Hungarian artist Gyula Sopronyi shows off one of the real wonders of photography in his latest series, that is finding beauty in otherwise mundane settings.

Gyula captured these aerial shots of common river barges’ cargo, but the tightly cropped photographs are anything but average.

Tightly Cropped Aerial Shots of Barges’ Cargo Are Surprisingly Beautiful

via Huffington Post

Searching for the miraculous…?

Reblogged from photojojo

John Cage said (I don’t know if they were his own remarks or Zen) his goal was not to get somewhere, he just wanted to enjoy the trip. That’s the quality I want in all my work…I noticed a long time ago, when I went to a strange country, that I had the best time and the greatest experiences when I thought I was lost, because when you are lost you look so much harder…it’s the experience of taking the photograph that keeps my mind open to unprogrammed images, uncontrolled, and then permits me to handle them rawly or allow them to be digested in a cacophony of other specifics.

Robert Rauschenberg, from an interview with Alain Sayag, 1981

Most music tries to control its circumstances, just as most of us do. But there’s another way to live. Accept indeterminacy as a principle, and you see your life in a new light, as a series of seemingly unrelated jewel-like stories within a dazzling setting of change and transformation, recognise that you don’t know where you stand, and you will begin to watch where you put your feet. That’s when a path appears.

Kay Larson - Where the Heart Beats (John Cage, Zen Buddhism and the Inner Life of Artists)


Photographers have been exposing negatives to corrosive chemicals for ages, but as far we know, Seung-Hwan Oh is the first to use live bacteria in his experiments.

Using homegrown cultures that feed on the light-sensitive chemicals you use to develop film, Seung-Hwan Oh ends up with these distorted photos that are strangely beautiful.

Live Bacteria Cultures Used to Corrode Film Negatives

via Beautiful Decay

(via bluebeanyblog)

Source photojojo

Reblogged from photojojo

Le mur, oeuvres de la collection Antoine de... by lamaisonrouge

I saw this exhibition in Paris this summer. It’s the first time I’ve seen a show where all the work was arranged on the walls using a computer algorithm. Since Year 13 are thinking about the ways in which chance can be incorporated into the creative process, this is a useful reference point.

In today’s lesson 13B will be accompanied by the music of John Cage as they set about creating collages according to the role of dice.

During the course of Surrealist development, outside all forms of idealism, outside the opiates of religion, the marvellous comes to light within reality. It comes to light in dreams, obsessions, preoccupations, in sleep, fear, love, chance; in hallucinations, pretended disorders, follies, ghostly apparitions, escape mechanisms and evasions; in fancies, idle wanderings, poetry, the supernatural and the unusual; in empiricism, in super-reality.

André Breton, 1924
Max Ernst - The Entire City, 1934 Kenneth Martin - Chance and Order Group VII, Drawing 6, 1971

This week, Year 13 are thinking about the role of chance in the creation of works of art. Chance processes (or automatism) were embraced enthusiastically by both the Dadaists and Surrealists as a strategy for disrupting the conventional means of making art which emphasised the craft and control of the artist. Subsequently, the balance between chance and structure has been one of the dominant dialogues in modern and contemporary art. The examples above hint at this legacy.

Another strategy we are experimenting with this week is the concept of the instruction. We are asking Year 13 students to do the following:

  1. Reflect on the process one normally undergoes in the creation of a photographic image, everything from having the urge to make a photograph to printing, titling and displaying it to an audience.
  2. To deliberately introduce a disruptive element of chance into this process.
  3. To design a set of instructions for another photographer which employ one or more elements of chance in the making of a photographic image or images.
Minor White - Windowsill Daydreaming, Rochester, New York, July 1958 Leonard Freed - New York City, 1954 Josef Sudek - Still lIfe with bread and egg Manuel Alvarez Bravo - The good reputation sleeping, 1939 Lee Friedlander - New Mexico, 2001 Robert Frank - 34th Street, New York, 1951 Bruce Gilden, Fifth Avenue NY, 1975 Bernd and Hilla Becher - Industrial Facades, 1984 – 1994

On Monday 12D/Pg1 will be working collaboratively to explore the formal elements of various photographs. They will be considering the importance of each of the following elements:









To what extent are these elements useful in helping us to understand how photographic images work?