technology group Philips does not currently pay any tax on its profits booked in the Netherlands, the company...
28 May 09:58

Zeno's Pyramid

Nuno Cruz


In order to lose all your money to this scam, first you have to lose half of it. Oh and by the way you already lost half of it.
23 May 14:05

Banksy Sets Up Amongst Venice Street Vendors to Share a New Multi-Panel Painting

by Laura Staugaitis

Over the past month, the art world’s attention has been focused on the Venice Biennale, one of the most notable international shows on the planet. Many artists who are not in the invitation-only exhibition come to Venice to share their work in unaffiliated gallery shows and take advantage of the Biennale-boosted foot traffic. One such artist chose a more unorthodox setup for his Venice sideshow. Banksy (previously) joined the hordes of street vendors selling paintings to pedestrian tourists with a salon-style setup that merged several paintings together. Titled “Venice in Oil,” the multi-panel work depicts a gas-guzzling cruise ship towering over the ancient city as gondoliers in traditional dress row by.

Last week, many media outlets speculated that a stenciled artwork on a canal wall, depicting a migrant child holding up an S.O.S. flare was created by Banksy. But the British artist verifies his own work by sharing it on Instagram and his website, where the piece has yet to appear. The video below offers an on-the-ground view of the artist’s guerrilla street stall.

Update: The morning of May 24, 2019, Banksy claimed the rumored migrant child stencil in addition to his streetside setup.

22 May 08:45

This Concrete House In Osaka Forgoes Traditional Windows For The Sake Of Privacy

by Rosie Flanagan

In a city in northern Osaka, Japanese architecture studio FujiwaraMuro has designed ‘House in Toyonaka’, a building whose unique concrete form was created to counter the extremely urban position of the site that it occupies.

Read more

The post This Concrete House In Osaka Forgoes Traditional Windows For The Sake Of Privacy appeared first on IGNANT.

21 May 08:00

X-7000 FAQ

by Blake Andrews
Q: How does the X-7000 camera body compare to the X-6000?

A: The X-7000 does everything the X-6000 does, but better. 

Q: Yes, but what exactly is better or different?

A: Never mind the details, the X-7000 is a superior product in every way. Once you adopt the X-7000, little nagging questions like the one you just asked will melt away into insignificance.

Q: Can you offer any details at all?

A: The X-7000 has 20% more features than its predecessor. Some of these features involve the very nature of light itself, and its measurement. You know, quantum stuff.

Q: Will the X-7000 improve my photography?

A: Does a bear shit in the woods?

Q: The X-6000 suffered from shutter lag. Is the X-7000 better in this department?

A: Time is the universe's way of keeping everything from happening at once.  

Q: How is the X-7000 different in appearance from the X-6000?

A: The X-7000 body has been designed with fashion forward principles. Unlike the X-6000, which already looks quite dated just a few short years after its launch, the X-7000 will look damned sharp for some time into the foreseeable future, or at least until its successor hits the market.

Q: What trade-in value can I expect if I upgrade my X-6000 camera body to an X-7000?

A: The new digital economy offers fantastic opportunities and challenges.

Q: You didn't answer my last question. Does the X-6000 body carry any trade-in value?

A: The business cycle works in mysterious ways, and follows forces beyond the grasp of easy research or testing.

Q: Why does the X-7000 require me to register my personal information with your company before it will turn on? 

A: Ha Ha. Considering how much of your personal information is already floating around in the cloud, this request seems like a minor quibble to unlock all the great benefits of the X-7000. 

Q: Does the X-7000 come with any warranty against defects?

A: Yes, the warranty has 20% more features than its predecessor's warranty.

Q: What if I have doubts about upgrading to the X-7000 at this time?

A: If you want to be a pussy, let your competitors roll you in the market, and destroy all that you've worked so hard to accomplish, we suppose that is your decision to make. We can only offer a superior product. We cannot force you to adopt it.

17 May 08:15

Building Bridges: Six Sets of Reaching Arms Clasp Hands Over a Venice Waterway

by Laura Staugaitis

Photograph: David M. Benett

In 2017, one of the most talked-about works seen during the Venice Biennale was Lorenzo Quinn’s Support, which was not an official part of the iconic art fair. The sculptural installation of hands emerged from Venice’s waterways and appeared to hold up an old building. His follow-up piece to Support, which has been installed with backing from London-based Halcyon Gallery, is again not officially associated with the Biennale. Constructed with white resin, Building Bridges features six sets of reaching arms with hands clasped over a waterway, meant to represent people and cultures coming together over differences.

In an interview with the Associated Press, Quinn explained, “Humanity has never grown by creating barriers. It always grows when it opens up its borders and it welcomes new cultures. Venice is a testament to that… It has been a driving force of European growth always.” The location of the towering white appendages at a former shipyard provided viewers with multiple vantage points, and at night Building Bridges was illuminated from below. A photo gallery on Quinn’s website shows the artist at work on his large-scale sculptures, and you can follow along with his new projects on Instagram.

Rendering by Halcyon Art International

14 May 09:33

Philosophy Emergency

So actually...making people understand what they are talking about is censorship of their ignorant views. Making me read a book is censorship.
13 May 09:41

Russian photographer Dmitry Gomberg gives us a bucolic view of life in rural Georgia with his work The Shepherd’s Way

by Benjamin Pineros

Dmitry Gomberg

Photographer Dmitry Gomberg lived for five years amongst a community of shepherds in the historic region of Tusheti in northeast Georgia. Beautiful, yet unforgiving, the region is located on the northern slopes of the Greater Caucasus Mountains, a world frozen in time, trapped between the ways of the Soviet Union and the new socio-economic conditions that came with its dissolution.

Each year, the shepherds go through an exceptional journey leading their massive flock from the winter fields to the mountains in order to ensure the animals’ survival.

The odyssey is one of many dangers, ridden with predators, treacherous rocky slopes and extreme temperatures. It’s an arduous excursion that claims the lives of many sheep and men alike.

Throughout pictures of dreamlike landscapes and candid stills of mundane life, Gomberg has managed to paint the relentless and inevitable cycle of life and death. His portraits offer us an intimate, almost voyeuristic view into a unique community that exists in century-old tradition amidst a modern world.

“The Shepherd’s Way” is a lush work that invites us to draw the parallels between this rustic lifestyle and our own way of living.

I understand you picked up photography when you were already an adult in your mid-20s. What were you doing before that point in your life, and what made you pursue an artistic career?
“Yes, I was 24 when I picked up the camera for the first time. I was studying Hydrogeology at Moscow State University. Then I moved to New York, where I tried different jobs. My first camera was given to me by my boss in the Czech Republic where I went to work as a hydrogeologist for a few months. He told me he felt I was bored, and gave me his old camera. I loved it from the beginning.”

Dmitry Gomberg

Are there any photographers in particular that have influenced your style?
“In the beginning, I was fascinated by Josef Saudek, afterward by Josef Koudelka. Not only for their style in photography but their way of living. Both of them are Czech. I am also a big fan of American photographer Ken Schles, Brazilian Sebastião Salgado – I think he is a great person – and Roger Ballen.”

Dmitry Gomberg

Dmitry Gomberg

What gear did you use to make “The Shepherd’s Way”? What were the technical challenges you faced working in rural Georgia?
“In the beginning, I had an old Nikon FM2 camera with two lenses: 50mm and 24mm. With that camera, I had no challenges. It worked in the snow and under the rain, a really strong camera. The only challenge was to carry all that film around, and where to buy it when I ran out. In the end, my relatives bought me a Leica M6 with a 35mm lens as a birthday gift. The camera is not as strong, but I love it for many reasons.”

Do you think the lives of these communities have changed for the better after the collapse of the Soviet Union and the increasing process of Westernization of Georgia?
“This is a tough question. What I will tell you is my personal opinion. They lived a better life, and the community was in better shape during the Soviet Union than now. But at the same time the Soviet Union killed the progress, many farmers lost their love for the land. Love for cheesemaking.

“They were eating meat every day during Soviet time, just because sheep “accidentally” died from diseases and so on. Now when they owe it, that can’t behave the same way.

“Also, Tusheti is very close to Chechnya. Now the border closed their relationship. The 90s were also very tough times with bandits and so on. Shepherds used to hire a truck full of soldiers to accompany them. Anyway, the point is that the Soviet Union destroyed farming in general and now it’s very tough to get back on track. The tourism increasing rapidly in the last years and it brings new challenges for the region and its people.”

View this post on Instagram

Табор уходит в небо. The road through “Siberia”, the coldest part of the whole journey to Tusheti, Georgia. ………………………………………………………………… From “The Shepherds Way Series” 2008 -2012. Alvani Chapter. PM for prints. Photo by @dmitrygomberg #georgia #dmitrygomberg #documentaryphotography #lensculture #filmphotography #photography #nikon #somewheremagazine #fishyelemag #35mm #analog #filmphotographic #heyfsc #myfeatureshoot #life_is_street #lensonstreet #streets_storytelling #35mmstreetphotography #nycspc #myspc #hartcollective #burndiary #ourstreets #life_is_street #apfmagazivne #millenium_images #capturestreets #hikaricreative #atlantecollective

A post shared by Dmitry Gomberg (@dmitrygomberg) on

How was a typical day making “The Shepherd’s Way”? How did you sustain yourself financially while working on the project?
“It depends on the situation; whether we were on the road or not. But typically I woke up at 4am, the same as other shepherds. On the road, I was helping guys to look for sheep or horses and I was taking pictures whenever I could. When we were not moving, I was taking pictures in the morning and in the evening.

“During the day, I was walking around, writing or talking to someone. On the road, we woke up at 4am, there were two guys with horses, they would take care of the camp. In between the seasons, I would fly to Russia to take some portraits for money. That was my source of income.”

What is the target audience for “The Shepherd’s Way”?
“Well, I never thought about it. I am, and was, doing it for myself.”

You initially planned to self-publish your book via Blurb, but now you’ve decided to go with a publisher. Can you tell us about this process and why you chose to go with a publishing house?
“Yes, I made a couple of Blurb copies just for myself and my family. I was going to do more for those of my close friends and relatives, who will have an interest in it. But now, as I get some attention from the public through Instagram and Facebook, I’ve decided to do the book properly.”

Dmitry Gomberg

Now that you’re back in New York, is there anything you miss from life in Georgia?
“Actually, right now, I’m back in Georgia. I’ve been here for two months. I still remember the feeling when I was standing on the fire escape in the printing place in New York. It was in midtown and around me were skyscrapers, and I thought: if one of my shepherds would be here with me, he would think that he traveled in time, or to another planet.

“In New York, I missed my friends, and the feeling I get in Georgia. In Georgia, I miss my New York friends, my relatives and the feeling I have in New York.

“I don’t think I will ever settle.”

Dmitry Gomberg

To you, what makes a ‘good’ photograph?
“Another hard question. For me, a good photograph is when feeling, geometry, and color (when it’s a color photograph) all come together. When is just a composition, when I don’t feel any emotions from the photograph, then I don’t like it.”

What is the easiest way for the public to acquire your book?
“Through my Facebook (@Dima Gomberg) and Instagram (@dmitrygomberg). I am also planning to start a Kickstarter soon.”

Dmitry Gomberg

The post Russian photographer Dmitry Gomberg gives us a bucolic view of life in rural Georgia with his work The Shepherd’s Way appeared first on Feature Shoot.

09 May 09:15

Vincent Fournier Humanizes Technology In A Series That Documents Robots

by Rosie Flanagan

The work of French artist Vincent Fournier plays on ideas of utopian futures, blurring the lines between fiction and reality to present the series ‘The Man Machine’.

Read more

The post Vincent Fournier Humanizes Technology In A Series That Documents Robots appeared first on IGNANT.

08 May 09:41

Sacred Spaces: The Grand Interiors of Modern Churches Across Europe and Japan by Thibaud Poirier

by Kate Sierzputowski
Kirche am Hohenzollernplatz, Berlin, Germany - Johann Freidrich Höger, 1933, all images via Thibaud Poirier

Kirche am Hohenzollernplatz, Berlin, Germany – Johann Freidrich Höger, 1933, all images via Thibaud Poirier

Thibaud Poirier (previously) travels the world photographing the architectural spaces that surround us as we live, sleep, study, and pray. In his most recent series, the French photographer captured the interiors of 29 modern churches across Germany, The Netherlands, France, Denmark, and Japan to see how each city has designed structures of worship within the last century. In Sacred Spaces, Poirier uses the same focal point in each image. The stylistic choice makes it easier to compare the similarities of basic structures such as seating and pulpit placement, while contrasting the differences in interior design choices such as lighting and color palettes. You can see more modern churches from the series on his website, Instagram, and Behance.

Saint Moritz, Augsburg, Germany - John Pawson, 2013

Saint Moritz, Augsburg, Germany – John Pawson, 2013

Resurrection of Christ, Köln, Germany - Gottfried Böhm, 1957

Resurrection of Christ, Köln, Germany – Gottfried Böhm, 1957

Grundtvigs Kirke, Copenhagen, Denmark - Peder Vilhelm Jensen-Klint, 1927

Grundtvigs Kirke, Copenhagen, Denmark – Peder Vilhelm Jensen-Klint, 1927

Opstandingskerk, Amsterdam - Marius Duintjer, 1956

Opstandingskerk, Amsterdam – Marius Duintjer, 1956

Kapelle, Berlin, Germany - Axel Schultes and Charlotte Frank, 1999

Kapelle, Berlin, Germany – Axel Schultes and Charlotte Frank, 1999

Saint Joseph, Le Havre, France - Auguste Perret, 1956

Saint Joseph, Le Havre, France – Auguste Perret, 1956

Saint Anselm's Meguro, Tokyo, Japan - Antonin Raymond, 1954

Saint Anselm’s Meguro, Tokyo, Japan – Antonin Raymond, 1954

Notre dame du Chêne, Viroflay, France - Louis, Luc and Thierry Sainsaulieu, 1966

Notre dame du Chêne, Viroflay, France – Louis, Luc and Thierry Sainsaulieu, 1966

Saint Mary's Cathedral, Tokyo, Japan - Kenzo Tange, 1964

Saint Mary’s Cathedral, Tokyo, Japan – Kenzo Tange, 1964

30 Apr 14:45

Meinong's Jungle and the Quest for the Married Bachelor

Turns out that there are actually a ton of married bachelors.
16 Apr 08:33

Text Entry

I like to think that somewhere out there, there's someone whose personal quest is lobbying TV providers to add an option to switch their on-screen keyboards to Dvorak.
15 Apr 07:51

The Wilds Of Scotland Captured Through The Gentle Lens Of Murray Orr

by Rosie Flanagan

Edinburgh-based photographer Murray Orr shows us the gentle side of Scotland’s wild through his lens; capturing its vast moors and magnificent Munros alongside its townships and the faces of both the animals and people who live there.

Read more

The post The Wilds Of Scotland Captured Through The Gentle Lens Of Murray Orr appeared first on IGNANT.

08 Apr 08:03

Black Bodies Painted and Photographed Like the Cosmos by Mikael Owunna

by Andrew LaSane

Infinite Essence: “James” (2018) All images courtesy of Mikael Owunna

Mikael Chukwuma Owunna, a queer Nigerian-Swedish artist raised in Pittsburgh, has spent the past two and a half years photographing Black men and women for a series titled Infinite Essence. Hand-painted using fluorescent paints and photographed in complete darkness, Owunna’s subjects are illuminated by a flash outfitted with a UV filter, which turns their nude bodies into glowing celestial figures.

Owunna tells Colossal that the series was his response to the frequent images and videos of Black people being killed by those sworn to protect them: the police. The photographer’s friends, family members, dancers, and one person he connected with on Instagram serve as models for the project, which is named after an idea from his Igbo heritage. “All of our individual spirits are just one ray of the infinite essence of the sun,” Owunna explains. “By transcending the visible spectrum, I work to illuminate a world beyond our visible structures of racism, sexism, homophobia and transphobia where the black body is free.”

Infinite Essence: “Uche” (2019)

Having struggled with his own body image (and with his identity as a gay African man, which has inspired his previous work), Owunna says that the response to the project has been powerful, both from the public and from the models. “One of the models, Emem, broke down in tears looking at their pictures saying that they had always dreamed of seeing their body adorned with stars and that these images were beyond their wildest imagination,” he said. “They then told me – ‘every black person deserves to see themselves in this way’ and how the experience was life-altering for them.”

After seeing Owunna’s work via an NPR feature, a 60-year-old Black woman told the photographer, “I’ve hated my body all my life, but–for a glorious instant–that photo made me feel good about it.”

To see more of Mikael Owunna’s work and to be informed about his upcoming lectures and exhibitions, follow the artist on Instagram and Twitter.

Infinite Essence: “Sam” (2018)

Infinite Essence: “Sam” (2018)

Infinite Essence: “Sam” (2018)

Infinite Essence: “Sam” (2018)

Infinite Essence: “Kinya” (2017)

Infinite Essence: “Emem” (2018)

Infinite Essence: “Emem” (2018)

27 Mar 11:49

Nadav Kander Photographs The Yangtze River, A Watercourse Under Major Threat

by Stephanie Wade

Intrigued by China’s rapid economic progress that is ostensibly at odds with its deep-rooted sense of tradition, Israeli photographer Nadav Kander set out to create ‘Yangtze, The Long River’: a photographic series depicting the fast-changing landscape of Asia’s longest river.

Read more

The post Nadav Kander Photographs The Yangtze River, A Watercourse Under Major Threat appeared first on IGNANT.

21 Mar 09:02

Europe’s First Underwater Restaurant Doubles as a Marine Research Center

by Kate Sierzputowski

At Under, a new restaurant completed by architecture and design firm Snøhetta (previously), splashes of aquamarine light dance across tabletops and dishes. This greenish blue hue is emitted from a portal at the front of the space that, as its name suggests, peers underwater and into the depths of the North Sea. The half-sunken restaurant is located at the southernmost tip of Norway, with one side of the structure built into the coastline, and the other resting against the seabed.

Snøhetta Founder and Architect, Kjetil Trædal Thorsen explains that the new building “challenges what determines a person’s physical placement in their environment.” In this building,” he continues, “you may find yourself under water, over the seabed, between land and sea. This will offer you new perspectives and ways of seeing the world, both beyond and beneath the waterline.”

In addition to serving as a restaurant, the submerged building also functions as a marine research center. Interdisciplinary research teams will be invited to study the surrounding the biodiversity found along the southern coast, with the goal of building a machine learning tool that will monitor and track the species at regular intervals. Under’s design was also planned with these populations in mind. The building was built to function as an artificial coral reef, and will become integrated into the sea as limpets, kelp, and other underwater life begin to grow from its concrete shell.

The underwater restaurant opens for its first service today, and will seat 35-40 guests nightly. You can see more images from the new restaurant and learn about its menu on their website. (via Dezeen)

18 Mar 11:52

A Brutalist Home Set Amongst The Tropical Landscape Of Bali

by Rosie Flanagan

On the south coast of Bali, architecture studio Patisandhika and designer Dan Mitchell have completed a brutalist concrete home nestled amongst the rice fields.

Read more

The post A Brutalist Home Set Amongst The Tropical Landscape Of Bali appeared first on IGNANT.

26 Feb 10:08

Blue and White Greenhouse Illustrations Appear like Sun-Baked Cyanotypes

by Kate Sierzputowski

Portuguese artist Ana Frois uses her background in architecture to draft precise structures she fills with imaginative monochrome plants and miniature gardening accessories. The series, simply titled Greenhouses, is created with white pencil on top of deep blue acrylic on paper. The ghostly forms are reminiscent of a cyanotype or faded architectural sketch, as if the clean-cut floating renderings are memories from another time. You can find more of Frois’s drawings on Instagram, and purchase prints of her work on Etsy.

14 Feb 10:53

Opportunity Rover

Thanks for bringing us along.
07 Feb 08:33

Dream Worlds Imagined in Contorted Clay Portraits by Johnson Tsang

by Laura Staugaitis


Johnson Tsang (previously) continues to create spectacularly emotive ceramic sculptures of the human face. The Hong Kong-based artist’s latest series, Lucid Dream II, features surreal contortions that squish, wring, melt, and stretch. Titles like “Remembrance,” “Extrication,” and “Unveiled” suggest an exploration of the liminal space between the conscious and subconscious, in addition to the self and other. Tsang uses plain, unglazed clay, eschewing typical lifelike details such as color, hair, and apparel, to focus the viewer’s attention on the universally-relatable expressions of each of his imagined subjects. You can see more of the sculptor’s completed and in-progress work on Instagram and Facebook.

“Here and There”

“Here and There” detail

“Work in Progress”

“Under the Skin”

“Love in Progress”

“Falling in Love”


“Lawful Custody”


04 Feb 10:31

Ruairidh McGlynn Photographs The Scottish Wild In Emerging Land

by Rosie Flanagan

When he picked up a camera in 2013 in preparation for a hike, Ruairidh McGlynn saw the world anew—and ever since, the Scottish photographer has been training his lens on the remote and beautiful parts of his homeland.

Read more

The post Ruairidh McGlynn Photographs The Scottish Wild In Emerging Land appeared first on IGNANT.

29 Jan 14:10

Photography Zines and Books No: 40

by Michael Nguyen

Photography Zines and Books No: 40

Yeet, it has been quite a while. Finally we’ve had a moment to run through some of the pile of zines that make their way to JCH HQ. It always puts a smile on my face seeing the passion and care that goes in everyone’s work and I hope to be able to share with more frequency but for now here’s the latest batch.

I never get tired of seeing great new work and sharing it with all of you. But I need you all to keep on sending them in. Keep them coming by following this link.
I love all of the books and zines and they are all proudly displayed on the shelves in my office.

What was Golden Went Grey by Jake Ricker

Street photographer extraordinaire Jake Ricker gives us What Was Golden Went Grey, a zine focused on the Tubbs Fire in the Coffey Park neighborhood of Santa Rosa, CA. The Tubbs Fire is the most destructive fire in California history burning 36,807 acres, destroyed 5,643 structures, and killed 22 people. The destruction spread over 57 square miles and caused over a billion dollars in damages.

He focused the images within a square mile of Coffey Park in Santa Rosa, one of the harder hit areas by the massive flames. These photos were taken between the early afternoon of Monday October 9th and the evening of the Tuesday October 17th, 2017. All photos were taken on 35mm film.

The sheer destruction and havoc wreaked reminded me very much of visiting Fukushima after the earthquake and tsunami of 2011. I love how we start off with warmer-toned color photos that subtly get cooler in tone then melds into the black and white images at the end of the zine. What was golden went grey indeed.

The zine is 9×6 in size and every zine comes with a 4×6 print pack with 5 signed prints. All zines are also signed & numbered.

For more info about the zine :

Jake Ricker Website

Jake Ricker Instagram

Dispatch vol.1 by Brent Kollock

Brent Kollock in his latest 82 page zine gives us two photos essays of typical and quintessentially western Mexican traditions. The first of these follows the Charreada, traditional Mexican rodeo, and the Charro cowboys. These photographs in the first essay were taken in Jalisco, Mexico from January thru March of 2018.

All photos are black and white and filled with dramatic action shots as can be seen above. The matte printing adds a nice rawness and edge to the images as well.

The second essay gives us a glimpse of small town carnivals revolving around festival days in western Mexico. Photographed in Jalisco and Nayarit between 2017 and 2018, one can sense the quaint old-school feel to these major community events. Nostalgia for me has always straddled a strange fine line between fondness and sadness and these images evoke the same feeling.

All images have a corresponding number to their lower right and can be ordered as archival prints. You can pick your copy up at

Brent Kollock Website

Brent Kollock Instagram

Records of Taean by Jackson Hung

Records of Taean is collection of individual photos that Jackson Hung took during his two year stay in Taean, Chungcheongnam-do, Republic of Korea. It was an ideal locale for him when teaching in Korea, being able to explore the beaches, coastline and life in such smaller villages.

Being a once a teacher myself, albeit in Japan, I can feel real close to the details and scenes that caught his eye and decided to capture. Nothing overly dramatic or flashy, just subtle scenes that capture the spirit of a small coastal town.

You can check out the rest of the book here:


Tokyo Eye by Luca Sidro

Luca Sidro is an emerging Italian photographer based in Milan that won the Special Prize at Fotoleggendo 2012 and in 2017 he was recognised by the Magnum Photos Agency with an award for a single image at the RATP Paris competition. This image appears in Tokyo Eye.

Tokyo Eye is a series of photos taken on the streets of Tokyo and the everyday details of the city are illuminated and the beauty within them is revealed here.

Beautifully printed, the colors radiate like a Wong Kar Wai film. The zine is packed with bold lines and wonderful graphic elements. It has given me a new appreciation for little textural details that I just walk by everyday in Tokyo.

You can pick up your copy at:


Luca Sidro Instagram

Thanks to all the guests for their submissions, it is a really cool thing to be able to share them all with you. And remember, this is open to everyone, all you need to do is send one to me. If you would like to have your zines or books featured then all you have to do is mail me. Hopefully there will be plenty more of you who want to get your books and zines out there to the world. Another installment will be coming soon.


The post Photography Zines and Books No: 40 appeared first on Japan Camera Hunter.

29 Dec 19:03

Kirie Octopus Cut From a Single Piece of Paper by Masayo Fukuda

by Laura Staugaitis

Kirie (切り絵, literally ‘cut picture’) is the Japanese art of paper-cutting. Variations of kirie can be found in cultures around the world but the Japanese version is said to be derived from religious ceremonies and can be traced back to around the AD 700s. In its most conventional form, negative space is cut from a single sheet of white paper and then contrasted against a black background to reveal a rendering. Veteran kirie artist Masayo Fukuda (previously) has been practicing the art form for 25 years and recently revealed what she says is her greatest masterpiece of 2018.

Although the intricate piece looks like several layers overlapped, Fukuda stayed true to the conventional form, using only a single sheet of paper to render her detailed depiction of an octopus. The level of detail at times even looks like a fine ballpoint pen drawing. But a closer look confirms indeed that each and every detail is carefully made from cut-out negative space in the white paper.

If you’re interested in Fukuda’s work, she’ll be showcasing her kirie in a joint exhibition planned for next year. She’ll be showing her work along with fellow kirie artist Jun at Miraie Gallery in Osaka from April 24 – April 30, 2019. (Syndicated from Spoon & Tamago)

29 Dec 19:03

Watch a Conservator Delicately Remove Murky Varnish and a Warped Wooden Panel From an Aging Painting

by Kate Sierzputowski
Nuno Cruz

So soothing.

Julian Baumgartner, of Baumgartner Fine Art Restoration in Chicago, condenses over 40 hours of delicate swiping, scraping, and paint retouching into a 11.5 minute narrated video of a recent conservation project. Baumgartner walks the audience through his restoration of The Assassination of Archimedes, which involved cleaning a darkened varnish from the surface of the piece, removing the work from its original wooden panel using both modern and traditional techniques, mounting the thin paper-based painting to acid-free board, and finally touching up small areas that had become worn over the years. You can watch the entire process in the video above, and learn about Baumgartner’s other conservation projects on Instagram and Youtube.

29 Dec 18:56

John Anthony · Causeway Bay, Hong Kong

by Stephanie Wade

Along Hong Kong’s luxury Causeway Bay strip, Shanghai and Hong Kong-based architecture studio Linehouse has designed ‘John Anthony’: a contemporary, colorful dim sum restaurant that is part Chinese canteen, and part British tea hall.

Read more

The post John Anthony · Causeway Bay, Hong Kong appeared first on IGNANT.

29 Dec 18:56

Google Builds a Digital Reproduction of the National Museum of Brazil After its Tragic Destruction

by Kate Sierzputowski
The 13-meter long Titanosaurus

The 13-meter long Titanosaurus

Following a devastating fire this September, Google has released a virtual tour of the National Museum of Brazil, the country’s oldest natural history institution. The digital recreation is presented by Museum View (which uses the same functionality as Google Street View), and allows visitors to explore the institution’s key artifacts as they were displayed before this year’s tragic destruction. The online tour includes a view of Luzia (the oldest skeleton found in the Americas), 3000-year-old Brazilian ceramics, a collection of butterflies and moths currently under threat for extinction, and the museum’s mummified cat.

It’s estimated that the museum lost up to 92.5 percent of its 20 million artifacts in the fire—global relics, pottery, and animal specimens that had been collected by the institution since its founding in 1818. Its digital remains are the result of a collaborative project between the museum and Google, which began in 2016. Despite the horrific loss, the museum’s director Alexander Kellner expresses strength and hope for the institution’s future in a letter in Google’s Arts and Culture section. “It is important to stress that the National Museum, despite having lost a significant part of its collection, has not lost its ability to generate knowledge!”

You can view the full digital archive of the museum in Google’s virtual tour, and learn more about the museum’s history in Kellner’s full letter.  You can view a preview of the collections’s highlights in the video below. (via Artsy)

3000-year-old Brazilian ceramics

3000-year-old Brazilian ceramics

The virtual tour of the National Museum of Brazil on Google.

The virtual tour of the National Museum of Brazil on Google.

One of the largest meteorites in the world

One of the largest meteorites in the world