Jonathan Hobin Re-Creates the World’s Most Infamous Tragedies with Children
more of the album here
I love this photographer.
high tide and low tide in great britain. photographs by michael marten
Tippi Degré, the girl who spent her childhood in the African jungle
Tippi Degré could be a normal girl, but for the fact of having lived 13 years of her life in the African jungle, living with all kinds of animals, from the most peaceful to the largest predators. A kind of Mowgli in females. Since her birth in 1990 until she was 13-years-old Tippi lived in the African jungle, but after Tippi moved with her parents to Paris and the result was expected: the girl couldn’t relate because she had “little in common” with other children. She was educated at home and today, at age 23, studying cinema at the Sorbonne Nouvelle University. [read more]
Cady Heron?
No, these are not new pictures of extraterrestrial planets sent from Voyager. Interestingly enough, these are photographs by Christopher Jonassen in his series, ‘Devour of Frying Pan Bottoms.‘ He executes these planet-like looks to the pans by removing the handles in some post-production editing and leaving them to drift in space.
Too cool.
I got the snapshot again for the school newspaper!
I loving shooting protest.
Culture clash between two brothers on modern vs. tradition
A monk and a punk
Big Appetites: Fine Art Photographs of Tiny People Living in a World of Giant Food by Christopher Boffoli
Fore more info about the artist and more photos visit his website
LONDON NOIR
Photographer Irene Suchocki
One more week!
This shot doesn’t look so much like a Photoshop as it does a painting. It generated so much buzz that National Geographic actually had to track down photographer Frans Lanting in Africa to explain what’s going on in his photo for the people calling bullshit.
Basically what you’re seeing behind the trees isn’t the sky, it’s a sand dune (the white blotches are patches of white grass). The colors look off because the photo was taken at dawn, so the orange dune itself was bathed in light, while the foreground was still in shadow (that’s why the white clay of the foreground winds up looking blue, and the trees look like terrifying silhouettes).
Photography: Bertil Nillson 2
