The photographs of Guillaume Zuili evoke memories of another time, another era, long gone and wistful. These dusty, chalky, charcoal-like smudges of memories could have been snatched from a re-screening of an old movie. Each feels like an iconic, dreamlike moment of random beauty.
Zuili, a Frenchman who splits his time between Paris and Los Angeles, has developed an intriguing hybrid style of photography. By using a crude pinhole camera but modern high speed film, he’s able to make hand-held snapshots of elegant beauty that celebrate the graininess inherent in film plus the soft, smudged focus of pinhole photography. Without the high-speed film, he would never capture this snapshot aesthetic; pinhole photography usually requires a tripod and long exposure time.
But of course it is more than just the technique that makes these images so successful. Skilled composition, ruthless editing, and then alchemical magic in the darkroom all transform these images into objects of beauty.
— Jim Casper
Across New York City, the supervisors of apartment buildings transform their basement workspaces into tiny, hidden sanctuaries that offer reminders of their distant homes or glimpses of their future dreams.
used his iPhone camera to photograph a series of 28 vandalized political posters he discovered while walking the streets of Kosovo.
Unique constructions of mural-size 35mm "contact prints" require each frame of every roll of 35 mm color film to precisely record a tiny segment of the larger whole — and then the artist gets a bit playful.
Using simple geometric shapes and the delicate image transfer process, these simple constructions invite us into "the still mind-space that meditation brings."