These images are photographs! Not paintings from one of the Hudson River School of painters! And I really love the painterly style in Karen Klinedinst’s body of work, The Emotional Landscape.
It’s worth checking out the rest of Karen’s work on her website.
Al Brydon’s work has some really great mood and atmosphere.
When I first saw his work, it was like a light lit up in my head. Viewing his work has given me new permissions in my own work that I’d never really had, or known existed before.
View more of Al’s work on his website.
Mary Sloane has some interesting work of dilapidated billboards along highways in the American Southwest.
There's something I really love about Mary's aesthetic and the bland, bleak landscapes in which these billboards reside.
Check out more of Mary's work at marycsloane.com
"Time is the shape of an old oak as the winds caress and sculpt the bark, defining the hardship and beauty. Time is the trunk that splits apart in great age to accommodate the tempest. Evidence of time is revealed in the furrowed bark of an ancient tree, gnarled, crooked, and beautiful," says Beth Moon in her artist statement for her body of work titled Portraits of Time. Trees are a great subject to use to define time, and Beth's photographs in Portraits of Time are sublime. From ancient Baobab trees that can live to be over 2000 years old (The Panke Baobab in Zimbabwe died in 2011 and was around 2500 years old), to giant oak trees, to towering cedars, these photographs show the majesty and awe of some of the organisms that grow on this planet.
Her body of work, Island of the Dragon's Blood does much the same thing, focusing on the dragon's blood trees (a name given by the scarlet colored resin that flows through them) and other flora of Socotra, an island in the Arabian Sea.
Beth has some really great work, which you can see on her website.
Whimsical is what comes to mind when I look at Charles Petillon's photographs.
He takes bunches of white balloons and arranges and places them in the landscape. These bunches of balloons have the feel of a cloud that has descended to hover just feet above the ground, and the luminance they add to the land is really quite beautiful.
If you like time lapse photography, night photography, and video, you'll enjoy Jeff Frost's work. He even crosses over into Earth Art a bit. I've been looking at Jeff's work for a while mainly through his Instagram feed, but also through his website, and his videos hosted on Vimeo.
Jeff was kind enough to answer a few questions about his work that you can read below:
Would you mind telling me a bit about your background as a photographer?
My background is really as a musician. So I tend to think of photography and contemporary art in terms of rhythm, texture, and mood. The timing of a video edit is as delicate as the fixing I used to have to do to for one of my shitty ex-drummers. If you're getting it right, you're 'in the pocket' in both mediums, and that can come down to mere milliseconds of difference. Time lapse itself is as mechanical and precise as a Roland 808, which can make it difficult to humanize, but also prevents an invigorating challenge.
I never imagined myself being a photographer or a film maker. When I realized the music thing wasn't going to work out, I went to a school that essentially taught me the basics of commercial photography: how to shoot headshots and weddings, studio lighting, product photography, etc. All of which I did as student to scrape by. As I was shooting weddings I'd find my thoughts wandering. I'd make estimates on how long a couple would last before the divorce. Then I'd feel guilty and think, 'Well this can't be healthy.' In class I was rebelling by creating fine art instead of commercial work. The weirder and more complex I could make it, the better. This lead to painting optical illusions in abandoned houses, which I think of as some sort of minimalist-maximalist paradox in motion, and weaved into a non-linear film narrative.
Who are some of your influences as a photographer, and who is your favorite photographer?
My influences are also more towards the music and painting side, but I'll get to a few photographers as well. Musicians who influenced me early on were a lot of the alternative rock stuff like REM, Wire, the Cure, but when I heard Nine Inch Nails "ruining" sounds it really changed how I think. Right now my influences are becoming more abstract on that front: John Cage, Autechre, Aphex Twin, Kim Cascone, Christina Kubisch. All of this filters into how I shoot photography, make soundtracks, and work on sound design.
I love the minimalist painters (Frank Stella, Ellsworth Kelly, Barnett Newman, Mark Rothko, Piet Mondrian, etc), but really I love every era of painting. Classical painters such as Caravaggio and Bosch are examples of wild innovation within their time, and also examples of how to get away with it. I adore Andy Warhol and pop art. Street art has had a huge influence on me as well, and that's where my paintings of abandoned buildings stems from.
For photographers the ones I admire and am influenced by have little to do with my work aesthetically (in most cases). The fearless, tireless, tenacity of Diane Arbus has always blown me away. Richard Avedon honing his portraiture craft to include interactions designed specifically to illicit emotional responses from specific people is an example, for me, of how productive it can be for a photographer to step away from passivity and jump into the thick of things as well as the importance of brilliant planning. Lee Friedlander is one example where you can at least somewhat draw aesthetic parallels. The way he composes and plays with the psychological reaction of the viewer has always had a huge impact on me; same goes for Edward Burtynsky in a much different arena.
I can't say that I have a single favorite. Too hard to choose.
I love when artists make work that is interactive and collaborative with the landscape, and there is a lot of that in Jeff's work, and my favorite examples are found in his Flawed Symmetry of Prediction body of work.
I've been following Alexander Davis on Instagram for a while now, and I've really loved his work.
I asked him a few questions about himself and his photography. You can read about him below:
Would you mind telling me a bit about your background as a photographer? How long have you been making photographs?
Who are your influences? Who is your favorite photographer?
About Against The Modern World, he says:
In the fall of 2016 I felt I needed to seek out other photographers and artists in my area, and either create or join a community of artists that had as a goal to help each other in our creative endeavors. Part of that search lead me to a series of lectures done at Utah State University by artists who came to give a presentation to students about their profession, and how they got to where they are now, and work they've done, etc...
One of those presenters was Bryon Darby.
My biggest take away from his presentation was what he said about making work:
Bryon is an ASU alum, where he studied under one of my favorite photographers, Mark Klett, and his influence shows. Not directly in his work, but more so in his ideas and concepts, and never in a derivative way.
His most recent work is his New Farmers project. It is a collaboration between himself, a sociologist, and designer, and documents a new generation of farmers in the American Mid-West.
Go look at more of Bryon's great photography on his website.
Jeff Rich has been photographing the Mississippi River Watershed for several years now.
So many of his photographs give me a guilty pleasure: they're beautiful photographs, but what's depicted in the photographs of what has happened and/or is happening to the landscape is frustrating, infuriating or even horrifying.
The sorts of scenes like the one below are a great example of what I mean.
Check more of Jeff's work on his website.
After last month's post on Timothy O'Sullivan, I thought it might be fun to make that a pattern, and talk about some of my influences each month.
Eadweard Muybridge didn't immediately become one of my influences. I think in my History of Photography class we mainly discussed his motion studies and experimentation. But I could be wrong; I was in Seattle for half of that semester while I was prepared to donate bone marrow to my brother who was undergoing treatment for Leukemia. It wasn't until about three years after that class that I really began paying attention to his landscape work he did in Yosemite.
Today, Muybridge is most known for his motion studies, which began with him being hired to settle a bet between two men, one of whom was Leland Stanford. The bet was whether a horse, when galloping had all four hooves off the ground, or if an animal that size was always in contact with the ground. Muybridge was hired, and devised a system of 12 cameras set at intervals along a race track, which was all in white. A trip wire was attached to each camera so that when the horse passed in front of it, the shutter was tripped and the exposure was made. This was in the days of wet plate collodion, when exposures were seconds long, so it really is remarkable for Muybridge to have figured out how to reduce the exposure time enough to stop motion the way he did. This led him to perform many more studies of animals and humans in motion. These studies ultimately led to the invention of the motion picture.
Though most known for the motion studies, Muybridge started out his professional photographic career as a landscape and architectural photographer. He photographed San Francisco, and surrounding areas including Yosemite. Some of the scenes he photographed in Yosemite were made from the same point as photographs made by his contemporary and competitor, Carleton Watkins.
For an excellent biography on Muybridge, read Rebecca Solnit's book River of Shadows: Eadweard Muybridge and the Technological Wild West
Or if you don't want to buy a book, you can read this excellent bio over at Imaging-Resource.
Or you can just check out the Wikipedia article on Muybridge.
Simon Harsent has some really nice landscape photography. I love his color palettes.
in addition to his landscape work, Simon also has some nice portrait photography as well. These two are from his Great Britain Hooligans body of work.
You can go view the rest of Simon's work on his website.
Linda Foard Roberts has some really breathtaking work. There is so much emotion and depth in her photographs. It's been a while since I've been impacted so deeply and emotionally by someone's photographs. At least in a way that is deeper than just seeing a nice photograph and recognizing/acknowledging the skill or craftsmanship of the photographer, and their ability to compose a photograph. These images stir up memories! They bring you right in to Linda's world, and make you feel as if you're a part of it as well. Many of them have such a dreamy quality to them.
I asked Linda about her influences as a photographer, and she responded with this: