2012-05-18
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Cameras from This Is Japan 1957, available at Press: Works On Paper.
2012-05-03
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Robin Hood Gardens, Poplar, London, 1967-72
This is a cropped version of a photograph by Sandra Lousada, subject of a small show at the National Portrait Gallery, London. Lousada is giving a talk at the V&A on the 14th of May, 2012.
Image via Google Image Search, Yellow Umbrella, and Treehugger.
2012-05-01
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Mike Krieger explains why Instagram uploads photos so quickly.
It’s slight of app.
Great deck on why speed is a feature. Esp. on mobile.
I’m a little surprised this is news to people; it took me a few months to figure out that Instagram had to be doing this, but I always think of myself as slow.
The billion dollar valuation for the company still looks high every time I see it, but the critics who suggest that sharing photographs from mobile phones is either obvious or was already solved haven’t thought at all about how well that app works. (It’s reminiscent of the dismissiveness of Twitter a few years ago, which amazingly I still hear around the office occasionally.)
2012-04-29
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Sky images with Pantone-style colour labels on Flickr.
There’s more at the artist’s website.
2012-04-25
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NASA channeling David Hockney, via Ethel Baraona.
I hadn’t thought about the connection between Hockney’s “joiners” and NASA composites before, so seeing it brought up made me wonder. It turns out the artist’s first works using that medium were around 1970, so a few years after the Surveyor images seen here. The majority of works in the composites section of his site date from around 1982, well after the first round of planetary surveys.
Nonetheless, it’s an interesting topic to muse on.
2012-04-24
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Two photographs of escalators from the Magnum collection, as posted to Slate as part of their series on walking.
2012-04-21
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Fast Co. Design: Long-Exposure Pics Turn Toyota Factory Into Action Painting (via new-aesthetic):
For these photographs, which are more than four feet long, Stéphane Couturier spliced together images from various points and times in the assembly plant, and then stitched them together to document a whirling, automated motion in which human figures and machines are all intricately involved in a dance of mechanical production.
