November 24, 2010

Jason Evans

Jason Evans' work is lighthearted and unpretentious. Most of his ad-looking photoshoots actually made me laugh, which is fairly rare for me with most photographers.  Evans mixes up his style of photography, between a double exposed black and white series, brightly lit still-lifes, and classic commercial photographs each with a humourous twist. Despite this mix-up of styles, Evans impressively maintains a similar aesthetic among all of his work. To me, this aesthetic is the hint of playfulness in each piece. In most cases I find humour in his subject matter and unusual portrayal of everyday mundane objects, such as hanging laundry, or religiously completing daily newspaper word puzzles. 
Evans' relaxed portrayal of his work is similar to many contemporary photographers today, because of how they take their subjects out of their comfort zones in each shot. Similar to Terry Richardson, say, the subjects are put into positions where they can act out of character and play a bit. This type of photography is relaxed and less awkward than commercial poses. In regards to Terry Richardson, I think that his subjects just naturally do things out of the ordinary for his photographs, without him having to direct much at all. Fame and familiarity with his style are key for this. For Evans, it seems slightly more planned by the photographer, but his subjects probably know to play up their role in each photograph as well. 
Don't know what I'm talking about? Check out Evans' photography @

Images from his website @

November 22, 2010

November 19, 2010

Joseph Szabo

“Jones Beach was created for the common man,” says Szabo. “It was for the people of Long Island, New York, New Jersey, Connecticut and the surrounding states … you have to know a little bit about the history of Jones Beach. 
“It was created in the mid 1920s and it took about three or four years because they had to pump billions of cubic yards of sand from the ocean. They said the amount of sand they had to pump was the equivalent to nine Hoover Dams. 
“Photographing the beach was a natural extension of my work with teenagers. This was where they would come and hang out during the summer. When you come to the beach, all of your frustrations that you carry around in your daily life disappear. 
“I’ve done some stuff photographing people in New York and it is totally the opposite. I’m looking at this portfolio now that I took in the 70s in Manhattan and everybody on the street looks like they are on a mission – they are all stressed and just want to get away. See, that’s why the beach is the ideal place to photograph I think. People are here, in no rush, just to have a wonderful time. There is very little negative stuff going on.” - Szabo from RUSSH interview September 2010 issue.

Images from Joseph Szabo's website @

Ryan McGinley in RUSSH zine

Check out this article on Ryan McGinley in RUSSH magazine's recent issue here. 

RUSSH zine image

November 10, 2010

Terry Richardson

Made you look. &

Daniel van Flymen

"The beauty of somebody or the beauty of a situation is my favorite thing to photograph because of what it represents–a purpose. Beauty can manifest itself in vastly different ways and more importantly at vastly different times. Situations are worlds. Artists are prophets, lighting up what we think the future should look like. The art is neither in the past nor the present, but always in the future. The photographs you see are a world. The world they depict speaks of hopes and fears. Of the death of curiosity and the reckless disregard of convenience, of feeling alive again. Smoke is creation, freedom and fire. The characters are youth, the sinewy and strong form of action. Their faces show an incomplete comprehension of Time. A world in which Time hasn't touched yet." - Daniel van Flymen

November 8, 2010

№8 by Sam Milbrath

These are a few of my own photographs taken with expired 35mm slide film from the 1970s and cross-processed development. 

November 7, 2010

Cole Rise

This young photographer is universally unknown. Some of his works resemble the widespread 'hipstamatic' app that warps images used only really on social media sites. Blurred or darkened vignette edges and grainy definition are key indicators of these photoshopped qualities. I understand that it often adds aesthetic appeal to each image by digital alteration, but does it add credibility to the artist as well? Or are these not photographic qualities attainable by anyone? Does photoshop help or hinder a photographers work? I would say that obvious alterations of originals shows the artist's incapability of capturing that particular moment without help. Although, I do appreciate the democracy of programs that can allow 'Anyone to be a photographer'. It only makes it difficult then in the deciding of who is a fine art contemporary photographer and who is not. Or does that matter? Who decides if all photographers end up altering their originals to look the same anyways? 
Some of Cole Rise's other photographs resemble either Ansel Adams' mystical landscapes that classically recede into time and space (often a lone tree or fading road in the black and white distance), or Ryan McGinley's air-bourne subject tendencies (which I love for its originality, but not those hundreds of photographers who have since copied the fall). 
However, Rise's photographs that do not hold any of these classic pop cultural propensities, are very appealing. Yes, I am quick to judge his work, but I would not have posted anything on Rise's work if I did not see potential in many images (SUBJECTIVE!). As well, I have a bad tendency to compare everything to something. I am trying hard to not compare and judge against what I already know, but it is a difficult habit to get out of. 
Like everyone in pop culture these days, I am seriously drawn to astronomy. This is a beautiful photograph for that reason.