Wednesday, April 15, 2009

View from a lens

I'm a sucker for striking art, especially photography. I do my best to fill that artsy photo void with Erin and my 3 p.m. on Sunday photo blog (just updated!), but we're nothing compared to this Danish photographer.

Thanks Nick for posting this in your gchat! Here's the original blurb from Greater, Greater Washington blog:

Danish photographer Peter Funch creates amazing composite photographs of New York City street corners. He takes pictures from a single spot over two weeks, then digitally combines many people doing similar activities into one photograph. David C says, "My favorites are the people taking pictures followed by the people posing."

This is my favorite:

I think taking photos of people on the street is the hardest and most intimidating kind of photography and that's why it fascinates me so much. You have to have the courage to take the photo in the first place, not knowing how the person will react if they see you, and then be brave enough to stand your ground, pretend like its normal for you to be taking photos of strangers, present yourself in a non-creep fashion and explain yourself if they ask. Takes guts.

For those of you who also love photography, are in the D.C. area and have been to the TIME photo award winners hall at the Newseum (GO SEE IT. I bet you'll recognize at least half of the photos on the walls), you might also be interested in...

- Portraiture Now, National Portrait Gallery. This exhibition focuses on the individual perspectives of six editorial photographers: Katy Grannan, Jocelyn Lee, Ryan McGinley, Steve Pyke, Martin Schoeller and Alec Soth.

- Domesticated, Transformer Gallery. Photographs of men in domestic settings question how various contexts affect the appearance of sexuality and masculinity.

- One Life: The Mask of Lincoln, National Portrait Gallery. The exhibition examines how Lincoln used the advent of photography as well as other media to convey himself to Americans.

- The Migrant Project, Mexican Cultural Institute. Though images of migrant farm workers of the 1930s and 40s are now iconic to many, rarely seen are their contemporaries - one of America’s largest invisible and cast-off populations.

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