15 pictures of “cat glow dark” from flickr
I made this discovery myself when I was a kid. My cat hiding under the terrace seemed like a photo-worthy scene, but when I received the photos from the lab, I only saw two bright spots glowing on a black canvas. That photo looked more like car headlights than a cat. Disappointing but surprising.The human counter-part: “red-eyes” effect, has been the selling point of a new generation of cameras that promised to eliminate this direct-flash reflection effect. I rarely see red-eye photos nowadays, not only because cameras better prevent teem to happen, but mostly because they are the first photos we discard. They are flawed. After all, it’s true they don’t represent what we see very well, but neither the ‘contre-jour’, fisheye, black&white, or high-contrast images do. We somewhat managed to adapt these later effects to our images and exploit their visual language effectively. It’s a shame that some photographic effects fall under the respected ‘artsy’ labels, while other are just seen as photographic issues when they’re all part of the photographic language.
"BERLIN’S ZOO PANDA" pictures on flickr
Zoo animals in the first place are a very artificial context for wildlife, but nowadays, it’s one of the only opportunity to encounter end engage with wild animals. So if we want to see animals, zoos are the most convenient way. First, I love to look at animals ans exchange gaze with them. I feel it’s the closest I’ll get from communicating with wilderness. Wild animals would just be afraid of me after all in nature, zoo animals are accustomed to humans, and probably make better candidates for exchange. Beside looking at animals, the preferred activity in zoo is photographing. We’re aware that many other photographers took similar pictures a thousand time, and that technically better wildlife pictures are exists in books and glossy magazines, but we want to photograph the animals ourselves. When I look at animals, I feel truly connected to nature. I want to photograph the animal not to remember this moment or even less what this species looks like, but to be able to return to to look again in its eyes. Consequently, pictures where the animals are looking through the lens (starring at me) carry stronger effects as I can more easily believe in this entirely artificial exchange.
"Official graduation" pictures from flickr
Show how they transform the subject. The effect of the camera. I hate having my picture taken. I know it won’t look like me, or maybe it will, and I will just look like myself posing in front of the camera. No matter how hard I try, I always look like I’m posing on pictures. An effective strategy I found is to over-play, and make funny (sad, ugly, or smily) face on every pictures. But then comes the occasional time where “serious” pictures are taken and where I’m not allowed to play it out as usual. If I don’t personally care about my ID or graduations pictures, but I can understand why people would hope to look at least half-human on formal portraits. If good photographers can comfort their subject and seize the right opportunity to take the picture, most formal portraits I came across recently had something awkward. The effect of the camera was visible on the subject (weird smile, unnatural hand positions, etc). The camera was transforming the reality, not inside the camera (the imaging proces) but in front of the lens, in the real world. I wonder how things would be different if people were more upfront about the effect of the camera. I wouldn’t have to fake being natural (or make funny faces in my case), and we’d probably end up with more honest photos.
Image Collection #3:
Dogs on Pillows (from the Internet)
For Sale/TVs From Craigslist
Umbrico uses found images to make her statement. Here, Tv sets on sales on Craiglists straightly photographed with a direct flash. Her witty comments exposes popular genres of photography and functional images. While most people are really familiar with these types of images, they work surprisingly differently when taken out of context and juxtaposed.
Angela Strassheim, 1969, USA, has worked as a forensic photographer for several years before focusing on her conceptual photography. Her series Evidence is a collection of photographs that involve interiors and exteriors of houses where crimes had been committed. Extensive research was the key to locate 140 residences in dozens of cities. The exterior photographs show anonymous houses in broad daylight. She gained access to 18 houses to photograph the interiors using BlueStar, a reagent whose purpose is to reveal blood stains.