Color: Richard Mosse

Contemporary Color Photographer

photograph from Infra, by Richard Mosse

I can’t look away from the images in Richard Mosse’s Infra series, which is one of the most fascinating and dynamic bodies of work I’ve seen in, like, forever.  Mosse’s photographs of the political and ecological landscape of Congo were made by using a type of Kodak infrared film (now discontinued) that transforms the color landscape, turning green foliage a striking fuchsia, while maintaining more realistic tones in other parts of the spectrum. A larger selection can be viewed at http://www.richardmosse.com.

Color: John Paul Caponigro

Contemporary Color Photographer

John Paul Caponigro

The first photograph of John Paul Caponigro’s that I fell in love with was this black and white print of animals in motion, which I must have seen reproduced in a textbook when I was a college student.

Since then, I’ve been amazed at the technique of his work in color, not to mention his work as an educator– he has an incredible level of expertise in digital imaging and output.  Visit his website to see more: www.johnpaulcaponigro.com

Color: Kerry Skarbakka

Contemporary Color Photographer

Studio by Kerry Skarbakka

One of the images featured in this week’s Photo 2 reading is by Kerry Skarbakka, from the series The Struggle to Right Oneself.  His dramatic constructed photographs are actually self-portraits, carefully set up to keep him safe while creating the illusion that he is falling.  More images from this series and others can be found at his website www.skarbakka.com.

Color: David Fried

Contemporary Color Photographer

In bed with Lucy and Dolly No.36, 2003, color photogram, c-print, diasec, alu. 100 x 130 cm

David Fried’s series of photographs entitled “in bed with Lucy and Dolly” features color photograms of floating bubbles.  We can learn a bit more about his process from his artist statement about the series:  “Fried creates large gaseous vesicles in a totally darkened room using infrared goggles. At the decisive moment before they fall, he photograms them onto grainless color sheet-film by triggering a colored point-light source above. He captures the shadows of these fleeting objects to make an image on a photosensitive support using only light and the light sensitive material. No camera or lens is used. What we see in his enlarged C-prints are the latent shadows and spectral aberrations of these transparent forms caused by the membrane’s curved surface. The object itself becomes the lens, subtly bending the light and altering its own image.”

See more images and read more about the artist at http://www.davidfried.com