Dru Donovan

Dru Donovan is another random find. Love his portraits, lighting is phenomenal. His work reminds me of several 35mm series' I've done recently. Fair warning he has full res images and they aren't organized very well.

Pierre le Hours

Pierre le Hors' rgb transfer-ants are intriguing to me, however, they lack a cohesion quality wise, and I wasn't too impressed with his with in image altering with mirrors, because he says he wants to document what the colored smoke does to an object. If you alter the experience by removing the object and re-contextualizeing its original position you are not documenting its original form, but an after thought of the image.

His other book he created, Firework Studies is gorgeous in my opinion, it has a fluidity to it and a feeling of looking at a single image that has been deconstructed into a 100 page book. The black and white imagery is hyper contrasty and incredibly graphic.

Alex Lovell-Smith is a former KCAI transient from New Zealand. He's pretty awesome, case in point: EPICA

Vee Speers

After taking a tour of a local art collectors loft in the river market I discovered Vee Speers, an Australian born photographer. Her work is gorgeous, and I feel captures a sense of innocent maturity (if that makes sense), and rather than ignore Jan Kennedy (again) and writing a lengthy blog, I'll just post the images and let them speak for themselves:

Sweet

E. O. Hoppe is my latest discovery, his work has a really nice variety. I especially love his series over the Russian Ballet:

VIA Justin Teel.

Eric Mutel: What he does is takes portraits and then places it behind a 1in or 2in plain of ice creating an image that was distorted.

SYNTAX!

Frederick Sommer: Experiments, woo!

Frederick Sommer: Considered a master photographer, Sommer first experimented with photography in 1931 after being diagnosed with tuberculosis the year prior. Early works on paper (starting in 1931) include watercolors, and evolve to pen-and-ink or brush plus drawings of visually composed musical score. Concurrent to the works on paper, Sommer started to seriously explore the artistic possibilities of photography in 1938 when he acquired an 8×10 Century Universal Camera, eventually encompassing the genres of still life (chicken parts and assemblage), horizonless landscapes, jarred subjects, cut-paper, cliché-verre negatives and nudes. The last artistic body of work Sommer produced (1989–1999) was collage based largely on anatomical illustrations.