Jennifer Kaye

There once was a time, before camera phones and Instagram, where photography was considered novel. At least legendary street artist Ron English thought so, which is why in the early 1980’s he took up the craft. “At the time I perceived it to be a younger art form, so I thought my odds of creating something original were greater,” said English.

Originality isn’t something English has struggled with though. For over two decades, English and his bold statements have cemented his place in the art world as one of the fathers of prankster art. He is known for “liberating” commercial billboards with his own messages, often mocking the corporate icons being advertised.

But before the illegal murals and “popaganda,” English studied photography in Texas. “The thing I liked most about photography was its versatility coupled with the lie inherent in the cameraman’s choices,” said English, who cites Diane Arbus and her self-portraits among his influences. “I wanted all intervention to end with the click of the shutter, leaving the print to be the truth about the lie.”

English often placed himself into unusual situations just to see what would unfold. “For me, my photographs were happenings for people who were in no way seeking out an art experience, and my camera was my passport into any situation.” English’s photos give the viewer some guessing room as to what exactly is going on. Before Photoshop, English was able to create illusion, depth and mystery.

Upon graduation from art school though, English realized that photography may not be the most profitable route, and so he turned to oil painting. However, photography is still a large part of his art process, even if it may be more internal now. “I now do photographs as studies for paintings, many of which could stand alone as photographs,” said English, who hasn’t given up the idea of reengaging the public through photography in the future. “I could wear a clown suit or some costume and shoot people on the street, I’m sure they would react differently than if I were wearing a business suit.”

This post was contributed by Feature Shoot editorial intern Jennifer Kaye.

Hey, Hot Shot! contender Kristoffer Tripplaar is Washington, D.C.-based photojournalist by trade, but when he is not covering the lives of politicians in the White House, he is exploring the excess of American culture, the U.S. Postal Service and more recently, America’s forgotten Cold War relics. “I started this project as a means to explore the once lethal debris,” said Tripplaar. “The idea that so much time, effort and money could be spent on military build-up, only to be left to rot within a few decades, left me intrigued.”

As one of greatest threats to American democracy, the “red scare” left a country littered with abandoned military bases, weapons and aircraft. “What was once considered so critical to our survival as a nation is now overgrown junk,” said Tripplaar. In an effort to explore America’s frightened mindset for over 40 years, Tripplaar’s project will also highlight the shift in how America reacts to threat in a new era where terrorists have replaced the nuclear holocaust.

This post was contributed by Feature Shoot editorial intern Jennifer Kaye.

(via Hey, Hot Shot!)

“In our society, breast cancer is hidden away behind a little pink ribbon. The public needs to be educated.”

David Jay, a professional fashion and beauty photographer of over 15 years, hopes to make a step in that direction with The SCAR Project, a series of large-scale portraits of young women and the scars from their journey with breast cancer.

The series came about five years ago when the disease hit home. Jay’s close friend Paulina was diagnosed when she was 29, and within two weeks she had a mastectomy. She modeled for Jay since the age of 17, so after her surgery Jay knew he couldn’t stop there. “I took her picture because, perhaps as a photographer, taking pictures is my way of confronting, understanding and accepting the things I see,” says Jay.

Coming from the world of fashion, where beauty is actually skin deep, The SCAR Project gave Jay an honest chance to capture the real complexity and beauty of strong, real women. Jay, however, was torn during the making of the series. While wanting to create raw and sincere images, he also wanted to honor his subjects who desired to feel beautiful. “They had already suffered greatly, and although I desperately wanted to serve them, I knew in my heart that compromising the visual integrity of The SCAR Project for the sake of easily digested beauty would serve no one.” The result is an unforgettable, emotional series, powerful in its message and subjects.

The American Cancer Society estimates that more than 10,000 women under the age of 40 and as young as 15 will be diagnosed with breast cancer each year. One hundred of these women are represented so far in The SCAR Project. The next exhibition will be this October in Washington, D.C., but the photos can also be seen online or in Jay’s self-published book titled “The SCAR Project: Breast Cancer is Not a Pink Ribbon,” which also features autobiographical sketches by each woman.

“Ultimately, The SCAR Project is not really about breast cancer,” says Jay. “It’s about accepting all that life offers use … all the beauty … all the suffering, too … with grace, courage, empathy and understanding.”

This post was contributed by Feature Shoot editorial intern Jennifer Kaye via Resource Magazine.

If you’re a photographer, you can now promote your work, new series, website, gallery show, etc. on Feature Shoot for a very affordable price. Find out about becoming a Spotlight Photographer here.

Described as “hopperistic” by the New York Times and New Yorker, Gail Albert Halaban’s large-scale color photos provide a look into the private worlds of ordinary people. “I’m a photographer and therefore I’m a voyeur, and I’m a New Yorker and therefore I’m a voyeur,” said Halaban. Although staged, these photographs capture the realistic experience all New Yorkers can relate to. “I think every city has its own way that people connect to their neighbors. In LA it’s through the car window. In New York, I think it’s through the apartment window.” Halaban’s photographs range from a man playing with his dog to a couple playing with their baby, all with the backdrop of large architecture emphasizing the real New York experience, being one of eight million. Halaban’s book of peeping shots will be released this September by powerHouse books.

This post was contributed by Feature Shoot editorial intern Jennifer Kaye.

If you’re a photographer, you can now promote your work, new series, website, gallery show, etc. on Feature Shoot for a very affordable price. Find out about becoming a Spotlight Photographer here.

July 31st, 2012 on the rooftop of New York City’s Go Studios, “Bosom Buddies: The Breast Auction Ever” promises to a night full of mammories and celebration of the female form.

New York-based photographer and self-proclaimed breast enthusiast, Henry Hargreaves, has joined up with trade publication Resource Magazine, to auction off his photos as seen in Resource’s Summer 2012 issue, “Breasts that Pop.” The photographs, best viewed using 3D glasses, are playful and provocative but most importantly, are a tribute to natural breasts in all shapes and sizes.

The images are printed by friends of Feature Shoot, Gotham Imaging. The proceeds from the silent auction will benefit the Young Survival Coalition, an organization aimed at providing support and resources for young women diagnosed with breast cancer.

This post was contributed by Feature Shoot editorial intern Jennifer Kaye.

Burcu Avsar’s Color Studies explores the relationship between humans and color and the meanings given to each hue. With the aid of stylist Helen Quinn, Avsar experimented with three different natural dyes. They began with the ancient indigo blue, applying it to used books and wood, which were then coupled with Japanese textiles and figurines. Moving on to cochineal (the Mexican bug-turned-vibrant pink when crushed up) the duo told the story of its transition with different shaded yarns.

Their most recent study of white was inspired by Herman Melville’s famous character Ishmael, who admires its beauty while also fearing the danger it can represent in nature (such as great white sharks, polar bears, and white wales). Avsar’s take included a five pound octopus, broken plates, and charcoal for contrast. The props were kept to a minimum so as to not take away from ‘our goal … to create beautiful imagery.’

This post was contributed by Feature Shoot editorial intern Jennifer Kaye.

“The photograph reflects, every streetlight a reminder. Nightswimming deserves a quiet night.” These lyrics, from R.E.M.’s “Nightswimming” played a major part in Jeremy and Claire Weiss’ spread for Monster Children magazine. The husband and wife power duo who make up the photography team Day 19, borrowed a friend’s pool off the grid, in the hills of Malibu to really capture what it’s like to swim at night. “I just thought it would be rad to shoot a story based around the feeling of swimming at night but to try and capture what the light actually feels like when you are doing it,” said Jeremy Weiss. The team only used ambient light from the pool and a string of lights on the deck, no flash or strobes to mimic the water reflections. This series was recently chosen to be part of Photo District News’ 2012 Photo Annual.

This post was contributed by Feature Shoot editorial intern Jennifer Kaye.

“Having grown up in the Northeast, it was primarily through traditional music – old time, blues, gospel. Etc. – that I had formed a relationship with the South,” said Shane Lavalette.

In 2010, N.Y.-based photographer, Lavalette was commissioned by Atlanta’s High Museum of Art to contribute to their “Picturing the South” series. Since photography seems like an inadequate medium to capture the rich history of southern music, Lavalette strayed from the documentary viewpoint and instead aimed to capture the roots and heart of the lyrics and its relationship with the contemporary landscape. “Moved by the themes and stories past down in songs, I let the music itself carry the pictures,” said Lavalette. As a whole, these understated photos represent a great moving spirit and strong oral history. “The musical history of the South is so rich and complex, which made it a natural point of departure for me.”

After two years of shooting in the south, Lavalette is using the popular fundraising site, Kickstarter to raise money for production for a limited-edition photobook. The exhibition will run from June 9 to September 2 of this year.

This post was contributed by Feature Shoot editorial intern Jennifer Kaye.

Robin Moore is no stranger to wildlife. The Scottish-born photographer’s work has graced the pages of National Geographic Traveler and TIME and he is an associate fellow of the International League of Conservation Photographers.

Moore’s latest efforts brought him just outside of Nairobi, Kenya to Giraffe Manor, famous for its resident herd of endangered Rothschild Giraffes. There are actually six species of this long-necked creature, with wild Rothschilds numbering in the low hundreds. The Manor offers the unique experience of rubbing shoulders with the giants as they peek their heads into the hotel dining room to share breakfast with guests.

“… East Africa is my favorite place to shoot on account of the wildlife, the landscapes, and the people,” said Moore. “This seemed to provide an exceptional opportunity to get up close with an endangered species and capture its interaction with people.”

As Moore was shooting the manor for promotional purposes, he made three visits over the course of a year, spending several nights each time. “I tried to capture the Manor ‘as is’ and therefore these were not set up specifically, I merely documented what was happening around me,” said Moore.

It’s common to assume these giants are gentle, as they approach people through the windows of the hotel quite casually. But if the barrier of the hotel walls are removed, guests are advised to proceed with caution as the giraffes can play rough. “They are fairly well habituated to people,” said Moore, “but you have to respect them as wild animals.” Moore pushed the limits a few times to get a shot, and was chased around a tree and nearly head-butted. “It was only funny because he missed,” said Moore.

This post was contributed by Feature Shoot editorial intern Jennifer Kaye.