thedailywhat:
Photo Series of the Day: Mommy photographer Rachel Hulin made her baby boy Henry the subject of a chest-clutching series of photos entitled, simply, The Flying Series.
“I wanted the flights to feel genuine,” Hulin told Time’s LightBox. “These are places we are really in everyday, it’s not a cut-and-paste job on random interiors and landscapes.”
Though she won’t say how she made little Henry fly, Hulin insists she never throws him. PetaPixel suggests that she may be employing a technique similar to the one used by Pat David in his bouncing baby photo.
[mmm / petapixel.]
During November 1970, forty people were photographed at the instant exactly after the photographer said, “You have a beautiful face.” By Douglas Heubler.
Through your lens the sequoia swallowed me
like a dryad. The camera flashed & forgot.
I, on the other hand, must practice my absent-
mindedness, memory being awkward as a touch
that goes unloved. Lately your eyes have shut
down to a shade more durable than skin’s. I know you
love distance, how it smooths. You choose an aerial view,
the city angled to abstraction, while I go for the close
exposures: poorly-mounted countenances along Broadway,
the pigweed cracking each hardscrabble backlot.
It’s a matter of perspective: yours is to love me
from a block away & mine is to praise the grain-
iness that weaves expressively: your face.
“
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Yours & Mine, Alice Fulton
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“…The underlying concept for the [Exactitudes] project remains the same: Versluis and profiler Uyttenbroek arrive in a new place and scan the streets for looks that seem especially entangled with their wearers’ identities. They are not interested in trends, or even really what people wear—but how they wear it: patterns of sweater sag and self-conscious strut.
Eventually they see certain styles repeated, and they ask representatives of those styles to visit their studio. The only requirement is that those invited wear the outfits Versluis and Uyttenbroek spotted them wearing on the street.
During the portrait session, Versluis focuses on both aesthetics and posture, seeking the pose that defines a category. For Milan’s “cool café,” it’s the asymmetrical cock of a shoulder, while for the “bimbos” of mid-’90s Rotterdam it’s a sensual grip of the leg. (A true bimbo in that period embraced that term, he says: Before photographing them, he’d clarify by asking, “Are you a bimbo?”)
The pose must emerge organically during that first photo shoot. He then asks others with a similar look to re-create it.
Ultimately 12 portraits from any given group will make their way into the final edit. These photos are arranged in a grid, de-emphasizing the individuality of each portrait: No matter how peculiar a “teknohippy” looks on her own, her outfit, when placed amid others with similarly neon hair and wildly patterned clothing, becomes as unoriginal as any style that’s more old-fashioned (Limburg’s “Old Boy’s Network,” for instance, which can be seen in the galleryabove.).
This is not criticism, as Versluis and Uyttenbroek see it, simply an attempt to gather anthropological evidence. No matter who we are, how alternative or preppy we seem, we’re all drawing from something bigger than ourselves. No one, it seems, is quite unique.
thedailywhat:
Photo Series of the Day: For her photo series Marked, photographer Claire Felicie took three photos each of 20 soldiers between the ages of 18 and 26, before, during, and after their six-month tour of Afghanistan with the the 1st Battalion, 13th infantry company of the Royal Netherlands Marine Corps.
You can see the some of the triptychs from Marked here, and the rest on Felicie’s website.
