From rq, it’s all about the spines. Click for full size.
© rq, all rights reserved.
Katherine Johnson, NASA Physicist.
All of these are from Seeing Science, and there’s so much there! They also have a marvelous timeline, which starts in 1021:
Alhazan (965–1040), an Arab physicist, publishes the 7-volume Book of Optics, in which the pinhole camera and camera obscura are described. Leonardo da Vinci doesn’t show up until 1508.
Born in Semarang, Central Java, Indonesia, fine art photographer Hengki Koentjoro is best known for his breathtaking landscape photography of Indonesia amidst the shades of black and white.
Through his work, Koentjoro discusses his true purpose in life’s journey of expression, exploring along the borderlines of light and shadow, such as yin and yang. His focus lies on complexity in the minimalist, diving into the spiritual and the physical.
Koentjoro exerts Miksang, a special form of photography in which the artist uses the camera to express his visual perceptions exactly as he experiences them. Translated from the Tibetan, Miksang means “good eye”, asking the beholder to see the world in a new way, without overlays of meaning and value, pleasure, dislike, or disinterest. Miksang photography tends to bring the observer back into the original contemplation state of the artist’s picture. By bringing our mind’s attention, our awareness, in our sense of sight, it is possible for us to see vivid and mind stopping insights fully and completely without distraction. If this state is reached, the beholder connects with what he sees deeply and intimately.
Born and bred amongst thousands of Indonesian islands, Hengki Koentjoro is a Californian-educated fine art photographer who finds solace in the monochromatic realm. A platform towards an idealism he believes to be his true purpose in life’s journey of expression. Follow Hengki clicking his cameras away, here.
Get lost in thoughts.
Hengki Koentjoro at iGNANT.
All photos © Johnny Tang.
In Japan there is a tradition known as “Senbazuru” (literally 1000 cranes). According to legend, if one folds 1000 paper cranes they will be granted a single wish by the gods. The cranes are usually strung together and hung outside the outer walls of a temple. As they are exposed to the elements and slowly decay, it is believed that the sacrificed cranes will carry the folder’s wish up to heaven for the gods to receive.
I am an impatient American, so I decided to burn mine.
I folded the cranes over the course of a year, personally creasing each beak and wing myself while steadfastly refusing the help of others. I did this because I wanted to know what it felt like to bring each crane into this world, and then banish it into the next. When I first started this project I was hoping to create a huge fireball in the snow. “This will be so cool” I thought, “there’s no way I could screw this up.” But when the moment of destruction finally came, the little bastards refused to even light – instead they just simmered quietly, laughing at me.
These fabulous photos are by no means all of the ones in this project. There are many more, and you can click on each one and read all the details of that particular shot, at Johnny Tang Photo. This is stunning work, on more than one level, and it certainly deserves very wide exposure. I’m no stranger to long term projects, but I don’t think I could ever fold 1,000 cranes.
Made in collaboration between photographer Kate Fichard and plastic artist Hugo Deniau, ‘Scarecrows’ is a series that invites the former tradition ousted by sharp technological progress. The project was born out of Fichard’s observation that the tradition of blanking out birds from the crops has faded recently in France. “I noticed that scarecrows no longer exist on fields and vegetable gardens. Unfortunately, today they are replaced by pesticides and protection nets.” Being sensitive to environmental issues, the photographer decided to bring back the tradition and offer the meeting with these mysterious sculptures once again. This time, however, scarecrows are inspired by the idea of contemporary terror by using objects and colors tied to pollution and attacks that ruin the environment. Fichard, who got very much involved in the project, plans to continue travelling around different fields and produce more works, aiming at publishing a book or an exhibition about the subject.All images © Kate Fichard
You can see more of these amazing statements at iGNANT.
It’s about this point in winter, which has months to go yet, that I start yearning for the year’s first Dandelion. I love dandelions, and seeing that bright beauty is always a most welcome and wonderful sight. Click for full size.
© C. Ford.
Yeah, yeah, minds out of the gutter! :D From Charly, shots of Parus major. Charly mentions their facility in grabbing sunseeds and whooshing into the trees to crack them open. That’s something I never tire of seeing here, with a relative of the Great Tit, the Black-capped Chickadee. Wonderful shots, click for full size!
© Charly, all rights reserved.
Be it the deliberate destruction of something or its sheer neglect, what transgresses is rarely the complete story. I photograph the visual footprints that the human race leaves on the landscape during its march through time. When the fall of the Berlin Wall and the collapse of the Soviet Union signaled the end of the Cold War, the holdings of American and Russian nuclear armaments were significantly reduced with many of the supporting facilities being closed and abandoned. All that now remains are decaying reminders of the might once exhibited by two opposing forces heading towards an unimaginable end. Just like time, photography can strip away the extraneous distraction of life to leave a meditative stillness. Sometimes silence speaks the loudest.