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27 May 11:37

Interview with Ranita Roy

by Eleonore Simon

WHO? 

I was born in Andul, a small town near Kolkata, India. I still live here with my family. I grew up with a great interest in art. I love to document my observation and feeling and show the different moments and moods of life.

My traditional upbringing meant I had been expected to marry and have children after leaving school, but I explained to my parents it wasn’t my destiny.
I completed a Master’s degree in Environmental Science (2019). Also gained advance knowledge in narrative photography from National Geographic Photo Camp, Foundry Photojournalism Workshop, TAPSA, Sohrab Hura’s workshop. In 2019 participated at 7th annual New York Portfolio Review organized by The New York Times. In 2019, I joined Reuters as a photojournalist. In 2020 participated in Reuters Hostile Environment Training program in Jakarta.

My work has been published in various media publications including Reuters, The Washington Post Magazine, The New York Times, BBC, The Guardian, The National (UAE), The Economic Times, Hindustan Times, Feature Shoot, etc. I have won numerous scholarships including the Scholarship to attend the Foundry Photojournalism Workshop, Timothy Allen Photography Scholarship Award 2018 and VII Academy scholarship for Finding your visual voice workshop-New York (2019). I got nominated for Joop Swart Masterclass 2020. My work has been recognized in various National and International platforms including UNESCO (Climate change). I received the 7th National Photography Award (India), an Honorable Mention in Marilyn Stafford FotoReportage Award and I was a top 10 finalist of the International Women Photographer Award 2017.

WHAT?

I am always drawn to mystery…and something beyond realism. I love the mix with real world and feelings…I care about intimate moments and love to capture that with my camera.

I think whatever whenever I am photographing , “I am capturing my feelings and creating my own soul portrait with each of my photographs.” All my photographs are all about what I believe in.

WHERE?

I love to capture everything around me. I shoot my daily life where ever I am.

I like to capture my hometown Andul and my family life for intimate moments and just as a reminder where I came from.

For street I love places like Kolkata, Varanasi, North Bengal, New York. When I think of nature I always go to North Bengal and West Bengal’s rural villages.

WHEN?

It wouldn’t be until 2015 that I fell in love with photography. It was during a hard time in my life. I was battling with severe depression and inadvertently found myself coping with my camera.

From 2015 to now I think my photographic voice is changing with the time and circumstances.

I started photography in my hometown Andul in 2014 with a compact camera. Everyday early morning and evening I was out for shoot, that time I like to shoot nature.

From 2015 I developed my interest in street photography, and I think street photography create the base in my photographic style. I love to shoot in street because its all about expect the unexpected.

In 2016 I was in home, only with my grandma, my parents they went for a vacation. That’s the first time I started noticing my grandma and her lifestyle. I spent the time with my grandma and started photographic her in a very intimate moments…that time I unfold the power of storytelling.

When I find something interesting, I captured that moment immediately. I shoot daily.

WHY?

“Photography is a kind of meditation for me.”

Through this medium of art, I express myself and remain good. When I look through my camera it feels I am completely living on that moment like a true meditation…where your body and soul in a single alignment.

The post Interview with Ranita Roy appeared first on UP Photographers.

27 May 11:34

Her comes Summer

27 May 11:34

Jigsaw puzzle, Pejac






@martin_plana

Jigsaw puzzle, Pejac

27 May 11:34

Green light, Thu Berchs

27 May 11:34

Deep-Sea Exploration in the Ningaloo Canyons Unveils Gripping Footage of Undiscovered Aquatic Life

by Grace Ebert

Plunge into the serene depths of the Indian Ocean through new 4K footage from the Schmidt Ocean Institute’s recent dive into the Ningaloo Canyons off the western coast of Australia. Previously unseen by researchers, the exploration captures aquatic life and swaths of the seafloor that have gone unexplored for years. Spanning 180 hours in total, the underwater adventure led to the discovery of more than 30 new aquatic species, in addition to the longest animal ever recorded. A member of the Apolemia genus, the record-breaking organism reaches an unprecedented 154 feet.

The humanless dive used the ROV Sebastian, a robotic underwater vehicle that can bear the pressure of 14,750 feet below water for lengthy durations, far more than people are capable of. See more of the institute’s mesmerizing videos on YouTube and find an extensive collection of deep-sea footage on its site. (via PetaPixel)

 

27 May 11:19

Surreal Fine-Lined Tattoos Inspired by Scientific and Strange Subjects

by Sara Barnes

Surreal Fine-Lined Tattoos Inspired by Scientific and Strange Subjects

Tattoo Idea by Michele Volpi

Tattooist Michele Volpi creates surreal body art crafted from finely inked details. Devoid of color, his delicate drawing style is the focal point of his work. His technique of choice is called dotwork, in which tiny dots comprise the images. Paired with thin lines, he depicts famous works of art, vintage-inspired diagrams, and the insides of the human body.

Volpi has always had an interest in art, even as he attended a technical school—he was always drawing. “My desire for ‘fingers in many pies’ brought me to find a way to exercise my passion,” he tells My Modern Met. After receiving a tattoo starter kit from a friend, he fell in love with this facet of art and persevered through the challenging times that come from learning something new. “It was a hard path to go but I really wanted it,” he recalls.

“At the beginning, after trying many techniques of drawing, the dotwork and linework were two of my favorites, so much so that I started to make sketches using them.” Inspired by geometry, nature, the strange as well as the scientific, the evolution of Volpi’s work never stops. “I like to push myself every day finding inspiration from all around me and trying to go beyond the shallow in what I see.”

Tattooist Michele Volpi creates surreal dotwork tattoos inspired by geometric, nature, as well as the strange and scientific.

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My Modern Met granted permission to feature photos by Michele Volpi.

Related Articles:

Split Symmetrical Animal Tattoos Are Amazingly Inked on Separate Limbs

Ingeniously Articulated Tattoos Require Bending to See the Full Image

Beautiful Tattoos Look Like Sketches Inspired by Geometric Symbols and Old Engravings

READ: Surreal Fine-Lined Tattoos Inspired by Scientific and Strange Subjects

27 May 11:19

Aundre Larrow

by Kat Kiernan
27 May 11:17

Arts & Architecture, Nvard Yerkanian

27 May 11:08

She wore it well

25 May 12:23

Cinematographic eye of the Dutch street photographer: An interview with Joep Hijwegen

by Info Artibooks
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Joep Hijwegen (b. 1994) is a street photographer from the Netherlands. He also a founder of 'Beyond the Digital’ magazine that aims to bring a great selection of contemporary street photographers out of the digital sphere and into the world of print. Hijwegen is a GUP New photography talent 2020 and also, Haute Photographie Talent 2020. The photographer’s main inspirations are literature, especially existentialist philosophy and fiction, music and cinema. His unique vision shows that nostalgia, love, mystery and terror, the things we usually seek in cinema or recreations of reality, can also be found in everyday life.

ARTIBOOKS invited Joep Hijwegen for a chat which resulted in this inspiring interview.

1. How did your passion for street photography start? 

It started photographing as a way of coping with anxiety. I felt a fear of ‘fading away’ in the business of modern life and felt I couldn’t connect to anyone or anything. This made me feel distant to life, and with this distance came both an appreciation of observing life as well as a frustration of not being able to connect to it. A camera seemed a logical way to combat all these issues, to capture the stories and moments I saw in a way that captured my alienation, but also allowed me to show it to others and hopefully feel more noted and understood. I bought a small polaroid camera and started taking pictures during my daily walks. At first just of trees and buildings, then mannequins, and finally people. My fear of being caught or getting in trouble forced me to use reflections and shoot through layers, hidden away, and my crappy camera forced me to embrace abstraction and atmosphere. Very quickly, the camera turned my alienation from a tormentor into inspiration and I came to love and appreciate the simultaneous distance and intense connection I felt to the things happening around me. Street photography very quickly became not about preserving moments but about creating them, and it is this feeling of being able to create meaning and beauty out of randomness that drives my passion to this day, and has made me a much happier person as well. 

2. I know that you are inspired by Saul Leiter and William Eggleston, what exactly attracts you in their style and way of photographing? 

Both are photographers that consider their instinct as sacred and infallible, and really do not set out to create stories or have a style, it just flows from there. They don’t shoot to create something, they just shoot and learn what they are trying to create from looking at their images. I’m much the same way. The most important lesson I’ve learned from their work is that initial trust in instinct, that anything that draws you in is worth photographing and even important to photograph. A lot of the visual elements in my work that remind people of Leiter and Eggleston were there before I even found out about them, and also flow from this instinct. The subframing and vertical obscuring lines of Leiter are in my work for probably the same reason they are in his: because a busy environment requires some blocking of background to isolate subjects. As for Eggleston, it is the diagonal lines and slightly offset perspective, which is something that I believe happens deeply unconsciously. Eggleston once said he subconsciously drew the Confederate flag in every image he made, hinting that his work is more about dealing with the past of his surroundings than he wanted to let on. For me it is the crucifix that comes back everywhere in composition, which I also do not think is a coincidence. Photography for me was about redemption, about rebirth, and about making suffering meaningful to start with. Had I set out to create something, a planned series or something, I’d never have learned what my work was about in the same way. 

“Shooting in colour has also made life more coloUrful in general."

3. Do you also take black-and-white pictures? 

I experimented with black-and-white in the early days. Some of my first digital images were quite architectural. I was trying to use modern buildings in my city to create space colonies like landscapes, with twisted, almost Escher-like [Dutch graphic artist Maurits Cornelis Escher (1898-1972)] perspectives. When I look at those images now, they have the same kind of drive to make internal states visible in my surroundings, but they just made me miserable. There was no hope or tension or drama in them. I felt I needed colour to do that. And as soon as I switched to photographing images of people, I really needed colour. Black-and-white felt too documentarian when shooting people, more about them than about me. The layers and abstraction I used also just were not ‘readable’ without colour, things blended and I could not compose how I wanted to. Still, it took me a long time to be able to do anything in colour. It makes you more dependent on light, and it makes it more difficult to keep an image simple - too many different colours or different shades and it just becomes chaotic. I don’t think I ever want to go back to black-and-white again. It’s just not how I see the world anymore, and I’m thankful for that. Shooting in colour has also made life more colorful in general. So colour came about both as a way of making photography and my worldview more dramatic and positive, it was both an artistic and psychological necessity. 

4. How did the idea of creating Beyond Digital become more than just an idea? 

As soon as I was featured in GUP NEW I figured I wanted to do something to give back to those who got me that far. The street photography community has been so loving and helpful and such an inspiration and being mentored by a Dutch gallerist and collector Roy Kahmann made me feel like I wanted to help other people as well. I saw both the usefulness and the limits of Instagram: I made a lot of connections and friendships, but also saw that it is an echo chamber and gives very little real satisfaction when it comes to exposing work on it. As soon as I pitched the idea to Matthijs (van Schuppen) of a fine art photography magazine specifically around contemporary street photographers, he became very enthusiastic and wanted to help with the design. In the days of the GUP expo it went from a vision to reality from day 1 to 3. We never did something like this before, but the combination of my love for analysis of images and art history, Matthijs’ design expertise and Roy's and the GUP’ team’s help (especially Sam Oerlemans who finetuned the design), transformed a messy concept into a real magazine in no time. And then we discovered it was actually something people wanted to buy, which definitely helped. 

"I frequently watch movies just to take screenshots, my way of lazy night time street photography"

5. What are your future goals and aspirations in terms of your career? 

I really want to publish a book. It is very important for me that my work remains somewhat democratic and accessible, and I want people to also be able to appreciate and look at my work in print at an affordable price, but in a way that allows more curation than a webpage. I’m also quite a manic producer, taking thousands of images a week and keeping at least several in the same timespan, so exhibitions force me to kill a lot of darlings that I’d love to show somewhere and surprise people with. I would also love to have an exhibition. I enjoyed Haute Photographie 2020, where I showed my work together with other 6 talents. People’s receptiveness not just to my images but to my stories touched me profoundly. Because it is so personal and emotional, I felt very vulnerable and was worried about scaring people off by oversharing, but many came to me and knew the story before I even told it. That meant a lot to me, and has given me a huge drive and confidence to keep working. I also want to expand ‘Beyond Digital' even more. I think the contemporary street photography scene that was born on Instagram has a lot to offer, and it should break free from that bubble. Digital photography has allowed for some very innovative stuff, especially in terms of night photography and the degree of control over results, which means that there’s street photography coming out that is unlike anything before, and I’d love the world to know about that. 

6. Do you work in separate projects or are you mostly focused on creating a single image? 

Neither really. Like I elaborated in my response to the Leiter and Eggleston question, I make my best work when I just follow instinct and take pictures of whatever feels good. And if I’m in this flow I do not even have a single image in mind, I just get pulled from detail to detail and walk around, play with focus and perspective, different subjects, almost seamlessly. It’s only later when I look at the image that I make a selection or discover what I was looking for, I hardly know at the moment of shooting. However, I am not always in this flow, and other times I do go looking for one specific thing. It’s never a specific subject, more a specific feeling or form of composition, usually because I’ve seen something like it and want to make it my own. It can be a scene in a movie (I frequently watch movies just to take screenshots, my way of lazy night time street photography), an image I saw, a dream or vision, anything. 

"I think the contemporary street photography scene that was born on Instagram has a lot to offer, and it should break free from that bubble."

7. How do you find street photography during the pandemic? Did you experience some shifts in topics that interest you? 

There’s been both a mental and physical shift during the pandemic. Normally, loneliness and distance is a huge part of my work, but they are relative concepts. Now that everyone is kind of cut off and distant from each other, I feel less lonely and more on equal terms with people I see in the street. This makes it impossible to shoot the way I did before because feeling is what drives me, not necessarily what is really happening. The streets are also just empty late at night, which combined with people's awareness and paranoia which makes it even more difficult to shoot comfortably. About 80% of my keepers are shot from the outside into restaurants and bars, and since they are closed, a huge part of my favourite environment is gone. I have gotten even more interested in how much the city is an emotional, busy network even without people. This isn’t new, I’ve always taken lots of still lives that kind of read like confusing collages, but the first 1,5 month of the pandemic I’ve been focused almost solely on it. I identified two separate worlds, the inner city and the suburbs, who have kind of switched roles. The city is usually busy but calming to me, but now it is empty yet a somewhat anxious place to be. The suburbs however, are usually very calm but feel desolate and awkward for me to be in. Now they are busy, bristling with people working from home and embracing the neighbourhood as their social area, and I feel comfortable and welcome there. This reversal, of busy places, becoming empty but feeling full and empty places becoming full but feeling blissful, has been the focus of my first real project 'STILL', which can be found on my website and Instagram. It is now at an end, as people are already shifting back to life as it was before and I have become too used by the new normal to still see it, but I think there are going to be some lasting effects on my future photography. I think I’ve become more sensitive to what in semiotics would be called ‘the index’, the denotation of an object by its absence. It was central in this project and now that I’ve picked up my ‘regular’ street photography, I can already see I’m telling more stories by omission and hinting at what is not there. 

8. How do you see post-pandemic street photography? 

As I’ve mentioned already, I’m slowly getting back to my ‘regular’ street photography, but it’s not the same and I’m not sure if it will ever be. Empty places don’t fit my style, and busy places still make me a bit too uncomfortable to shoot. I think everyone has also become more aware and more paranoid, and I’ve already had more comments and questions from bystanders in a few weeks than in the years before. It’s too soon to tell what will happen in the future and how this might still change. I do think that people will slowly just go back to their general ways before, but we will all have to change in some ways, and that includes me. To be completely static and just reproduce the same stuff I’ve always done has never appealed to me anyway, so I’ll just have to see if things can change for the better. 

9. I remember in one of your talks, you've mentioned that you were planning a photographic road trip across the USA. And what are your plans now, considering the current circumstances? 

My plans had already shifted from the USA to Japan. No matter how emotional my connection is to the states, I ultimately figured that I produce better work when I feel a bit estranged and that the US was just a bit of a logistical nightmare for my style of working and shooting. Japan is probably ideal for what I want to do: early nights, lights, plenty of rain, modern cities and busy, somewhat introverted life. I still want to go as soon as possible, and I’ll probably catch a flight there as soon as I can. If anything, the pandemic has increased my appetite for travel. Freedom as a concept has become more meaningful and fragile to me. I was supposed to fly to New York, with everything booked, on the same day the travel ban went into effect. I woke up from celebrating the launch of Beyond Digital with a hangover, and suddenly the world was different, and I was hit by the sudden realization of how much freedom I had left unused before. The fact that 'STILLá was meant to be a project lasting for the entirety of the crisis but that I moved past it in 1,5 month has also shown me that while the street can give us infinite material, a change of environment is something I am definitely looking forward to. 

"I’m slowly getting back to my ‘regular’ street photography, but it’s not the same and I’m not sure if it will ever be."

10. How do you find photographing streets in the Netherlands? Is it exciting? And what would be your dream location to photograph? 

I touched on it slightly above already, but it is a very interesting question. I find the Netherlands unbearably dull but in kind of a good way. The old Dutch saying that roughly translates to ‘just be yourself, that’s crazy enough’, really sums it up for me. We are a culture that celebrates moderation and in a way even mediocracy, which feels claustrophobic at times but has also forced me to embrace my fantasy and change the things I see into something more interesting. If it wasn’t for nothing ever really happening in Utrecht, I wouldn’t have been so driven to create images that obscure reality and make it more interesting and dramatic. In many ways I’m even anxious to go to Japan or the US because they are so much more interesting and exotic to me, I worry that they might be so interesting by themselves that I no longer craft my own stories but just capture the ones in front of me. But that is something I have to discover and see for myself. 

25 May 12:22

Jesse’s Visual Interviews: Margaret Lansink

by Michael Nguyen

Jesse’s Visual Interviews: Margaret Lansink (NSFW)

This week we’re treated to the mystical ocular poetry of Margaret Lansink in this edition of Jesse’s Visual Interviews

Q1: Who are you? 

Q2: What is your favorite way to waste money?

Q3: What do you consider the most underrated virtue? 

Q4: When are you happiest? 

Q5: What did your first kiss feel like? 

Q6: Where is home?

Q7: Which body parts (yours or otherwise) do you feel the most affection for? 

Q8: What is your favorite vice?

Q9: How do you define childhood? 

Q10: What is your favorite time of day?

Q11: Who is your favorite person?

Q12: What is the most important thing in any relationship?

Thank you for your responses, Margaret!

Found her work through previous visual interviewee, J.H. Engstrom. The intimate yet mysterious atmosphere of her work really stood out. The mysteriousness is aided by the more experimental nature of her work that really aids in what I saw as a personal journey through self actualization. A lot of those themes show in her responses her perhaps best displayed in her response to question 12. Please check out her links below, including the collective she founded:


https://margaretlansink.com/

https://www.instagram.com/margaretlansink/

https://www.instagram.com/iwi_collective/?hl=en

––––––––––––––––––––––––––––––––––––

Jesse Freeman is a writer for JapanCameraHunter.com and an accomplished ikebana artist as well. You can see more of his work through his sites:

https://www.instagram.com/jesselfreeman/
http://www.flickr.com/photos/imnothinginparticular/

Want to read Jesse’s other great reviews? Then click here to go to the archives.
JCH

The post Jesse’s Visual Interviews: Margaret Lansink appeared first on Japan Camera Hunter.

25 May 12:15

The best place to be is someplace else, Daily Overview

25 May 12:01

Summer? Harold Feinstein

25 May 12:00

The kids are alright, Mark Cawson

25 May 11:37

Precise Angular Stitches Encase Found Twigs in Natalie Ciccoricco’s New Embroideries

by Grace Ebert

All images © Natalie Ciccoricco

Stitching lengthy, varicolored rows around found twigs, Natalie Ciccoricco juxtaposes the organic forms of nature with her meticulous embroideries. The California-based artist has been crafting her Nesting series on white, handmade paper with unfinished edges. The stark backdrop complements the precisely laid thread that seems to suspend each twig, while the natural borders offer an additional organic element.

An extension of her stitches on vintage photographs, Ciccoricco’s lastest series was born out of her time quarantined at home. “While being under quarantine at home, I started creating embroidery artworks using materials found in our yard, on our deck or nature walks,” she writes on her site. “Exploring the juxtaposition between geometric shapes and organic elements, this series is an ongoing exercise to find beauty and hope in challenging times.”

Although each piece from Nesting is sold out in her shop, some prints of her other embroideries are available on Society6. Follow Ciccoricco’s progress and see her latest works on Instagram. (via Jealous Curator)

 

25 May 11:35

Buy the ticket, take the ride - Nour

22 May 10:56

Meltdown, Jan Erik Waider

22 May 08:41

Shake well, Mulo

22 May 08:40

Hot wheels, Dick Lasher

22 May 08:40

Kristina Makeeva

by Kat Kiernan
22 May 08:22

Cruel summer, Quentin Monge

22 May 08:10

Until the end of the world, Wim Wenders

20 May 12:53

Not about the object but the idea, Hans-Peter Feldmann

20 May 12:53

The plane of the ecliptic

19 May 22:44

Bats for lashes, Ina Jang

18 May 13:37

That much closer, John Pawson









That much closer, John Pawson

18 May 13:37

Up the watersprout

18 May 13:37

Surf it up! The world’s largest wave pool in Australia

18 May 13:33

Ancient towns of China, Yukai Du









Ancient towns of China, Yukai Du

18 May 12:22

Mid-Century Modern Perches Offer a Minimalist Haven for Backyard Birds

by Grace Ebert

All images © Douglas Bernhard

Accented with wood-slatted porches and bright water dishes, these mid-century modern birdhouses by Douglas Barnhard give avian neighbors with particular aesthetic sensibilities a reason to flock home. Barnhard, who’s behind the Santa Cruz-based company Sourgrassbuilt, builds the succulent-studded abodes from bamboo, cedar, teak, and glossy laminate. With clean lines and angular features, they emulate the architecture pioneered by Joseph Eichler, Frank Lloyd Wright, and the Bauhaus.

To offer your feathered companions a modern upgrade, see which works Barnhard has available on Etsy, and check out the home he renovated into a miniature art gallery on Instagram. (via Apartment Therapy)