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February 24 2014


October 08 2013


Space Compressions: a photo series by Jan Herdlick

Space Compressions: a photo series by Jan Herdlick

Pho­to­graphy is usu­ally used to give an exact image of what you see. With this series, Jan Herdlick wanted to try out a different photographic approach. The images rep­res­ent ‘the essence of memory’. If you think back to places you have been to, you wont be able to remem­ber every detail. Things change in your mind, small details take a new form. Some­how a new place emerges which is unique in every­one’s individual memory.

Jan Herdlicka Feature Photography Jan Herdlicka Photograph Jan Herdlicka Photograph Jan Herdlicka Photograph

The post Space Compressions: a photo series by Jan Herdlick appeared first on Lost At E Minor: For creative people.

October 07 2013


Painfully amusing snapshots of the worst real estate ever

Painfully amusing snapshots of the worst real estate ever

Our new favorite Tumblr of the week has to be this one showcasing the questionable photographic skills of real estate agents. (Don’t they use Instagram at least?) These nightmarish photographs truly prove that ‘inexplicably bad property’ does exist out there.

weird angle walls burned up backyard horse in house

The post Painfully amusing snapshots of the worst real estate ever appeared first on Lost At E Minor: For creative people.

August 27 2013


Photog Captures The Ghostly Architecture Of Paris’s Swimming Pools

Everyone out of the pool! Photographer Franck Bohbot documents the architecture of empty public pools to cinematic effect.

Public swimming pools are not typically places of solace. There’s a built-in visual and aural cacophony--gleefully shrieking, cannonballing children, chatting teenagers, parents trying to be there and not be there at the same time. It’s not unpleasant; it just doesn’t exactly engender meditative contemplation.

For a sense of poolside peace though, just stare into the images featured in French-born, Brooklyn-based photographer Franck Bohbot’s “Swimming Pool” series.

The photographic essay explores the cavernous public indoor pools of Paris, Bohbot’s native city. They’re emptied of the human chaos, and what’s striking is that when you see these spaces without people (no p in the pool?), the soaring, vaulted architecture becomes the visual draw. The rectilinear outlines and standardized dimensions of the pools highlight the rich variety of concrete and glass structures that house them, an effect which Bohbot exploits to the fullest.

Each space is shot in one perspective, with Bohbot’s steady frame presenting the eclectic architectural features and the uninterrupted cerulean sheen of the pool surface as a litany of patterns, rhythms, and textures. Bohbot tells Co.Design his approach is "cinema, more than cold architecture photography," for its precise direction and composition. "The symmetry, the place, the colors have to look like exactly how I planned before the shooting," he says. "I like to work like a cinematographer and like a colorist."

The decision to depict the pools "empty of human presence” was, Bohbot says, to give the images a more timeless character. He cites as an influence the Düsseldorf School, which advances a "typological" approach to photography. Developed by practitioners like Bernd and Hilla Becher, the objective, detached method tends toward mundane structures and environments as subject material. Bohbot cast an almost clinical gaze toward his swimming pools, subjecting them to a soft, quite sympathetic light, while also refusing to amplify their individual properties.

Even so, Bohbot says he likes to "let some air" into his photos, meaning that he isn’t averse to keeping mistakes or miscalculations (or human interlopers) that arise in the course of shooting. Look closely at the series, and you’ll see what he’s talking about. Here and there, a sole body appears in the disquieting emptiness. A maintenance worker buffs the tiled floor in one image, while in another, a swimmer heads to the locker room. They’re difficult to spot, but they’re there, the minimal human punctuations adding poignant contrast to the otherwise wide-open spaces.

"I can’t avoid the power of the moment showing one little girl lonely in the pool, or one lifeguard on the sides, or of the other few people [whose presence] compromise the photography," the photographer explains. In the end, it’s not the perfect image that interests him, but "the relationship between the water, the architecture and the individual."

Take the plunge in the slideshow up top.


June 19 2013


Jared Lim – Urban Color Photography

There are millions of stories to be told in today’s modern city.  Most of us miss them, going about our days with blinders on, rarely seeing the forest for the trees.  The same isn’t so with photographer Jared Lim, a gifted architectural photographer who explores the urban world with a [...]

June 13 2013


Photog Captures The Charm Of Endangered Rest Stops

Ryann Ford shoots portraits of highway architecture: a disappearing relic of midcentury road-trip culture.

Along with Willie Nelson and cow pastures, rest stops are an integral part of spending time on the American highway. When the auto boom of the mid-20th century brought with it the advent of road trips (the fun kind), families took to the highways. But the 1920s didn’t yet include such roadside amenities as 7-Eleven or McDonald’s, so picnics had to take place on scrappy tree trunks, at best.

According to a 1957 story in American Road Builder magazine, a young county engineer in Michigan noticed the problem in 1929 and decided to take roadside facilities into his own hands by building a wooden picnic table for the public. When the Michigan State Highway Department started receiving letters of gratitude from happy picnickers and travelers, they authorized the building of more rest sites.

After the war, in 1956, U.S. highways underwent a major redesign with the Federal Aid Highway Act. From coast to coast, highways were cleaned up and given that homogeneous look that still exists today. New ordinances called for safety rest areas. Luckily, each state got to determine the aesthetics of their own facilities. Much in the same way that painted “Welcome!” signs began to appear on state lines, rest stops became venues for states to exhibit some brand identity.

The numbers to keep them up are something like $16,000 a month.

When photographer Ryann Ford moved from California to Austin, Texas, six years ago, she took notice. “I would drive around Texas for different commercial jobs and notice these roadside rest stops. We didn’t have them in California, and some were even from the 1950s and 1960s,” she tells Co.Design. “One day I Googled them, and I found out that all these different rest stops were being torn down. I was like, alright, this is it. New project.”

Ford, for whom commercial work shooting architectural spaces constitutes the bulk of her work, has ventured on road trips for the past four summers, all for the singular purpose of capturing the roadside relics before they face demolition. She shot hundreds of rest stops, mainly in southwestern states, where sweltering heat makes shady areas a necessity. Over the course of those four years, Ford already started to see the structures disappear. “At the height of our recession, money was so tight that different budget cuts couldn’t afford these,” Ford says. “The numbers to keep them up are something like $16,000 a month, because of emptying trash, mowing lawns, and cleaning them.” Some rest stops had also become hot spots for highway prostitution and crime.

Now that rest stops are giving way to commercial enterprises that serve up burgers and fries along with shade and toilets, this unique glimpse into American culture will be lost. The bulk of Ford’s rest stop subjects evoke midcentury architectural design, but the standouts dig even deeper into local nostalgia. Teepees, longhorn-shaped roof structures, and wagon wheels are all in high form. Ford’s personal favorite is a stunning pit stop in White Sands, New Mexico: “It’s crazy: You’re just driving to the middle of the desert, you turn in to this park, and it’s like you’re in the middle of a blizzard. And there’s a cool little 1960s picnic table there on that landscape.”


June 11 2013


A Photographer Turns Dubai Into A Ghost City

Matthias Heiderich’s portraits of Dubai and Abu Dhabi depict buildings as vivid abstractions.

Dubai has grown fast and exponentially from a small fishing village into an international hub. The city, remade into a tourist destination in the '80s, is unlike any other in the world and is growing by the day. Undeterred by the 2008 crash that sent its building boom momentarily reeling and which left hundreds of buildings abandoned or incomplete, the emirate’s captains of industry have pledged to forge ahead with dozens of new urban projects.

When he visited earlier this year, photographer Matthias Heiderich found Dubai and UAE capital Abu Dhabi littered with construction sites--evidence of Prime Minister Sheikh Mohammed bin Rashid Al Maktoum’s plan to realize the kingdom’s “ultimate goal.” (What that goal entails is anyone’s guess, but it’s certain to involve more opulent resort properties.) When Heiderich arrived, streets and districts were blocked off for construction crews who were busy building new skyscrapers, hotel complexes, and parks. Which might explain why Heiderich’s portraits are so empty.

The lack of pedestrians is a curiously recurring feature of Heiderich’s photography, which also often focuses on architecture and urban landscapes. His compositions are characterized by bold forms, stark skies, and closely cropped fragments that belie the height and true scale of the buildings he takes as his subjects. The approach, which Heidrich tells Co.Design is more “artistic” than architectural, turns these buildings, like Dubai’s twisting Infinity Tower, into small but vivid graphic moments.

Heiderich’s intentionally restricted scope allows him to plan the shots ahead of time before he arrives on-site. For his “UAE” series, he had a brief window of time to capture the photos he wanted. “Before I went, I spent about three weeks doing research. I studied the buildings and made a list of places to go,” Heiderich explains. “Most of the pictures I took were, more or less, already planned in my head.”

Time constraints aside, Heiderich prefers working this way because it forces him to develop a guiding thematic framework for a new photo series. “What I’m looking for are bold shapes, color spots, and unusual and strange designs.” He’s spent the last few years combing his native city of Berlin for these kind of architectonic fragments. “The UAE is actually the first urban series I shot outside Berlin--and was an experiment for transferring my style of photography to other places.”

The photos he brought back from the desert metropoles depict ghost cities, with alien-like towers that cut strangely dystopian skylines. Heiderich admits that the emirate is a far more diverse place than his work suggests. Commercial avenues and indoor entertainment centers buzz with life. The real, unpeopled urbanscapes, says Heiderich, can be found on the city outskirts, where the migrant workers that built these structures are housed in ignominious settlements.

Other aspects of the images prove more accurate. His treatment of the curving, arching skyscrapers grouped in the Abu Dhabi’s Financial District and in the Dubai Marina renders the buildings as the slightly toy-like architecture that they actually resemble.

See more of Heiderich’s work over at his Behance page.


May 16 2013


A Stunning Survey Of Pics By Le Corbusier’s Trusted Photographer

A new photography exhibition focuses on the work of Lucien Hervé, Corbu’s official photog for more than 15 years.

Modern architecture was forged in concrete, glass, and film. Early modernist architects like Bauhaus designer Walter Gropius and Le Corbusier (Corbu for short) pioneered the use of architectural photography, which they would used to disseminate images of their own buildings and their polemics. The latter would go on to develop a near schizoid method of collaging building plans, doodles, text, and, of course, black-and-white photographs of his work to convey his ideas for a radically new architecture. The built architecture was only part of the equation.

Corbu’s project entered a new phase when, in 1949, the famous architect discovered his future partner, Lucien Hervé. Over the next 16 years, until the architect’s death in 1965, the Hungarian-born Hervé would capture Le Corbusier’s increasingly plastic and fleshy architecture in thousands of photographs. Corbu would make extensive use of the images, incorporating them into monographs and pamphlets.

A defining chapter of the partnership’s fruitful production is currently on display at a recently opened show in Manhattan. Lucien Hervé: Le Corbusier in India at the agnès b. Galerie Boutique features prints compiled from two trips to the subcontinent in 1955 and 1961. The dates of the excursions bracket the construction and completion of Corbu’s gargantuan civic complex that was designed to crown the new city of Chandigarh.

Hervé met Le Corbusier after sending the master architect a set of expressionistic portraits he had made of the , then under-construction. Upon seeing the prints, Corbu relayed to Hervé his delight with the pictures and even went so far to generously complement him, saying that he had “the soul of an architect.” The architect soon made Hervé his official photographer, and the pair would form a close teacher-pupil bond. “With Le Corbusier,” Hervé later wrote in retrospect, “I learned to discern and identify beauty in its nascent form, alongwith a need for total purity, this notion forced me to work with rigor and precision.”

Hervé’s photographs favor high contrasts and display a profound sense of mass and void. They are melodramatic, sure, but they’re also very material, as earthy as the craggly concrete surfaces Corbu almost exclusively employed over the last two decades of his career. Most of the pictures depict Chandigarh’s sun-stroked architecture bathed in deep shadows. The show also displays Hervé’s affinity for high-wire, neo-Constructivist perspective, in the vein of Aleksandr Rodchenko’s vertiginous lens. His photos of the High Court and Secretariat, though chiefly horizontal, are framed to accentuate their verticality, making the buildings soar.

The show seems timed to coincide with Le Corbusier: An Atlas of Modern Landscapes, MoMA’s planned blockbuster summer show. That exhibition expounds on Le Corbusier’s use of landscapes, both natural and manmade, through models, plans, drawings, and photography.

Lucien Hervé: Le Corbusier in India is now on view at the agnès b. Galerie Boutique, 50 Howard Street, New York, through June 30.


May 01 2013


Vertical Horizon by Romain Jacquet-Lagrèze

As the city grows around him, photographer Romain Jacquet-Lagrèze trains his lens on the upward mobility of Hong Kong’s architecture.  Jacquet-Lagrèze has produced a 160-page photo book documenting the strange and often symmetrical patterns found in Hong Kong’s rise.  From the organically-growing residential tenements to the steel-and-glass commercial superstructures, the [...]

March 15 2013


Tokyo Nocturnes by Shinichi Higashi

Photographer Shinichi Higashi sees the electric city of Tokyo, Japan with an unusual perspective.  In his photographic series Tokyo Nocturnes, Higashi explores the concrete, metal and fiber of Tokyo with a slow shutter and creative editing techniques that yield futuristic, visually vibrant images.  Visit the places where Higashi captures his [...]

April 12 2010


Wyatt Gallery

Wyatt Gallery is a person, not a place. I met Wyatt almost eight years ago through an ex-girlfriend. Since then, we have traveled all over the planet, photographing things (mostly natural disasters) together. Our first trip was to Sri Lanka in 2004 in the weeks following the Tsunami. Our most recent trip was just a few weeks ago when we went to Haiti.

Wyatt also did a great series of photographs in the aftermath of Hurricane Katrina. Wyatt is a master at shooting landscape and architectural photography (two practices that few of our generation dabble in). Wyatt has also won just about every award that a professional photographer can win, including the PDN 30 award and a Fulbright grant.

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