In a limited edition of 12 new sculptures created in a unique three part collaboration, weeping women mourn a decomposing figure. The cast white figures, partially collapsed in a kneeling pose, embrace amorphous forms that ooze and drip. Countering the somber tone of each sculpture, colorful coral and mushroom-like shapes grow from the decomposition, uniting life and death and forging new growth from the loss.

To create this body of work, sculptor Stéphanie Kilgast (previously) partnered with illustrator Miles Johnston (previously) who conceptualized the base sculpture, and multi-disciplinary production facilitator MoonCrane Press who created the cast.

In a statement on the collaborative project, Kilgast explained that “I added life with my mushrooms, because, whatever happens, life always keeps going. Even if it’s just on a bacterial level. Another way of seeing this sculpture is to see the woman crying not over a human being but over the 6th mass extinction of nature that is currently happening.”

The series is sold out, but you can explore more of Kilgast, Johnston, and MoonCrane on their Instagram profiles.

Black Hole

Hello darkness, Trent Parke

Hump day, Cristina Coral (because)

Geometry, Reuben Wu

“We can rebuild him”

A sinuous new gallery and bridge reaches across the Randselva River in Jevnaker, Norway. Designed by Bjarke Ingels Group (BIG), the aluminum-clad structure joins north and south river fronts on the campus of Kistefos Sculpture Park. 15,000 square feet of space allows visitors to explore Kistefos’s large art collection while also taking in the surrounding landscape through floor-to-ceiling windows. The Twist opened to the public on September 18th, with an exhibition featuring the work of conceptual artist Martin Creed and painter Howard Hodgkin. Kistefos Sculpture Park has  ticketed admission, which includes entry to The Twist, and is open seasonally from the end of May to mid-November. (via Design Milk)

Swamp thing, Benjamin Dimmitt

David Payr for The New York Times


David Payr for The New York Times


David Payr for The New York Times

The world’s most popular sport

Alex Jay Brady

Get extra inspiration on our Facebook page!

Dawid Planeta

Check our archive for the eye candies of the last 10 years!

The truth is out there, Reuben Wu

Turning the courtyard of The Louvre Museum into a massive optical illusion with the help of 400 volunteers and thousands of strips of paper; what lies below? Violaine & Jeremy

After traveling to 15 cities in 7 countries and taking over 15,000 photographs, Christopher Herwig (previously) has compiled a new book that showcases the diverse architecture of every underground metro station in the former U.S.S.R. Soviet Metro Stations provides rare look at mansion-quality chandeliers, ornate columns, and patterned ceilings that surround millions of commuters every day.

With a background in travel photography and documentary work for UNICEF and other United Nations agencies, Herwig was first introduced to the region while traveling through Russia via train. He later lived in Kazakhstan and most recently Jordan, where he continued to work professionally as a photographer.

Herwig explains that he became interested in the underground architecture of the stations while visiting Moscow and Tashkent. Because many of the metro stations were used as nuclear bomb shelters, they were considered military sites and photographing them was prohibited. “Although I likely could have gotten away with a few images I really wanted to do the series properly and cover all the cities in the former USSR with metro lines not just a few flashy ones in Moscow,” he told Colossal. “With restriction being lifted in many of the cities it meant I could have a go at it.”

Herwig’s images take viewers on a journey through the architectural and political influences of decades pasts. Soviet-era symbols, relief sculptures of significant events and figures, and displays of opulence cover every square meter of the well-maintained subterranean spaces. Often making early morning and late night trips into the stations, Herwig says that many of the otherwise busy hubs appear to be abandoned because of his goal to “use people with purpose and not to distract from the space and design of the stations.”

Soviet Metro Stations, published by FUEL, lands on September 24 and is available for pre-order today via Amazon. To see more of Christopher Herwig’s photography, follow along with his travels on Instagram.

Tales of brave Ulysses, John Goldblatt

As part of the 2019 London Design Festival, Paul Cocksedge’s ‘Please Be Seated’ has taken over Finsbury Avenue Square in the city’s Broadgate neighborhood. The undulating sculpture is comprised of concentric wooden circles that ribbon up and down to create functional spaces to socialize, rest, and walk through. Cocksedge collaborated with White & White to fabricate the massive steel and upcycled scaffolding wood installation, which the designer described as “walk[ing] the line between a craft object and a design solution. It occupies the square without blocking it.”

With Joana Pinho, Cocksedge co-founded his namesake Studio in 2004. In a statement on their website, the Studio shares their design philosophy: “The key feature of the Studio’s work, in everything from product design to architectural projects, is a focus on simplicity and imagination in order to create unique people-centered designs.” Explore more of the Cocksedge Studio portfolio on their website, and if you enjoy this piece, also check out Yong Ju Lee’s Root Bench, which was installed in South Korea. (via designboom)

A cabin in the woods

Climate Change Covers

The world we once knew, Athanasius Kircher

120 NOT 120mm film

We in the film photography business are all in this uphill battle together, marching and battling for every square inch of real estate on that photographic knoll to promote and preserve the labor of love that is shooting film. While the surge in interest in film is an encouraging trend, erroneous hashtags and misinformation are not.

Rummage through social media today and you’ll find film photographs and gear shots tagged as 120mm or 120mm film. Even legit photographic businesses are not innocent in exacerbating this falsity. There is no such thing as 120mm film.

I have no idea how this trend even started but like a good old wives’ tale, fallacies become truth when enough people hop on the bandwagon. Makes me want to yank my hair out. But if i pull out a grey hair two more will appear in its place.

Fact Check

I can perhaps comprehend the confusion as 135 film is indeed 35mm wide. But in that case, shouldn’t 120 rolls be only 20mm wide? Is it just because us Yanks don’t get the metric system? Or has critical thinking just gone by the wayside and we accept everything we read from others?

The fact of the matter is 120 film is roughly 61 mm (2.4 in.) wide and the length is nominally between 820 mm (32 in.) and 850 mm (33 in.) according to the ISO 732:2000 standard.

While I’d love to believe there’s some Alex Jones-esque illuminati back story contributing the number 120 to the Knights Templar, unfortunately it was merely a numbering system Kodak implemented to keep track of all the film formats they manufactured. There were many types of film since they were specific to different cameras back then so they needed to simplify their film ordering system.

So Kodak decided that the daylight-loading roll films on flanged spools would be numbered in the order of introduction, starting with the first Kodak film of this type introduced with the No. 2 Bullet camera in 1895 as number 101. Of all the medium format roll types that Kodak produced, only number 120 survived the test of time and is the only medium format film still being produced today.

Conclusion

Forgive me for believing that pushing personal agendas should never take precedence over facts. It just seems more in this day and age than ever that rhetoric and hype trumps accuracy and reality. The dangers of misinformation should be apparent to us by now.

Shoot film because you love it, not to be “cool” or “trendy”. I’ve seen all sorts of photos tagged with “120mm film” while also tagging a 35mm film camera, film tags on digital cameras, artificial borders, etc.

*Note- It was pointed out that there was indeed a Kodak Portra 400BW, though it should have “400BW” printed on the film edge. Case in point.

It seems I am not the only one thinking about this:

https://emulsive.org/articles/rants-theres-no-such-thing-as-120mm-film

https://120not120mm.com/

www.35mmc.com/18/09/2019/120not120mm

https://twitter.com/120NOT120MM

C’mon folks, we can do better. Is too much to ask to check yourself before you wreck yourself? Am I just a pedantic whiner? As always, relevant thoughts and comments are welcome.

#120NOT120MM

Stop the rot

MN

The post 120 NOT 120mm film appeared first on Japan Camera Hunter.

Let’s be as clear as possible: there is no such thing as “120mm film”. Medium format roll film for cameras like Hasselblads, Rolleiflexes and Pentax 67s, is called “120”. That simple ~120-year-old designation is all you ever need to use. This isn’t going to be a big revelation to many of you but we’ve come […]

The article RANTS: There’s no such thing as 120mm film… first appeared on EMULSIVE.org.

Vacuum-sealed, Haruhiko Kawaguchi

Follow us for more! twt, fb, pin

The Inventories of Emergency Services from All Over The World

Take your time, Néle Azevedo

Etam Cru

The photography of Gab Bois

Bea Crespo

Lidia Cao

Sunga Park

REUTERS/Yiannis Kourtoglou


REUTERS/Luis Cortes


REUTERS/Tyrone Siu


REUTERS/Ricardo Moraes


REUTERS/Tyrone Siu


REUTERS/Stephane Mahe


REUTERS/Willy Kurniawan

Something happening somewhere