All old-school photographers know that black-and-white film typically registers a negative image of the subject of a photograph, which can then be printed as a positive image on paper for final viewing. What looks dark on a negative becomes light on a print. But what happens when an artist decides to play with this paradigm by aiming to make the final image a negative image that looks like a positive image?
Slovakian photographer Tono Stano has been artfully exploring this idea since the 1990s, and the results are wonderful, delightful, surreal, and hard to deconstruct. Lens Culture is pleased to present a dozen of our favorite images from Stano's series titled White Shadow.
This (silent) video offers an inspiring behind-the-scenes look at the artist at work in his studio.
A new exhibition of 100 vintage photographs shows the changing faces of Tokyo, from the 1930s through the 1990s. Curator Marc Feustel provides insight and context as we view the work of three very different photographers.
LensCulture presents an in-depth visual report of the intense but short civil uprising in Kiev that toppled the government within a few days — 105 black-and-white photographs by award-winning photojournalist Alfred Yaghobzadeh. This is the second of a 2-part photo-essay.
Using collodion wet-plate techniques and photograms, Bill Westheimer collaborates with his subjects to expose their hands and their personalities. Without the distraction of faces, these images become honest and deeply perceptive portraits, reflecting the lifestyle, habits, and sensitivity of each subject.