Here, but Not Here: Family Portraits Held Together by Skype
We live in a world in which some of the people we are closest to are often not near us at all.
When we document our day-to-day existence in photographs and Instagrams, these people are absent. Their presence in our lives is absent in our digital memories.
Photographer John Clang’s series Being Together seeks to correct this. Using Skype and projectors, he captures families visually as they are virtually.
“In these images,” Clang told me over email, “I am marking the time for these families, enabling them to remember these strange moments of togetherness with the technology presently available. The picture doesn’t stop here, it lingers on in their memory. It embraces the intimacy and closeness of a family, no matter how far apart they are.”
Read more. [Images: John Clang]
(via npr)
Photo by Griffin Lots, for Rolling Stone.
video for Say Hello to the Angels
directed and edited by robert vornkahl
photography by robert vornkahl and me!!
DAY 176 - September, 11, 2011
Not sure if this is a Ghost Bike or not
“Those who wish to control their own lives and move beyond existence as mere clients and consumers- those people ride a bike.” - Wolfgang SachsVancouver, British Columbia, Canada
The Ukuladies at Jalopy Theatre 09.24.2011
(via hrhobo)
(via technohell)
THIS. Forever and ever.
via james mollison:
Where Children Sleep - stories of diverse children around the world, told through portraits and pictures of their bedrooms. When Fabrica asked me to come up with an idea for engaging with children’s rights, I found myself thinking about my bedroom: how significant it was during my childhood, and how it reflected what I had and who I was. It occurred to me that a way to address some of the complex situations and social issues affecting children would be to look at the bedrooms of children in all kinds of different circumstances. From the start, I didn’t want it just to be about ‘needy children’ in the developing world, but rather something more inclusive, about children from all types of situations. It seemed to make sense to photograph the children themselves, too, but separately from their bedrooms, using a neutral background. My thinking was that the bedroom pictures would be inscribed with the children’s material and cultural circumstances ’ the details that inevitably mark people apart from each other ’ while the children themselves would appear in the set of portraits as individuals, as equals ’ just as children. This selection of diptych’s from 56 in the book (Chris Boot November 2010). The book is written and presented for an audience of 9-13 year olds ’ intended to interest and engage children in the details of the lives of other children around the world, and the social issues affecting them, while also being a serious photographic essay for an adult audience.
