my best shot – ryan mcginley

great photographers talking about their favorite shots, this is another great article from the culture pages of the guardian. today, ryan mcginley. more to come.

“working on this series, 15 of us traveled to a new location every day, camping at night. after three weeks we got to this barn in marionville, missouri. I had wanted to shoot with hay for a while, as I have fond memories of Halloween hayrides as a child. I like the saturated colour of hay in photographs: the way it can be gathered easily, yet fill the air wildly.

the bales created a simple graphic background, and we had a gigantic inflatable air mattress, like the ones used by movie stuntmen. safety is always our biggest concern, so we start with low jumps and gradually get higher. public nudity is illegal in most places, so we have lookouts with walkie-talkies to let us know if there is a problem.

the model, amanda, emailed me through my website. I rarely cast anyone this way, but I’m glad I did because she is one of the best people I’ve ever worked with. some people fall like a ton of bricks but she fell like a feather, gracefully and slow. in this picture she is doing a flip and my assistants are throwing handfuls of hay simultaneously, with a fan blowing. It reminds me of The Wizard of Oz – but my own version, where Dorothy gets her clothes ripped off in the twister.

Falling is a movement that endlessly fascinates me. I guess this action traces back to activities from my youth: skateboarding or diving from stages or into pools. I want to capture the feeling of weightlessness I would get jumping from a speaker and landing in a crowd, or flipping backwards off a diving board.

I love Amanda’s face in this photo: she looks like she’s in a trance within the chaos of the hay. I shot for about four hours, rotating models. I never know who is going to end up in the final shot, or if there will even be a successful image. I guess that’s the fun part for me: finding the moment where everything lines up. Not knowing what’s going to come back is like a present: it’s the poetry of chaos.”

by pp+tg

THE SHOT THAT GOT AWAY

another great article form the guardian. some great photographers talk about the shot they  missed. ed ruscha, martin parr, taryn simons… here! (i would argue that some might be their best, though) by pp.

what if i should fall right through the center of the earth

it is one of those weeks where I would like to encounter anthropomorphic creatures down my own little rabbit hole, and end up on the other side of the world.  here instead, is a viscerally dangerous manhole in the middle of a sidewalk in Danyang, China.  thirty feet deep and infinitely explicit.  more seen here.  photo by jason lucas.  by sv

double take

when i was younger and sometimes made double exposures by accident, i always thought it was really cool. unfortunately, mine never looked as good as these. artwork by pakayla biehn. by wn

ROBERT POLIDORI X BOTTEGA VENETA

after robert longo, nan goldin, sam taylor wood and others, it was a good surprise to see bottega veneta collaborating again with an unexpected artist for their campaign. robert polidori set the campaign in a venice palazzo which reminds me of his work in versailles… unfortuately i’m not sure i like the shots with the lame model, but it’s always nice to see these rare people at work in the behind the scenes. by pp.

KIMBERLY®

i wish i could find out something about this kimberly brand. nada. the only thing i know is that they were one of the many advertisers (especially compared to today) during the 60’s-70’s using illustration. but wait, isn’t that jean shrimpton in the middle? maybe that unsuspecting shoot by david bailey helped establish this new grammar of seeing, and eased a little more creative storytelling in the more personally identifiable and coy medium of photography that we all love so much.  by kl