John Edmonds's: Photo Of The Week

Prêt-à-Porter

2012-02-14T14:45:00.000-08:00

Prêt-à-Porter, a small zine of fashion portraits I made during the F/W 2011 season of Paris Fashion Week, is now on sale for only $6!

It was printed in an edition of 30.

Prêt-à-Porter
Date of Publication: February 14th, 2012
Place of Publication: Washington, D.C.
Dimensions: 8.5"x 5.5"
Edition Size: 30
Pages: 12
Photographs: 8
copyright John Edmonds, 2012

It can be purchased through PayPal.

Paradise

2011-11-01T20:19:00.000-07:00

Christian & The Sky

2011-10-29T18:08:00.001-07:00

Christian

2011-09-02T13:17:00.001-07:00

Fuji Instant Peel Apart Film fuck up

a hasselblad back is so pointless....

2011-07-09T07:25:00.000-07:00

Sam

2011-07-06T09:09:00.001-07:00

Les Fleurs

2011-06-06T09:13:00.000-07:00

Disposables

2011-05-25T09:48:00.001-07:00

Missing American things.

2011-05-12T10:53:00.000-07:00

Robert Creely

2011-05-05T17:06:00.000-07:00

MAX

2011-04-27T18:49:00.001-07:00

SOME PORTRAITS

2011-03-10T07:07:00.000-08:00

mostly street stuff..

NO FOCUS

2011-03-10T06:52:00.001-08:00

Some stuff I've done so far in Paris.

2011-02-24T15:32:00.000-08:00

In all honestly, it's been extremely daunting getting used to Paris photographically. Though it's such a beautiful city, its day to day gray skies have definitely had a great effect on my temperament, as it does on most parisians. In the beginning I tried to pick up where I left off with the work I was doing prior to leaving the states, but due to the nature of things I've moved in a different direction. The intention of making these photographs so far are simple-a search for beauty, familiarity and color.

12.09.10

2010-12-09T16:15:00.000-08:00

Ironing Man, 2006

David Hilliard is an American photographer and contemporary artist working within the mode of tableaux/directorial photography. Hilliard composes panels of diptychs, triptychs and polyptychs that function as single, panoramic images telling unsuspecting narratives with unsuspecting, yet familiar characters. As story teller, Hilliard plays with the ideas of antagonists, protagonists and plot, keeping the audience intrigued by hinting at ambiguous events that may have occurred—or may occur. Hilliard photographs the ordinary extraordinariness of his every day life in shooting elaborate scenes with a large format camera. Yet, it is in the concept of his meticulous compilation of several images to create a panoramic that Hilliard’s photographs become the tableaux.

I admire Hilliard’s work for a number of reasons, mainly because I relate to so many of his insights in interviews (it’s sort of weird; feeling like you can identify with someone so much without having met them in your life-but also very exciting and inspiring). I remember reading an interview between Hilliard and Vincent Borrelli, with Hilliard saying (in reference to this photograph Swimmers 2003) :

Swimmers, 2003

“. . .Maybe this kid is with the other kids, maybe he’s not. He’s looking down. He’s just not in the moment. He’s not able to be with those boys, for whatever reason. Either they’ve pushed him away or he cannot connect. And I may be watching him. On one hand, it’s me as a parent, wanting to help him, but it’s also that he becomes a stand-in for me when I was that age and trying to fit in, but just not quite making it. That’s always the story of my life. Even now, as a grown man, functioning in society, I still don’t feel like I’m ever in a moment. I always feel like I’m a spectator.”

It is this one facet in his photographs that I feel a strong connection to. This sense of being a spectator; never being entirely a part of what is going on around you and looking at everything from afar. This is a recurring theme in many of Hilliard’s photographs. No matter how close or familiar Hilliard is to his subjects, there is always a physical distance that represents his own emotional distance. There is a classical resonance in Hilliard’s photographs; the lush colors and precise plane of focus reference a new type of pictorialism, despite their hyperrealist quality. And, to put it simply without critical support and embellishment, his photographs are just so stunningly beautiful.

The fact that these elaborate tableaux are also portraits is secondary, yet still very relevant to the artist’s ouvre. They act as self-portraits in away, showing the people that Hilliard chooses to surround himself with; many of the photographs show people in very private instances, with very private possessions; both elderly and young men and women appear half dressed performing normal daily routines such as ironing, eating, reclining, vamping, watching and/or reading pornographic material, in resort and et cetera. I found it interesting that Hilliard’s sexual development simultaneously helped stunt his development as an artist. Very early in his adolescence, Hilliard discovered his homosexuality. It was in this self-discovery that he connected with other accepting persons his age who, like himself, were either gay or held an interest in art. As a gay artist, Hilliard’s photographs of men often possess a sense of male eros, portraying a very specific type of male; one who resembles the conventional hunky jock or a heroic protagonist of western literature; his physique oozing with testosterone and masculinity. He looks at us, almost through us, with a stoic, unresponsive gaze.

Hulk, 2003

I really respect and admire David Hilliard; his vision and his methodical, yet purist work ethic is so refreshing. For me, Hilliard’s photographs remind me of just how beautiful my own world has potential to be.

For more information on Mr. Hilliard, please check out his website here!

Updates!

2010-12-09T15:59:00.000-08:00

I recently published my first blurb book entitled Stardust. You can see a preview of it here.

Though I'm not very happy with the final result, I plan on improving the book with a few new pictures, updating the sequence and enhancing the book's design. Not anything groundbreaking, but a solid enough try for my first book. I plan on purchasing a few copies when it's exactly how I want it, whenever and however that may be.

Lately I feel pretty bad about neglecting my own blog so much for my class blog, so you can follow my class blog, Ninebyten (clickable), to see what my class and I are up to photo-wise.

Shortly, I'll be posting a blog entry I originally posted on my class blog. It'll be a repost verbatim of my class blog entry, but it's about a contemporary photographer I have an extreme interest in.

11.11.10

2010-11-10T21:36:00.000-08:00

So, It's been a while since my last official blog entry and even longer that I've come across a photograph that I really get excited about. It was recently that a good friend introduced me to Timothy Archibald's work. His series and book entitled Echolilia shows photographs of his son and miscellaneous scanograms of his. What struck me immediately about this series was the beautiful contrast of light and dark. I appreciate Archibald's work for his boldness in creating dark, mystifying portraits. Unlike many other photographers who work with their children as subjects creating photographs that have a light, airy quality, Archibald goes for the obscure. Rarely does the art community see a collaboration between father and son in photographs. More often there is a joint effort between mother and child, husband and wife, or photographers and their immediate families, versus fathers working with their own children. I found it quite refreshing that Archibald has been working with his son.

There is a very faint sentimentality in the photographs and a sense of eccentricty that result in an unusual beauty; you can tell that these are dear subjects to him, without feeling as if he is imposing his affection on the audience. The emphasis of form and shape and the anthropmorphic quality of the young boy's gestures and activities make for some of the most interesting photographs I have seen in a very long while. Archibald's photograph's are reminiscent of Ralph Eugene Meatyard's photographs of young boys against abandoned houses and throughout the fields on overcast days; yet, with the same ominous beauty, Archibald's work has a refined, pristine quality to it.

(from Timothy Archibald's series entitled Echolilia)

Above is my favorite photograph of the series. There's something wonderful about how ethereal the photograph feels, without having blown out highlights and having an almost silhouetted form. I love the shape of the feet, the line of the boy's back and back light. The boy is on a table in such a suggestive stance that mimics a cat, sniffing flowers; this serves as the photograph's punctum, along with how that one specific strand of hair on the middle of his head mimics the delicacy of the flowers in the vase. I especially like the warmness in the tones, the water in the bottom of the vase and curtain as a framing device. The photographs of in Echolilia are interesting because of the subject's commitment. His personality carries the stories told in these photographs. Whether or not Archibold is directing him, the scenes are very believable. Part of the success comes from leaving the viewer interested in the unknown and curious to know the what is really happening in the images. They're ambiguous in their content, but inviting in their alluring beauty.

For more information about Archibald, check out his website or blog, I'll definitely be doing so.

Vogue Italia December 2009: Meiselpic

2010-11-07T19:14:00.000-08:00

08.18.10

2010-08-18T17:56:00.000-07:00

source: V Magazine.com

All The World's A Stage: What a statement!

07.16.10

2010-07-15T21:32:00.000-07:00

Kate Moss by Mario Sorrenti
(image source: sexualityinart.wordpress.com-click image to view original sized file)

It's rare that you find a photograph that feels so beautifully seen without any pretense. A photograph that has an informal quality because of its snapshot aesthetic, despite its formal elements.

Usually, I absolutely cannot stand harsh, contrasty sun-lit photographs. Yet despite the harsh sunlight, this picture has such an effeminate softness: the quality of light on her body leaves her damp skin glistening, almost like dapper leather; perfect and pour-less. I especially like the cloud's prominence with the even gray sky and the shadows on her body. The way you can see her beauty moles so vividly add such character to the photo; she's bare and her contentment shows in her posture.

There really is an omnipresence of humanity and divinity. Her slight gesture suggests abstract curiousity.

"Black Rose"

2010-06-24T10:35:00.000-07:00

Vogue Paris March 2010: Rose Cordero by Mert and Marcus

(scanned by Elsaskywalker @ the fashion spot; click image to view original size file)

Double post this week.

To die for. To cry for.

I don't really have too much to say about this since it speaks so much for itself, but what an absolutely mesmerizing face and commanding presence. I really do love this tight, headshot type of cover-very similar to the vintage Vogue Paris covers of the 70's. I can't even beging to explain how impressed I was after seeing this. First solo black model cover since Liya Kebede in 2002! Photographered by the famous duo, Mert and Marcus. Model is Rose Cordero, only 16 years old!

06.24.10

2010-06-24T10:29:00.001-07:00

Doutzen Kroes by David Sims f/ Vogue Paris March 2005
(source: herfamedgoodlooks.com-click image to view original size file)

I think this is my favorite picture of her, ever. Such an effortlessly beautiful picture, shows her natural talent.

06.19.10

2010-06-19T20:20:00.000-07:00

(scanned by Elfinkova @ the fashion spot-click image to view original sized file)

I thought this was pretty interesting. Lee Friedlander meets fashion photography. From "The Bright Side" in US Vogue July 2010, photographed by Raymond Meier.

06.17.10

2010-06-17T09:47:00.000-07:00

(click image to view original file size)

(image source: http://www.hedislimane.com/diary/)

Today I'm in a very strange mood. I went to Hedi Slimane's blog just to look around ( I occasionally visit his blog; his photographs are always so beautifully done and candid; What amazing image quality, too! That's mostly due to the Phase One Digital back he's shooting with. he always has some exceptionally good looking youths in his pictures, too). There's a nice consistency when looking through his blog and it is evident that he knows what he sees.

Slimane often shoots on bright sunny days, as he does here in the shade; from the quality of light in his photographs, I think that he may use a strobe, umbrella or some other type of additional equipment to manipulate the direction or quality of light. I'm almost certain that when he shoots outdoor he's mainly using ambient light.

He has a way of making these young indie, hipster looking boys look so graceful and mysterious. I love the beautiful contrast of the entire scene, yet soft light on the subject; there is just enough of a highlight on the boy. The rim lighting on his hair functions like a halo and his body's gesture is so effortless, it's divine.

Slimane's portraits, like other great portrait photographers, are about making deities of these ordinary people he spends so much of his time with. What Slimane chooses to show us about the subject is most enticing. He often photographs the back of the subject's head or with their eyes closed, revealing on a tiny peak of who these people are and masking their identities. He makes you want to know who they are with his seemingly simple, yet complex lighting situations.

In this photograph, The guy seems untouchable. His white t-shirt is so pristine and so crisp, like a garment of a God in early greek portraiture; the wiff of hair and his right ear is iconic. His motion, along with his white t-shirt, gives the impression that he is suspended in space. What makes the photograph feel so modern is his svelte and willow physique, contrary to the muscular highly stylized form of a man in Greek statues. The highlights in the foilage of the background acts as a pedestal, illuminating the him, bringing him forward to be seen.

06.09.10

2010-06-09T16:05:00.000-07:00

(source: artnet.com)

One of the most bewitching photographs I have ever seen.

Entitled "Juliet in the chair", this is from Sally Mann's series, "At Twelve: Portraits Of Young Women."

Visually, the print is marvelous. It was this photograph that strongly influenced the way I wanted to do black and white printing and, convinced me that large format is the only way to shoot black and white. Sally Mann's expertise of giving the subject this prominence, a glowing quality through vignetting and contrast influenced me to do some pretty daring things (at least for someone at my level) in the darkroom. With the girl surrounded in this darkness, the photograph has a foreshadowing. Though simple in its composition, the photograph is loaded with intricate details: the S-curve of her feet, the birthmark on her leg, the gradient grass and foilage- all used as information and decoratives. I particularly enjoy that she is sitting in a white chair. Its weightless quality makes it feel as if the girl is floating.

The look in her eyes is the punctum. Often with portraiture, there is an obvious sense of awareness from the subject having their photo taken. This awareness can sometimes prevent the sitter from giving the most honest and true expression, building an invisible barrier between themself and the camera. What I find most interesting about this photograph is that Juliet sits, completely attentive of the photographer. Not only does she look at the camera, she confronts it. Her cautious, yet content disposition fascinates.

06.06.10

2010-06-06T15:12:00.000-07:00

Steven Meisel was one of the first photographers I ever wanted to know by name and probably the first photographer who's work I ever looked at with admiration. I view Meisel as a portrait photographer before a fashion photographer. His acclaimed work for Italian Vogue has become a personal body of work, rather than what he has been commissioned to do. Anyone who is familiar with Meisel as a fashion personality knows he is notorious for not giving interviews and keeping from the public eye. He doesn't want to be a household name or for the public to know him personally, yet his work lets us know all that we need to know about him. He is witty and whimsical, hip and satirical, dynamic and unusual. Meisel has remained an enigma for over twenty years and the driving force behind Anna Wintour and Franca Suzzani, editor and chiefs of US and Italian Vogue. He is a living legend and the jack of all trades; the Avedon of our time.

Meisel is more renowned for being a master of studio lighting, yet more recently he's been shooting more on location. In the November 2008 issue of Italian Vogue, he shows his versatility with "Cottage by the Sea", featuring Toni Garrn and Katrin Thormann. The editorial is mostly black and white photographs with a few occasional vintage color photos. These are my favorites:

(click images to view original large size)

(source: herfamedgoodlooks.com)

I've always adored this editorial, but everytime I look at it again I love it even more. Such a beautiful mood: melancholic, mysterious and from time to time, even eerie He tells an usual story of two young women who are everything to each other.

05.29.10

2010-05-29T18:18:00.000-07:00

(click image to view large/original sized version)

Vogue Italia March 2007: Meghan Collison by Steven Meisel

Such a Meisel expression/attitude; the powerful, yet passive poise. Beautiful high-keyed image. LOVE IT.

source: herfamedgoodlooks.com