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  2. Art Models 6: The Female Figure in Shadow and Light by Maureen Johnson
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The D. Catalog www. Distributed by D. Bill Brandt: Shadow and Light. Edited and with text by Sarah Hermanson Meister. Text by Lee Ann Daffner. His postwar career expanded to include portraits and landscapes, and the celebrated series of nudes that remain his crowning achievement. Brandt died in London in Time Out Magazine Howard Halle This survey takes a long-overdue, in-depth look at one of the true giants of modern photography.

If it's a real professional [model], they will be extremely angry [to hear that]. Some of these models studied fine arts, and this woman," he said, pointing to a large, red-tinted portrait -- "this woman is an architect. Taking artistic nude photographs, according to Thanakorn, is all about the perspective of the artist behind the camera. As long as your intentions are pure, the photograph will come out pure. He mainly chases the light, and tries to capture candid and moody moments to create the perfect picture.

I'm completely in another zone. It's just a beautiful form with good light, taken anywhere. As long as there's good light coming through, we can create any shape. Let the light come in at an angle, and maybe underexpose a bit, and it'll be all gone. I would let light and shadow hide certain elements. Fine-arts nude photography has been limited because of one-sided judgement. Other Services.

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Aestheticising a stigma 0. Aestheticising a stigma The photography of Thanakorn 'Chai' Telan challenges the hypocrisy of a culture that values sexy bodies while chastising nudity.

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Reflecting on the competition some four years later, O'Neill describes her motivations for Lifers as wanting "to understand how our past and present intersect in Whistler. I wanted a reason to get to know the older generation of mountain heroes, including Werner Himmelsbach, Trudy and Peter Alder, and Karl Ricker, and how their experiences compare to our current ski idols.

Throughout Lifers , O'Neill paired shots of the same subject that shifted the camera's focus from foreground to background. By contrasting the far and near, she revealed the depths of perspective to be had from a single frame. Arranged in depth but also in triptych, O'Neill's style continues to explore how a photograph can be more than a flat image. This theme carried her entry, Tough Love , which transported us into the lives of working women in Whistler, from patrollers to ski pros.

Sitting in the audience, it felt like we had been invited into the intimacy of Whistler's local culture, as O'Neill showed us the day-in, day-out routines of those who make the mountains move. In both Lifers and Tough Love , O'Neill captured in their fleeting essence the themes of the intangible and ultimately unphotographable, for they are of time itself: the passing of a torch from generation to generation, and the relationship between the immovable mountains and the lives shaped by them. As O'Neill says: "There is a commonality and a ruggedness in the women and men who love the mountains that spans generations," and it was showing such a story, in photos, that "connected to the audience.

The door had been opened to a shifting of perspectives, to a changing sense of capturing the ephemerality of chronos. Thus photographers are everywhere shooting everything, but it remains the province of a dedicated few to seek the toughest challenges in capturing that which cannot be shot nor cannot remain still. In what follows, we turn to two photographers who favour the Sea to Sky — Whistler-based Kyle Graham and Vancouver-based Tomas Jirku — who are peering at the world in an entirely different light.

Graham turns to a self-reflective study of anxiety, sexuality, and cultural taboos in self-shot portraiture and nudes. Jirku unveils the spectrums of light that secretly grace the ancient monuments of the world — the deep time of trees, mountains, and geology — by using infrared techniques and geometric framing to capture the unseen. Graham gazes upwards at the slatted ceiling of the Audain, where he works his day job as lead security guard. Shafts of sunlight stream in through the slats, and as we watch the light shift slowly to the movement of the sun, patterns of shadow and light form across the perpendicular.

Shooting architecture is one of Graham's passions, as well as a source of income.


Though most photographers consider action photography and weddings as staple fare, Graham has carved out a niche taking photos of the immobile objects in which we all dwell. Graham unzips his DaKine kit bag and we go through the assortment of glass what photogs call their lenses , Speedlight flashes, remotes, tripods, knick-knacks, and his backup body. Some lenses get more use than others; his favourite is the staple 50mm Canon 1.

What's boca, you might ask? It's that fuzzy background effect that many photogs aim for, basically a blurring of light produced from good glass when shooting at a narrow focal length. Besides buildings, Graham is interested in bodies. His portfolio includes a selection of unconventional nudes posed in outdoor settings.

Art Models 6: The Female Figure in Shadow and Light by Maureen Johnson

For awhile, he ran a venture called Playful Photo Parties that focused on tasteful boudoir images for clients seeking something a little more classy — as well as spicy — than sexting selfies. Sexuality and anxiety are two themes that run throughout Graham's contemporary work. But before we begin talking about his self-portraiture, Graham describes a project he has yet to shoot.

It aims at tackling the barriers around discussing erotica, and he imagines it would be captured in both video and still. As a hypothetical project, it also serves as an excellent introduction to his artistic concerns. Roughly, the concept is of a couple performing sexual acts, but only their shadows are seen, backlit against a homily living room wall. Though he knows he could post it to Vimeo, other services might not be so friendly to such experimentation.

YouTube, and particularly Facebook, pose interesting boundaries of censorship. He mentions as an inspiration the Hysterical Literature YouTube series that features videos of women reading from novels while undergoing semi-secretive orgasms. One could also gesture to "Blow Job," the infamous off-camera orgasm film of Andy Warhol; the first Hysterial Literature video, of note, features avant-porn actress Stoya. Chatting about sex should be a more open and respectful environment all around. Whenever people think about sex, people put up a wall immediately, even if they watch pornography at home.

In this sense Graham's work attempts to capture the threshhold of the socially appropriate — or of what separates art from the explicit flesh of a body made attractive for titillation and excitement. French historian and philosopher Michel Foucault once infamously said that the Victorian era's apparent repression of sex was completely at odds with its discourse: Victorians couldn't stop talking about it.

Over a century later, in the mad technological mayhem of the 21st century's hook-up culture — with explicit means of sharing sexuality aided by social media apps such as Snapchat, Grindr, and Tinder — discussing sexuality with friends still remains something of a taboo. Graham aims squarely at this point, where body-shaming and personal anxiety reveal the hypocrisy of an oversexualized culture, and it is a point that is personal for him, too, in turning his gaze inward — one could say to the third eye that sheds his own skin.

To this end, Graham turned away from action sports, where shooting multiple days on the hill might only yield a handful, if lucky, of publishable shots.

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Turning away from the spectacle of speed and snow, he turned his camera upon himself. I'm trying to explore depression," says Graham. It is in Graham's nude portraiture, either of models in outdoor settings, or of himself, that one finds the "random triggers from the past" that he discusses in relation to anxiety. Forcing himself to confront such triggers has put him in intentionally uncomfortable positions. He has posed as a nude model for live art drawing in Whistler, and recently he has posed in drag for his own self-portrait. It is in these moments that Graham's photography becomes the most intimate, as it begins revealing the shadows of what the body is unable to speak on film, but does so nonetheless.

Then I was like, what's the next step? So I would go down to the nude dock at Lost Lake, first wearing a piece or two, but then eventually over a few summers, I would feel comfortable, and strip down. Then Graham saw an ad in the paper for live nude modelling. And everyone is legitimately staring at you. They're looking at every little nook and cranny.