For his project titled “Bubbles“, London-based photographer Jason Tozer photographed soap bubbles in a way that makes them look photos of planets taken from space. Unlike NASA’s actual space probe photos, Tozer’s images contain wild, psychedelic colors.
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“Half” is a series of studio portraits by London-based photographer Roman Sakovich that explores the devastating effects of drug abuse. The project was created while Sakovich was studying photgoraphy at the Arts University College at Bournemouth in England.
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In election exit polls, pollsters stand outside polling places and ask voters who they voted for in order to obtain an early indication of what the election results might be. During the 2012 presidential election yesterday, Aymann Ismail and Nate Cepis over at Animal New York decided to put a photographic twist on the concept. They write,
ANIMAL headed to our local polling place at 322 West 48th Street in Hell’s Kitchen today to conduct a completely unscientific, anonymous exit survey–by asking voters to hold up colored pieces of cardboard to show support for their candidate of choice [...] Seriously, who needs cable news–with its endless battery of pundits, bad suits, and holograms–when you’ve got some colored paper and a camera?
It’d be neat if news organizations did this on a large scale and then used the resulting photos as colored pixels in exit poll graphics. The colors in the graphics would be actual photos of the people who cast those votes!
Fair and Square: Animal’s Anonymous Exit Poll [Animal New York]
When San Diego-based landscape photographer Ben Horne got married recently, he and his bride came up with an interesting way to document the wedding from their point-of-view without attracting attention or weird stares: a wedding bouquet camera.
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“Cerealism” is a project by Phoenix, Arizona-based photographer Ernie Button that features clever photographs of common cereals. He comes up with various scenes inspired by the shape and textures of the cereals, and then uses the cereal pieces as props. Some turn into bales of hay in a landscape, while others become fish in a simple fish bowl.
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Happy Halloween y’all! If you’re planning on carving up a pumpkin for your doorstep this year and are looking for a challenging design, check out this amazingly detailed pumpkin sent in by reader Dan Savoie.
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Shooting portraits of strangers in cars isn’t uncommon, but have you ever tried using off-camera lighting to illuminate their faces? That’s what photographer Jonathan Castillo is doing for his ongoing series called Car Culture.
Castillo, an undergraduate BFA student at CSU Long Beach, shoots candid, artificially-lit photos of people driving around on the roads of Los Angeles. While the photos are captured from a car directly in front of the subjects, Castillo lights the scenes using a second specially-rigged vehicle driving to the side.
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New York City is undoubtedly one of the most photographed cities on Earth, but photographer Richard Silver doesn’t let that fact faze him. He’s on a personal mission to capture facets of The Big Apple in ways people have never seen before. A month ago, we shared his New York Sliced series, which consists of spliced photos of buildings that show day turning into night.
Silver has now followed that project up with a new one titled, NY Churches, which documents the various churches in NYC through beautiful (and disorienting) vertical panoramas.
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Here’s a fun photo idea you might want to try out this Halloween: shoot epic portraits showing beams of light streaming in from the background. All you need are a perforated hardboard, a couple of flashes, and a fog/smoke machine (or some method of generating smoke).
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Now here’s a creative idea that we’ve never seen before… For this short film titled New York: Night and Day, New York City-based filmmaker and animator Philip Stockton blended daytime and nighttime images of his city into single shots. He explains,
New York: Night and Day is a combination of non-traditional video time-lapse and animation. I filmed day and night scenes from around New York City and combined them back into single sequences using rotoscoping techniques. The piece explores the relationships between night and day, by compositing together scenes shot in the same location over a time period ranging from 4 – 8 hours. I hope you enjoy it.
