I remember the first time I went to the MoMa in NYC. This piece was the first image that caught my eye. The emotion and movement of the women in the kitchen is captivating. This is how I feel in the kitchen!
Self-Portrait at 17 Years Old
Gillian Wearing (British, born 1963)
Andrew B. Myers photos are the kind that make you wonder if they’re photos or paintings — so which is it?
They’re photos! Andrew uses an old salt printing process that was developed in 1837, which is what gives his photos a soft painted look.
Check out the digital-photography school! There are some good readings and helpful tip!
http://kellyknutson.tumblr.com/
http://jkurselphoto476.tumblr.com/
http://arielography.tumblr.com/
http://thatsartbro.tumblr.com/
http://synjinmrkvicka.tumblr.com/
http://goldiealexa.tumblr.com/
http://ahnedeauowen.tumblr.com/
http://chelsearoque.tumblr.com/
http://stephanienutt.tumblr.com/
http://hochunkbasket.tumblr.com/
Here’s an easy way to get a vintagey transferred look: print your digital photos onto mulberry paper with your regular inkjet printer.
Print Digital Photos onto Mulberry Paper
via KEH Blog
Mackenzie Reynolds 2009
When thinking of chairs most people wouldn’t give the subject matter much consideration. Chairs are usually seen as a place where we merely sit; a seat with a back support usually manufactured for a universal purpose. However, after studying my images over the years I began to see these chairs as much more than their manufactured or implied purpose.
In this series I use chairs as metaphors. Within my images they transform from a place where one simply sits to a more intimate role; a role involving or resulting from a personal relationship. They create statements and establish narratives that run parallel to one’s own life’s emotions. They become metaphors that speak to the “seat of the soul.”
Mackenzie Reynolds 2010
Martina Mullaney takes an everyday object and makes it important. In her “Turn In” series she photographs beds in homeless shelters. She uses these landscapes of pillows and blankets to document an understanding of loneliness.
Robert and Shana ParkeHarrison
Robert and Shana ParkeHarrison work with the collaging of negatives
“I don’t care about traditional Photography” Lux says. ” I want more control”
Loretta Lux has a way with creating haunting compositions that may leave her viewers mystified. Altering proportions and creating smooth painterly illusions she captures my attention forcing me to question art history and the use of photography. Her use of visual deception leaves me in awe.
Loretta Lux
