Olena_Slyesarenko_Photography

This project examines the quickly changing commercial landscape of Ukraine and its impact on the workforce. By moving indoors, into corporate supermarkets and malls, Ukraine is becoming more westernized and homogeneous. The images of street vendors and other small, unlicensed businesses records an element of Ukrainian visual culture as it disappears. Not without irony, the beach portraits capture a black-market economy in the sunshine.—Olena Slyesarenko

Ukrainian photographer Olena Slyesarenko captures a few of her native land’s local vendors—unfortunately a dying breed these days—in her series of portraits, Small Economies: Beach Vendors. A delightful document of various ware and good-toting beachcombers, the work reminds us just what we stand to lose with a move to the corporate world—character, originality, spirit.

Olena_Slyesarenko_Photography

Olena_Slyesarenko_Photography

Olena_Slyesarenko_Photography

Olena_Slyesarenko_Photography

Olena_Slyesarenko_Photography

Olena_Slyesarenko_Photography

Zeiss

Marisa PortoleseMother and Child photographed by Marisa Portolese

In honor of Mother’s Day, the topic for the next Feature Shoot online group show will be portraits of mothers.

Photographers are invited to submit images and captions to:
submissions@featureshoot.com

Up to five images can be submitted (480 pixels wide, 72 dpi, saved for web under 65kb). The deadline for submissions is May 9, 2013.

William_Mebane_Photography

Legendary photographer Harry Callahan’s routine was to go out and make new photographs every day, whether or not there was anything in particular he wanted to shoot. Adopting this method, Brooklyn-based photographer William Mebane uses his new blog Villeburg as a tool in his photographic process.

A repository for great images that don’t exactly fit into a series, the photos on Villeburg are nonetheless very carefully edited and sequenced—Mebane describes it as “a place where I can share my process with friends and work on editing and pairing photographs that might fit into future projects. It’s an outlet for work that I’ve been making on a daily basis.”

William_Mebane_Photography

William_Mebane_Photography

William_Mebane_Photography

William_Mebane_Photography

William_Mebane_Photography

William_Mebane_Photography

William_Mebane_Photography

William_Mebane_Photography


Feature Shoot Contributing Editor Matthew Leifheit is an independent writer, curator, and photographer based in New York City.

Ward_Roberts_Photography

We move along the arrow of time as stationary observers, watching the world transform before our very eyes, yet rarely aware of our transition into ‘the future’. Billions removes us from this stationary reality for a brief moment, lifting us to the surface for air. From this detached place, these images allow us to see our world, yet we feel neither comfortable nor uncomfortable about it. In our times, the concept of a ‘billion’ no longer overwhelms us. We now recognize a new kind of whole. It is a work that allows you to recognize your world and your place within it.—Ward Roberts

Billions, a series by Melbourne-based photographer Ward Roberts, captures the energy of bustling, urban Hong Kong in his boundless, twinkling captures of light, pattern and form. Each image is an intriguing world of its own, full of possibility, wonder, and begging for exploration.

Ward_Roberts_Photography

Ward_Roberts_Photography

Ward_Roberts_Photography

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

Al Jazeera English has produced a six episode documentary series, The New African Photography, that explores the current photography climate in Africa. This first episode profiles Invisible Borders, a non-profit organization that embarks on yearly photographic expedition that takes African artists on a road trip throughout the continent.

via Pro Photo Daily

Keith_Smith_Photography

A retrospective of secretive genius Keith Smith is currently on view at Bruce Silverstein Gallery. Spanning from the 1960s through the 80s, it offers a rare glimpse at his personal work. Primarily known for his artist books and for his seminal instructional texts on bookmaking, Smith has never actively sought attention for his own photographs. As a result many of the works in this exhibition are being seen for the first time.

Although these methods are not in fashion among contemporary practitioners—layered negatives, sewn together prints, historical printmaking techniques such as photo-etching and drypoint—the show is a breath of fresh air in a climate of digital sharpness and perfection. Smith enlivens and warms these very personal images by working back into them manually, making the artist’s hand an integral part of the image. He often uses the same negatives over and over, rhythmically questioning the boundaries of photography, creating jazzlike variations on themes of love and desire.

The exhibition runs through June 1st, 2013.

Keith_Smith_Photography

Keith_Smith_Photography

Keith_Smith_Photography

Keith_Smith_Photography

Keith_Smith_Photography

Keith_Smith_Photography

Keith_Smith_Photography

Keith_Smith_Photography


Feature Shoot Contributing Editor Matthew Leifheit is an independent writer, curator, and photographer based in New York City.

spencer_murphy_Photography

spencer_murphy_Photography

This Kind Of Poverty is London-based photographer Spencer Murphy’s series commissioned by Save The Children as part of their UK child poverty campaign in collaboration with Labyrinth Photographic. Shot in 2012, Murphy worked with children over a period of two days in the Poplar Boys And Girls Youth Club in one of the most deprived areas in the UK, Tower Hamlets in east London. He asked them to write down their thoughts about poverty within the UK—’what is it, and how do you feel about it?’ The resulting series combines Murphy’s portraits with the telling words of the children.

spencer_murphy_PHOTOGRPAHY

spencer_murphy_PHOTOGRPAHY

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_Photography

spencer_murphy_PHOTOGRPAHY

spencer_murphy_PHOTOGRPAHY

spencer_murphy_PHOTOGRPAHY

Thomas_Albdorf_Photography

In his new series Former Writer, Part 1: Colour on Surface, Vienna-based photographer Thomas Albdorf builds on his past as a graffiti writer. By making blunt spraypaint interventions both in the real world and in his studio, he bends space and creates fluorescent visual play. In the vein of John Divola’s Zuma series, Albdorf physically marks his subject as evidence of his involvement. Part two of the series, already in progress, will combine sculptures, drawings and prints, while bringing them into real space. Here is a punk rock approach to the contemporary photographic still life.

Thomas_Albdorf_Photography

Thomas_Albdorf_Photography

Thomas_Albdorf_Photography

Thomas_Albdorf_Photography

Thomas_Albdorf_Photography

Thomas_Albdorf_Photography

Thomas_Albdorf_Photography


Feature Shoot Contributing Editor Matthew Leifheit is an independent writer, curator, and photographer based in New York City.

Chad_States_Photography
“I consider myself to be masculine because I have been working out all of my life and I am a man. I am male so all males should consider themselves to be masculine.”

Philadelphia-based photographer Chad States explores how one defines masculinity for themselves in a series of portraits created over two years. The answers are intriguing, the images equally so. We recently asked him a few questions about the project, entitled Masculinities.

Chad_States_Photography
“I am strong emotionally, have always stood up for myself and fear nothing. I happen to be physically strong but that isn’t where I derive my masculinity.”

Chad_States_Photography
“Men aren’t being men anymore; they aren’t taking care of women.”

Chad_States_Photography
“First off I’d say I’m masculine because of how I feel inside, who I am and how I carry myself. In a lot of ways my masculinity is tied to my male gender role and how I want to project that and be perceived by others.”

Why the subject of masculinity?
“Growing up as a gay man in the U.S. I have always been aware of how men were supposed to act and I judged myself against these ideas. Masculinity was always something that was attractive to me but when I tried to unpack what made someone masculine I found it hard to define. Masculinity seemed based on relativity and shifted in different circumstances and cultures. I wanted to investigate how others defined their own masculinity to try to create touchstone for the term.”

Chad_States_Photography
“I consider myself to be masculine because I spent time in the Marine Corps, I work out, I have a mohawk, I have tattoos. I’m a tattoo artist, I cuss a lot and that’s all I can think of right now.”

Chad_States_Photography
“I want to show that, despite stereotypes, that gay men can be masculine too.”

Chad_States_Photography
“I have been called a SNAG (sensitive new age guy), a renaissance man, a male in touch with his feminine side, etc….I think that I am masculine in the sense of self reliance.”

How did you find the subjects for this series?
“I found most of my subjects through Craigslist, posting in multiple areas to try to cast as wide a net as possible. I would simply ask the question, “Are you masculine?” in the heading of the post. I would then invite myself over to the respondents home to photograph them. We would meet for the first time as strangers which required a lot of trust on both their part and mine. The people who were then willing to go through with the project were a small fraction of those who actually responded.

“The structure of the project created a special circumstance in which those who were still willing to participate had a strong need to have their own masculinity confirmed by the photograph. I would collaborate with the subjects on making the photograph. They would decide what to wear as well as how they wanted to construct themselves for the camera. I used a 4×5 camera only taking about 8-10 shots per sitting, so the poses and choices are very intentional on part of the sitter. The quotations are pulled from email exchanges before the shoot in which I ask them to tell me why they think they are masculine.”

Chad_States_Photography
“I feel masculine when I am home, I can take care of myself. I often feel emasculated when I leave the apartment though, with everyone asking me if I need help. I don’t need any help.”

Chad_States_Photography
“I feel that I am not only masculine in gender but also in speech, the way I act and the way I posture myself. It has been like this from birth. I like to pass as a guy, I just don’t want to have his stuff.”

Chad_States_Photography
“I am fiercely competitive. Not that women can’t be also, but there is something about being a man and having a competitive drive.”

Chad_States_Photography
“To be masculine is to dominate in one’s field of study.”

Chad_States_Photography
“Masculinity is an attitude. I feel that I’m masculine because I carry myself as such. It doesn’t have anything to do with what you drive or how many women or kids you have.”

Chad_States_Photography
“When I wear men’s clothes I feel comfortable and confident in how I look on the outside which now matches the inside.”

Chad_States_Photography
“I feel most masculine when I am lying in bed naked.”

Arne SvensonArne Svenson, The Neighbors #1, 2012, pigment print, 63 x 26″, ed. 5

For my subjects there is no question of privacy; they are performing behind a transparent scrim on a stage of their own creation with the curtain raised high. The Neighbors don’t know they are being photographed; I carefully shoot from the shadows of my home into theirs. I am not unlike the birder, quietly waiting for hours, watching for the flutter of a hand or the movement of a curtain as an indication that there is life within.—Arne Svenson

After inheriting a bird-watching telephoto lens from a friend, New York-based photographer Arne Svenson embarked on an intriguing and voyeuristic project, The Neighbors, capturing little stolen moments of the residents of a glass-walled apartment building across the street from his NYC studio. The resulting images are small movements and quiet details; they are the moments when no one’s looking—until now.

The Neighbors opens May 9 at Julie Saul Gallery in New York and will remain on view through June 29, 2013.

Arne SvensonThe Neighbors #17, 2012, pigment print, 47 1/2″ x 30″

Arne Svenson16The Neighbors #16, 2012, pigment print, 46″ x 30″

Arne Svenson
Arne Svenson, The Neighbors #11, 2012, pigment print, 45 x 30″, ed. 5

Arne SvensonArne Svenson, The Neighbors #9, 2012, pigment print, 45 x 30″, ed. 5

Arne SvensonThe Neighbors #8, 2012, pigment print, 39″ x 30″

Arne SvensonArne Svenson, The Neighbors #5, 2012, pigment print, 44 1/2 x 30″, ed. 5

Arne SvensonThe Neighbors #4, 2012, pigment print, 45″ x 30″

Arne SvensonArne Svenson, The Neighbors #2, 2012, pigment print, 45 x 30″, ed. 5

All images courtesy of Julie Saul Gallery, New York