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.
Although the daily activities of Occupy Wall Street have faded from the headlines, the spirit of the movement lives on in today's anti-austerity parties and in tomorrow's fight against inequality—these photos reveal some iconic moments from OWS' beginnings.
After working in near obscurity for 30 years, Hiroh Kikai has emerged as a modern-day master portrait maker, patiently documenting eccentric people who pass through an old neighborhood in Tokyo that used to be the city's entertainment district. He's in the same league with Diane Arbus and August Sander. He speaks eloquently about his photographic practice in this great interview by Marc Feustel.
Sabine Pearlmanphotographed over 900 cross-sections of modern ammunition. The photographs reveal a hidden complexity and beauty of form, which stands in vast contrast to the destructive purpose of the objects.