Casual Reveries

Well, this is a change in pace from what I would normally blog about, but something about Mate Moro’s fashion photography is wonderfully mind boggling, and therefore worthy of the attention.

As mentioned previously, Mate Moro is a fashion photographer. He takes photographs for Louis Vuitton, Tank Magazine, Because Magazine and Gucci, just to name a few. Although there was not much information that I could find on Moro, I think his artwork speaks loud enough for itself.

What I found to be most fascinating about Moro’s work was the way he deals with his models and manipulation. In some of the images it looks as if he has simply edited his models bodies to be distorted and unnatural. However, if you look closer, much of his work is done by bringing in walls to split the model in half. He then brings another model in the photo who is dressed either similarly or identical, and creates this manipulated look. I also love the way he deals with creating an ever-changing style within the photographs. Some images look as if they belong in the 80’s while others are very fashion forward and modern. He never leaves his viewers bored, that is for sure.

Anyway, if Mate Moro has peaked your interest in any way, take a further look at his personal website!

While looking at artists geared toward my conceptual project, I found a British photographer named Jacob Sutton. Sutton, who is mostly known for his dynamic fashion photography, brings to life a new sort of images with these delicate underwater shots. With the combination of black and white and the muted softness, Sutton is creating an almost dreamlike state for his viewers. However, what I find to be most striking is that I cannot tell whether these models are in a dreamlike state of contentment or horror. The faces are in a peaceful rest, but the upward angle of the faces, and the hand that is usually crept up to the jawline – all seem to signify as if the women may be dead, or drowning. Regardless, I fell very rapidly in love with this series.

Surreal photography can transport us from the realm of reality into a dream-like world of wonder. That is exactly what Russian photographer, Katerina Plotnikova does. In these photographs, there is a healthy balance of normalcy and the abnormal, of fierceness, yet a gentle composure. In these photographs, Plotnikova uses an assortment of powerful animals along with delicate models, juxtaposed together. By doing this, she is bringing two unlikely creatures together as one…and the outcome is beautiful.

When I first looked at these images, I was instantly taken by the gorgeous, soft lighting; the composition, and the seamless connection occurring between the model and animal – all the elements worked so well together. Then there was the internal feeling I received from this series, and that is a defacing of stereotypes. Many humans fear these animals because they are wild, large, and driven by instinct. However, we are, deep down, truly no different than they are. These images grant each of the glorious animals a new light as they are shown as kind, loving and almost companion-like with the delicate models. It is unexpected, striking, and really making me want to own a pet bear.

I’ve linked her site for those who would further enjoy viewing her work. (Though it is written all in Russian, so good luck).

Based off of my posts thus far, many of you may be able to tell that I am drawn to photography that either tells a fantasy, lends itself to the creepy, or documents forgotten structures. However, this week, I found myself viewing a new sort of photography, one that I originally did not think i’d be drawn to, yet, I was visually compelled, and instantly captivated.

Angelica Garcia is a Venezuelan photographer, who hand manipulates her photography work – aka, does not digitally alter them. Her process when it comes to succeeding this look is to first; take a picture of the subject to her liking, second, print the image(s) out, third, alter the image(s) using chemicals. Once Garcia has a manipulation that she is satisfied with, she lastly takes another photograph of the image, resulting in her final product.

As Garcia explores the concept of emptiness in these images, the idea of erasing people’s faces came to her in a dream. She began this project by searching for white walls on the streets, and would asking complete strangers that were walking by if they wanted to participate in the project.

I believe what drew me in to these images was the truth that emptiness will always find us in one way or another. Sometimes it sneaks up on us, despite what is occurring in our lives, and when this loneliness takes root, the faces of people, the surroundings of familiar buildings, everything, begin to be seen as a blur, just as these images are being portrayed. Plus, the techniques that she uses brings out wonderful result, and it truly captures the feelings of loneliness.

“Everyday I lose you… Time, you are like water that slips away from me. Presence. Moment. Movement. What can I do to show how you run from me? How can I show that even if I freeze you, you aren’t the same? How come if I steal your essence, I don’t have you anyway? Strange presence… Emptiness.”

Elizaveta Porodina is a photographer I accidentally ran across while looking up a different artist, and I can’t tell you how very, very happy I am that I did. As I am still learning about the many styles of photography, and trying to experiment on my own, I found her work not only beautiful, but also enchanting and very inspirational. She is a driven photographer, who is constantly looking for new ways to elevate her work and her skill set. Not to mention she enjoys rock music, which is always a plus in my book.

Porodina works with fashion and conceptual photography. As she originally went to college to study a degree in Psychology, much of her influence for how she photographs and interacts with her models is based off her ability to analyze them, and to motivate them in order to get their most intimate emotions. As Porodina rarely works with artificial lighting, when it comes to getting the perfect shot, all the elements apply. The location, the model, the camera, the light, are all equally important. A story can only be told properly if all elements are credible and coherent.

In a recent interview with Porodina, the question was asked what advice she had for someone trying to elevate their photography, and her answer was absolutely flawless, one I whole heartedly agree with.

“Becoming obsessed with photography is the best way to elevate the level. When you are obsessed with something, it is the middle of your existence,the most important thing. You start thinking all the time about it and your mind searches for inspirations and expressions constantly like a hunting dog. You start practicing all the time – not because someone says it is necessary, but because you need it like air to breathe. So – a constant obsession would be my advice.”

“The dancers with their callused exteriors and sensitive character, represent the tenuous relationship between the strength of the body and the fragility of the soul.”

This quote was said by Arieli about using his infrared technique on male dancers. He enjoys using this technique in order to challenge the model’s beauty and to find a greater intimacy. When looking at a person, you may notice their freckles, faint scarring, or some may appear to be completely flawless. However, what the infrared does is emphasis what is already there under the skin. By doing this, Arieli is stripping away the shell of the dancers, making their skin become a metaphor for their interiority.

I was drawn to this series because of how bare each model becomes, yet how confident they remain. In todays society, we are constantly trying to hide our true selves from the world, whether that be by makeup, fake tanning, or plastic surgery. To see how it looks to have the layers of “perfection” we try to achieve stripped away, it stays as a reminder that we are all humans, born to have imperfections that make us unique.

What is also fascinating about Arieli’s series, Inframen, is that he does not take his photo’s in a studio. Instead, he travels to these dancers homes and uses natural lighting from a tiny window, or a hallway with continuous lighting. He said he was surprised how fast the intimacy developed between him and these dancers. They completely opened themselves to him, allowing for gorgeous photo’s, while exposing themselves in ways many would not dare to do.

“It’s interesting to see this technique on dancers because they tend to look “perfect” to the naked eye. They are in their early twenties, their bodies are in shape.”

At the beginning of Spring Break I was able to escape and spend four glorious days with my sister down in Bloomington. My sister, who is extremely active, hates to waste an ounce of daylight, so while down there we did a lot of exploring/roaming, and of course, I brought my camera. While I did not document our personal time together (because I was rather enjoying catching up with her rather than putting a camera in her face), I was able to document our time while on adventure.

Juice bar

Kirkwood

Art Building

Bloomington

Bye, bye, birdy 😦

Old Dictionary

Ain’t getting in.

Church

Juice Bar

Cemetery

Honey badger don’t give a…

Kiwi

Lana

Murder everything

Apparently people are often kissed and proposed to here.

‘It’s true’

Shadow play

Bladder bust hour

Drunchies

Baked cookies

It’s a party

Baked

Brooke Shaden is an artist whose work I wouldn’t normally be drawn to. As I know many artists edit their photographs, I do not enjoy those who edit in over abundance, or add elements to the photograph separately. However, with Shaden’s images, she uses this heavy manipulation to her advantage, (and it must be noted that not all of her images are edited in this manner, or at all). Each image tells a different story, and each image seems to be like a haunted fairy tale, or a terrible nightmare. But while these images may turn someone away, or feel a sadden emotion toward it, I feel drawn, intrigued. and at peace with them.

Shaden began creating self-portraits for ease and to have full control over the images. She has since grown into a self-portrait artist, only Instead of strictly self portraits, she attempts to place herself within worlds she wishes we could live in, where secrets float out in the open, where the impossible becomes possible.

She works to create new worlds within her photographic frame. By using painterly techniques as well as the square format, traditional photographic properties are replaced by otherworldly elements. Brooke’s photography questions the definition of what it means to be alive.

I just recently came a crossed Denise Grunstein, and when I say recently, I mean literally 30 minutes ago. When I saw his images I felt the instant need to blog about him, and share his work.

Upon further researching him, I found it incredibly complicated to find any information that was translated to English…besides his hometown, where he was born, and his birth date. However, I figured most of you would be more interested in his work rather than his full life story.

As I said, I was instantly captivated by Grunstein’s work. Perhaps it was his use of composition, or the way he incorporates children in an absolutely haunting way. Or, perhaps it was the way each image felt as if dread and horror lurked about each corner. I want to know what happens in the next frame or if each image has a happy ending. Regardless of the reason, each of his photo’s provoke a different emotion, and therefore tells a different story to everyone. I am almost happy that I was unable to find more information on him for this mere fact. I’d rather create my own story based off my initial emotions, rather than be told how to feel.

How do you feel about his images?