Yoko Ono, “the 80-year-old artist and musician tweeted a picture of the glasses worn by Lennon on the night he was shot dead coupled with the message: “Over 1,057,000 people have been killed by guns in the USA since John Lennon was shot and killed on 8 Dec 1980.” The photo, showing the glasses on a windowsill with New York’s Central Park in the background, was the cover of Ono’s 1981 album Season of Glass, her first recording after her then husband was murdered by Mark Chapman outside their apartment building in the city.” (via)
Photos by Richard Silver. “As someone who has traveled all over the world sometimes you forget how much New York has to offer to a Photographer. I am always trying to find new and different ways to photograph this city. This is my newest renditions of New York in Photographs.
After figuring out what I was looking to accomplish I did end up changing the output a few times but am very happy with these results. These are done using the Panorama mode in Photoshop. Each photo is about 6-10 photos stitched together to make the panorama. Shooting from the Pew to the exit door and back again making sure I get the shot the 2nd time if there is something not good from the 1st one. I use a tripod in most shots but (too) many Churches do not allow tripod usage.
I do wish I would have figured this format out years ago because I probably have been in hundreds of Churhes, Temples and Mosques over my years of traveling….but better late than never.” (via Behance)
This past summer photographer Matt Black covered 18,000 miles of the poorest places in the United States. His Geography of Poverty project was presented in two main ways: a multimedia feature on on MSNBC and a real-time Instagram feed that harnessed the geotagging features of the social media platform to map the country’s marginalized corners. (via Hyperallergic)
‘According to the Census Bureau’s measure of poverty—$11,490 is the annual income for one person or $23,550 for a family of four—over 45 million people fall below the poverty line in the U.S., the largest number on record for the country.
Originating on Black’s Instagram feed (@mattblack_blackmatt), The Geography of Poverty began in his home region of California’s Central Valley. In the heart of the nation’s richest state, conditions rival that of any third world nation, with residents suffering some of the country’s highest unemployment and hunger rates. Combining images, geolocation, and poverty data, the project sought to put these marginalized communities on the map and chart this unseen scope of poverty in rural America. Since the first post in December 2013, The Geography of Poverty has gained over 180,000 followers and earned Black TIME’s title of 2014 Instagram Photographer of the Year.
Following a preplanned route across the four corners of the United States, Black began a three-month road trip this past June, documenting over 70 cities, towns, and rural communities, connected by the fact that more than 20% of their residents fall below the poverty line. From the staggering hunger and food insecurity in the Southwest to the ‘Cancer Valley’ of Louisiana, the persistence of inequality in education and generational opportunity, and rampant unemployment and crime in the post-industrial Mid-West; Black questions what kind of America are we to be – a land of opportunity, or pockets of plenty amidst a landscape of disparity and despair?’
Photographer Janie Airey was commissioned by the Olympic Delivery Authority to photograph London’s Olympic arenas–before the medals and the masses.
It stands to reason that the recent Summer Games in London were the most photographed Olympics in history. Aside from all the people actually getting paid to take pictures, the opening night’s Parade of Nations proved that even the athletes couldn’t resist snapping smartphone shots of the pomp. But while most of the photographs taken over the course of those few weeks captured images of athletes and events, Janie Airey went to London to document a slightly different subject: the Olympic arenas themselves, untouched and utterly beautiful.
Airey says that the Olympic Delivery Authority commissioned the photos just prior to the park opening, though last-minute preparations meant she had limited access to some of the venues. But you wouldn’t know it from her shots; here, the arenas look perfectly complete and event-ready. But the feeling they evoke is one that’s very much at odds with the raucous affair we see on TV. Through Airey’s lens, spaces like the Aquatics building, designed by Zaha Hadid, are still and serene, able to exhibit their own personalities without yet being dominated by those of the athletes.
“Ninety-five percent of my work is photographing people,” Airey says, “so it was very refreshing to go into a space and just have to think about the line and form and working with what was already there. I loved the silence of the buildings. The spaces seemed a little austere and quite clinical, such a contrast to how they’d be a month or two later.” The artist says she hoped to convey, even with the stillness, a bit of “anticipation” of the events to come.
The Olympics are truly epic undertakings–“amazing events on a grand scale,” as Airey describes them–and in terms of pure logistics, the venues have to be built to match, with precisely sized pools, rows of spectator stands, and, of course, places for photographers and TV crews to capture all the action. But not even those in-the-flesh spectators, much less the millions around the world watching on TV and the web, get to really experience the spaces on their own terms. As Airey explains, “You rarely get the chance to appreciate the quiet of the actual architecture. I wanted the photos to reflect that a bit.” (via)