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.
At times contemplative, humorous, and somber, these photographs represent moments drawn from various children's lives who have no obvious connection to each other. By bringing them together, we see a wholly new interpretation of a subject we think we know — childhood.
In the only Maoist village in China, the housing and electricity are free, the healthcare is provided—but underneath the harmonious, untroubled surface lies a deep uneasiness about the projected image of perfection.