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  • Melissa ANDERSON, Water Contamination
    lawrence KANSAS

    suckerPUNCH: Describe your project.

    Melissa ANDERSON: This project attempts to make people become more empathetic by relating environmental issues to the human body by pairing portraits with unadulterated photographs of a local stream. By doing this, I encourage the viewer to question our relationship with nature.

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  • Normative Fluidity
    troy NEW YORK

    Rensselaer Polytechnic Institute
    Critic: Andrew SAUNDERS

    suckerPUNCH: Describe your project.

    Graham BILLINGS: “Normative Fluidity” is a museum extension that explores the process of transposition between a series of light studies, diagrammatic implications of the “affect,” and their resultant three-dimensional forms and spaces. Diffraction of light through water is known as caustics; a process that was coupled with a camera obscura during my initial research.

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  • Dark City
    london UNITED KINGDOM

    suckerPUNCH: Describe your project.

    william ECKERSLEY: It is a collection of large format images that I’ve shot over the last four years depicting the urban environment at night. London tends to covered by clouds, so daylight is flat, diffused and grey. At night however, you find sharp areas of light and shade in sometimes sickly colour temperatures from all the different light sources (sodium, halogen, fluorescent, etc). With the eerie lack of humanity, it’s also possible to view the urban environment without it’s inherent purpose of serving and facilitating human life, and so revealing to me questions about its “genius or folly, beauty or ugliness.”

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  • photo of the day thread
    FORUM

    post your photos on the photo of the day thread in suckerPUNCH’S FORUM

  • star gardens
    kürten GERMANY

    suckerPUNCH: describe your project.

    michael PETERS: Textures, patterns, waves, fields, grids, repetitions, rhythms form the network of reality and nature.

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  • unportraits
    são paulo BRAZIL

    suckerPUNCH: describe your project.

    lucas SIMÕES: I invited some intimate friends to make their portrait photographs while they tell a secret. My intention was not to listen to the secret, but to capture the images, so I asked them to choose a song for me to listen on my headphone while o took the photographs. After the shooting session I asked them if their secret has any color, each portrait carries the secrets colors.

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  • st. pauli
    hamburg GERMANY

    suckerPUNCH: describe your project.

    daniel BARTHMANN: Since a few years my photographic work consists of the attempt devising an appropriation of defined places and spaces. This could be inside a building or outside. One series deals with the inner context of an apartment, an other with the course along an urban road or landscape. So the inital point for me is the self-imposed constraint upon a defined space that i choose to explore and turn into. It’s about an exploration of architectural settings and arranged things (intended or not) as corresponding components in a constant changing spatial context.

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  • polaroid work
    los angeles CALIFORNIA

    suckerPUNCH: describe your project.

    chloe AFTEL: i always shoot polaroid on any assignment and these are some of my favorite shots from celeb, portrait and lifestyle commercial shoots.

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  • siglufjörður iceland
    brooklyn NEW YORK

    suckerPUNCH: describe your project.  

    kevin COOLEY: The goal of this project was  to spend one month in  Siglufjörður , the most northern town and one of the most remote areas in Iceland photographing the remarkable light they have there in the winter time.  I was also working on Natural Forces a long term video project about the classic elements of water, earth, fire, and wind and our struggles as humans to live among these forces.  

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  • western frieze
    bozeman MONTANA

    suckerPUNCH: describe your project.

    bryan SCHUTMAAT: For the past few years, I’ve been taking intermittent trips westward. I’m moved by the mountains, the open spaces, and all the other natural beauty the American West has to offer. But I’m also moved by the places in between—the old cafes, motels, gas stations, and so on. These days, both the wilderness and these small businesses seem to be in peril as developers move in and alter the physical and economic landscape. So, through photography I aim to preserve these aspects of the West that seem to be vanishing. From my trips, I developed this series, Western Frieze, which examines America’s cultural identity and how it relates to the landscape and whatever mystique the West has left.

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