Beaches Photography

More from Beaches series

Katrina Photography

More from Katrina Series by Wilkes

Hurricane Katrina ... was the costliest hurricane, as well as one of the five deadliest, in the history of the United States. Among recorded Atlantic hurricanes, it was the sixth strongest overall.

Katrina was the costliest storm in United States history - with amounts over $81.2 billion.  The death toll was over 1,836.

http://www.katrina.com/

Use of Grids in Photography and Films

The Hirshhorn presents Suprasensorial: Experiments in Light, Color, and Space, the first exhibition to reevaluate the evolution of the international Light and Space movement through the work of five pivotal Latin American artists: Carlos Cruz-Diez (b. Caracas, Venezuela, 1923), Lucio Fontana (b. Rosario, Argentina, 1899; d. Varese, Italy, 1968), Julio Le Parc (b. Mendoza, Argentina, 1928), Hélio Oiticica (b. Rio de Janeiro, Brazil, 1937; d. Rio de Janeiro, 1980), and Jesús Rafael Soto (b. Ciudad Bolívar, Venezuela,  1923; d. Paris, France, 2005).  

The Light and Space movement is often considered as emerging in the United States in the late 1960s and 1970s. Almost a decade earlier, Latin American artists were creating environments of light and color that challenged traditional standards of art as a static experience. By developing large-scale, multimedia constructions of light, color, and space, these artists actively engaged viewers in a physical process of exploring the possibilities of visual and spatial perceptions, forging new object-viewer relationships. The five installations that make up Suprasensorial: Experiments in Light, Color, and Space—heretofore known only to a small number of people—create enveloping optical effects that overwhelm and transform sensory experience and demonstrate Latin America as a source of innovation for the global Light and Space tradition. 

Suprasensorial: Experiments in Light, Color, and Space is organized by The Museum of Contemporary Art, Los Angeles (MOCA). It is curated by MOCA senior curator Alma Ruiz, and the Hirshhorn’s presentation is coordinated by senior curator Valerie Fletcher. The exhibition is accompanied by a ninety-six page illustrated bilingual catalogue containing an essay and entries on the artists by Ruiz. 

The presentation of the exhibition at the Hirshhorn received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional support was provided by the David Bermant Foundation, and funding for the exhibition brochure was provided by the Embassy of Brazil. The presentation of the exhibition at MOCA was sponsored by Fundación/Colección Jumex. Major support was provided by The Andy Warhol Foundation for the Visual Arts and Mandy and Cliff Einstein. Generous additional support was provided by Betye Monell Burton, France Los Angeles Exchange (FLAX Foundation), Kathi and Gary Cypres, and the Consulate General of Brazil, Los Angeles.

http://hirshhorn.si.edu/exhibitions/view.asp?key=21&subkey=510

Cuba Photography

More from Cuba series by Wilkes

Repetition in Photography

While repetition in the humdrum of daily life can at times be a little boring – capturing it in your photography can create an image with real impact.

Life is filled with patterns – many of which we overlook due to the business of our days – however once you get an eye for spotting them (and it takes being intentional and some practice) you’ll be amazed by what you see and you’ll wonder why you didn’t incorporate them into your photography before.

When it comes to capturing repetition in photography a couple of techniques come to mind – you can either emphasize it or break it.

Emphasize the Patterns:

Filling your frame with a repetitive pattern can give the impression of size and large numbers. The key to this is to attempt to zoom in close enough to the pattern that it fills the frame and makes the repetition seem as though it’s bursting out (even if the repetition stops just outside of your framing).

Some examples of this technique might include faces in a crowd, bricks on a wall, a line of bicycle wheels all on the same angle etc. Almost any repeated appearance of objects could work.

The picture of bottles (left) gives the sense that there could be hundreds or thousands of them – even though there could be as few as 20-30.

Read more: http://digital-photography-school.com/using-repetition-and-patterns-in-photography#ixzz1tcXklz6J

Portraits

How Do Portraits Communicate Cultural Identity Part 1

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