Earlier this week, I published a "review" of sorts of the Nikon S3 rangefinder, which I believe to be one of the most beautiful cameras ever made. Through that experience, though, I was reminded of Nikon's vintage glass, and once again baffled by how the company hasn't remade them.
hayksenekerimyan posted a photo:
Some moments don't need color to feel alive. Just you, the water, and a mountain watching over it all.
hayksenekerimyan posted a photo:
Where Silence Learns to Speak.
Some places don’t ask you to move on — they simply ask you to stay still for a while.
Black-and-white moments have a way of turning silence into memory.
Low-budget horror movies aren't for everyone. But it's difficult to ignore Obsession, which just raked in over $30 million in ticket sales over the Memorial Day weekend, taking it to $80 million worldwide. Not bad for a film that was made for just $1 million.
“I started doing photography as a way to express things I don’t understand or to convey a message I’m having a hard time explaining,” Austn Fischer says. “I often work in quite a backwards way, knowing exactly what I want to arrange in front of the camera but struggling to understand the significance in my life until I am able to reflect on it after.”
The Wisconsin-born, London-based photographer taps into fashion as performance, considering how our garments, style, and gestures convey parts of our identities. Contrast is key in Fischer’s work, and it emerges through unusual pairings like lace ruffs atop athletic garb or an angular, black gown with a dainty, horse-shaped wire armature. Whether a portrait or a more conceptual composition, each work harnesses an exuberant sense of play and homes in on our ability to remake ourselves anew.
“Growing up, I had a lot of questions around my sexuality and my own experience as a man. I naturally gravitated towards fashion because of the story clothing can convey in an image,” he adds. “The colours, shape, fabric, and the way clothing wraps around a model create a unique conversation around identity and the body.”
Fischer has collaborated with a range of editorial and commercial clients, shooting Ai Weiwei with a milkshake for The New Statesman, for example, and David Byrne seemingly under oath for Crack Magazine. Whether working on a personal project or a commissioned series, the photographer transforms a largely black-and-white palette that could appear harsh into scenes exuding warmth and softness.
Better understanding his own emotions is Fischer’s priority at the moment, following a series of painful experiences, both personal and professional, that have influenced what and how he’s creating. “Recently, I spent two weeks from 8 a.m. to 5 p.m. painting a wall in a church white over and over to understand patience and reflect on myself. I’m working a lot on understanding emotion and myself through putting my body through different tasks or challenges,” he tells Colossal.
Explore more of Fischer’s portfolio on his website and Instagram.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Contrast Reigns in Austn Fischer’s Conspicuous Black-and-White Photos appeared first on Colossal.
Yesterday, PetaPixel shared that a fully AI-generated film titled "Dreams of Violets" had been accepted into the Tribeca Film Festival. For some reason, there are people who insist this is the future of films. If that is the case, then congratulations: I hate movies.
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