After Dark is a one-of-a-kind publication documenting Wong’s nocturnal journeys through the world’s most captivating cities. Following his début monograph, TO:KY:OO, which captured Tokyo’s beauty at night, Wong widens his lens from the city that became his spiritual and photographic muse to Osaka to Kyoto, London to Seoul, Paris and Rome. But he goes still further, seeking the rich tapestries of night-life in the foggy historical streets of his hometown Edinburgh, penetrating the backstreets of the megacity Chongqing, seizing the verticality of Hong Kong from its rooftops.
In classic Liam Wong style, the book has been crafted with a meticulous eye for detail. I particularly like the cinematic feel of the shots and the custom typeface, designed by Toshi Omagari exclusively for the book.
Théo de Gueltzl is a Paris-born photographer who has found himself in a lot of different place since he left his native France.
When we last spoke to Théo in 2017, he was living in Bogota following a road trip he had undertaken from Los Angeles, through Mexico, and into South America. There he established a studio and began planning his future trips. He had “the bug for travelling” and, four years later, he still does. His recent photographic work is full of far-flung landscapes and portraits of different communities. This kind of work, he says, is integral to his practice and is the very reason he continues to pick up his camera. “I think I have been very much driven towards telling the stories of communities from other parts of the world in the hope of helping to preserve the diversity of culture,” he explains. “In a time where we are all looking at the world through the same filtered window, and living on a planet that is always growing and changing, I like the idea that photographs can act as proof, carrying information about how people lived in a certain place at a certain time.”
In the mid-1970s, teen skateboarder Jay J. Adams descended on an empty swimming pool in Southern California, with beers and board in hand. A drought had recently ripped across the state, forcing residents to drain their backyard swimming holes. For many, it was a disappointing summer. But not for a crew of misfit young skaters known as the Z-Boys. From their vantage point, those smooth concrete craters made perfect skate bowls—sanctuaries for a sport and subculture they were unwittingly pioneering.
There are of course many artists belonging to the Caribbean diaspora working and living in the US and UK such as Karen Mc Lean, Terrell Villiers and RIP Germain (all of whom are worth a mention in this arena). However, here, we are focusing on artists living and working on the island. Artists who take a close look into Jamaican lifestyle in all its facets, from the spirituality found within the bushes high up in the mountains, to the political and economic turmoil present in the depths of parts of its most celebrated towns like Kingston.
Ayla Angelos wrote about Brasilândia, a new multidisciplinary platform that showcases the work and communities of Black and LGBTQIA+ people.
Founded by Kelton Campos Fausto and Iama Martinho, Brasilândia was launched to provide content for the people in their neighbourhood. Kelton, a multidisciplinary artist, produces works in the video, painting and performance sphere. “They’re currently interested in the plastic construction of spiritual and cosmological scenes that propose living spaces and possibilities of health,” says Iama, “based on other ways of apprehending reality and the body.” Iama, on the other hand, is a stylist, creative, thinker and fashion producer whom within the Brasilandia space contributes to the production, styling and creation of content in all formats. She graduated in technical garment design and has since been centring her work on the production of fashion in conjunction with the “re-signification” of textile waste, as well as combining her experience as a trans woman living in a country where “transgender people are treated as garbage”.
I really like the tagline: “uma plataforma não uma objetificação” (a platform, not an objectification)
Archiving is so important in an information era that favours the new and quickly discards the old when it’s deemed surplus to requirements (read: it’s not making profit). This is especially true for Black cultures and Black Archives works to change that.
[…] Through an evolving visual exploration, Black Archives provides a dynamic accessibility to a Black past, present, and future.
Going beyond the norm, its lens examines the nuance of Black life: alive and ever-vibrant to both the everyday and iconic — providing insight and inspiration to those seeking to understand the legacies that preceded their own.
With a background in classics and anthropology I have long been interested in issues of identity and self-representation and in how people live and manage everyday challenges. As a street photographer I have followed with curiosity how people cope with the pandemic, dealing with the unknown. I was here on September 11 and during Sandy’s aftermath, and last March I saw in people’s expressions and movement their anguish, their incredulity, and confusion that matched my own. I walked around different New York neighborhoods every day and noticed the progression in more and more people starting to wear their feelings on pieces of decorated cloth.
[…] This small object has become a symbol of this time. Some images from the series have recently been acquired by the Smithsonian Museum as part of the first set of multiple pandemic-related digital acquisitions. Two COVID-19 related photographs are part of New York Responds: The First Six Months at the Museum of the City of New York, and one (May 10) mask was part of the #ICPconcerned group show.
Index of Fillers is the artist’s second monograph following his acclaimed publication rowing a tetrapod (MACK, 2017) and is the first artist book published by Assembly. Composed of found images of Japanese culture from the late 1980s and 1990s along with Ishino’s own photographs, Index of Fillers is a recreation of the artist’s elusive memory of growing up during this era in Japan.
I like the Japanese comic strip panelling he uses for his images. There’s nothing dramatised or embellished about the subject matter; it’s literally an index of cultural fillers and while that may seem mundane to some, it’ll be refreshing to others.
Bespoke search engines are everywhere and as a search engine optimiser (that’s my day job), I love this kind of stuff. Flim follows in the footsteps of Frinkiac and Filmgrab but with a key difference: AI.
FLIM is the answer to the statement: images are everywhere, movies, TV, music-clips, internet. Images are needed at every creative process level. From Fashion to design, via cinema and music video. To meet that need, Dan PEREZ (C.E.O. of Flim) started in 2011 a website « ffffilm.com ». This site collect screenshots from movies. The FLIM’s ancestor had 50 000 monthly users and more than 30 000 screenshots library. This experience is absolutely clear: there is an empty space for iconographic searching.
Flim’s database has over 300,000 screenshots from movies, TV shows, music videos, and loads more. Each one is categorised by media type, director, director of photography, style, and release date but here’s where the AI comes in: it can detect things like clothing, characters, identified colours, and objects. So if you searched for “table”, you’d get screenshots like this:
That’s a lot of tables. I also tried a manual colour search (magenta, although you can search by colour using Flim’s dedicated swatch search feature) and it worked really well.
Colombia’s El Tiempo commissioned a set of print ads to highlight the importance of Black culture in history and the news. Each image shows famous settings with Black people missing (Michael Jordan, Jimi Hendrix, Pele, and Muhammad Ali).
from the curved concrete balconies of ‘les choux de créteil’ to oscar niemeyer’s ‘bourse du travail’, ‘brutalist paris’ documents the movement’s most significant examples in and around the french capital. back in 2017, blue crow media commissioned robin wilson and nigel green of photolanguage to research, write and shoot photography for the brutalist paris map. since the map’s publication, through their research, writing and photography, photolanguage have continued to draw attention to brutalist architecture across the city and its suburbs.
Roy Mehta is a London-based photographer and in his latest publication, Revival: London 1989-1993, he reconnected with his roots in Brent, north-west London. The book is a collection of Roy’s photos taken in a 4-year period from the tail-end of the 80s to the early 90s.
During this time, in 1989, Roy was living in Farnham, but he knew the area of Brent like the back of his hand – he just hadn’t been there for a while. So he packed up his camera and started to wander the roads of his old hometown, taking pictures along the way and observing the streets that he once used to roam as a child. “I gradually got to know the people and began to be accepted into churches, pubs, homes, dancehalls and other places in the community,” Roy tells It’s Nice That. “This was a long time before digital photography and social media, so photography was a different kind of practice; people related to the camera in a different way.”
I loathe warfare or anything related to it but I’m making an exception for this since the photos are so captivating.
The Last Stand is a photo series by Marc Wilson that looks at relics of military conflict and the memories they hold.
The series is made up of 86 images and is documents some of the physical remnants of the Second World War on the coastlines of the British Isles and Northern Europe, focusing on military defence structures that remain and their place in the shifting landscape that surrounds them. Many of these locations are no longer in sight, either subsumed or submerged by the changing sands and waters or by more human intervention. At the same time others have re-emerged from their shrouds.
Marc took these photos over the course of four years and travelled 23,000 miles to get them. Locations include the UK, France, Belgium and Denmark.