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Brooke Shaden wanted to take the often clichéd subject matter of ballet photography and teach it some new steps. In creating this photograph, Shaden was interested in the “in-between moments” in dance. Shaden’s photographs are often self-portraits, as here, where she used Photoshop to clone herself seven times. She often takes more inspiration from painting, film and literature than from traditional photography.
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Normally, one might expect that evolution and progress would have an upward arc as time goes by. Over the past few years, however, Vives has come to quite the opposite conclusion, that his children will have a harder, less happy life. This idea is expressed within the context of a photograph taken for the environmental group Nicolas Hulot Fondation, with which Vives frequently works.
The orangutan was shot separately and digitally dropped into an image taken at the Palais Brongniart, the old Paris Stock Exchange.
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In 1999, when Astor was not quite ready to use digital photographic techniques, he relied on analog techniques to float the planets, electrons, and hands: He hung them from wires in the studio. To merge it with a photograph he had taken of Big Sur, he used front-screen projection, a technique in which the ocean shot was projected onto a highly reflective background that was draped behind the hanging planets. The projection didn't show on the planets because they were not crafted from reflective material.
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While driving from Boulder to Golden in Colorado, Lhotka hit a freezing fog. She pulled over to the side of the road, pulled out her camera, and started shooting. The trees were encased in ice, and the air was filled with frozen mist. When Lhotka first loaded this photograph into Photoshop, the tree was almost completely white. Then she began experimenting. "I accidentally did something that allowed these hidden textures and colors to emerge out of the fog," Lhotka says. "When I saw that, I really went for it.
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To capture Shaden’s unique frozen moments takes a lot of planning. Her work begins with an idea, develops into a sketch, and evolves into a detailed written description before she ever pulls out her camera. Having done all that preparation, shooting becomes easier. She rarely takes more than five exposures. In this case, Shaden shot the birds separately, deliberately out of focus, so that they would fit when she dropped them into the final shot.
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Vives shot this photograph for Fondation Nicholas Hulot, an environmental group in France that was founded by a television personality of the same name. In 1987, Hulot began starring in the documentary show Ushuaïa, which calls attention to environmental damage caused by humans and what must be done to heal the planet.
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When L.A. Style magazine gave Astor the assignment in 1990 of photographing a fashion article about neckties, they didn't know he would come up with something as primal as "Love in Limbo." But when you give an assignment to Josef Astor, you should know that he's going to swing for the fences. To give a sense that the subjects in the photo were floating in Somewhere Else Land, as Astor puts it, he hired a painter to paint a backdrop. That's how it was originally published. But 19 years later, Astor revisited the image and felt that it wasn't removed and distant enough for his tastes.
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Bonny Lhotka finds inspiration everywhere. While walking past an auto-repair shop, Lhotka's eyes happened to catch a reflection in a one-inch square of Mylar that had been adhered inside the window. The colors and the distortions cried out to her. She captured the image, and then walked down the adjacent alley and snapped others, as well: a wall that intrigued her and some lovely ivy growing along it.
In Photoshop, Lhotka changed all the colors on the Mylar photo, then dropped in bits of wall and ivy. Working on a flatbed printer, she printed her photo on acrylic.
