Here’s a fashion shoot by Yaniv Edry that mostly involves hanging out on a roof with some Israeli girls.

Devil in the Details

Photos by Ben Ritter and styling by Annette Lamothe-Ramos. See more

Roger Perry’s long out-of-print The Writing on the Wall—–a collection of photos charting London’s early graffiti scene—is being republished this week. Here, George Stewart-Lockhart, an art historian and publisher who wrote the extensive new foreword for the re-release, takes us through a few of his most striking images.

Roger Perry’s long out-of-print The Writing on the Wall–a collection of photos charting London’s early graffiti scene—is being republished this week. Here, George Stewart-Lockhart, an art historian and publisher who wrote the extensive new foreword for the re-release, takes us through a few of his most striking images.

Portraits from the Largest Flea Market in Prague

Portraits from the Largest Flea Market in Prague

A Brief Anthology of ‘Quotations’ – An Homage to the Final Chapter of Susan Sontag’s On Photography
Susan Sontag closes her seminal book On Photography with a “brief anthology of quotations”—compiling remarks from various brilliant people on the topic. Sontag writes:
The final reason for the need to photograph everything lies in the very logic of consumption itself. To consume means to burn, to use up—and, therefore, to need to be replenished.
There’s always a new thing to look at, the same way there’s always a new way to say that. The following statements are a variation on Sontag’s original collection of quotes—misheard, translated, or reimagined for the year 2014 and for replenishment’s sake. This isn’t what they said, but it’s what they meant.

Beauty, you’re under arrest. I have a camera, and I’m not afraid to use it.—Julia Margaret Cameron

I love looking at famous people. Because of the way they look. Because of the way photography makes them look famous.—Arthur Schopenhauer

I can only see beautiful things when I’m fucked up.—Friedrich Nietzsche

If you can take photographs with language, I’m taking one right now.—Lewis Hine
Continue

A Brief Anthology of Quotations’ – An Homage to the Final Chapter of Susan Sontag’s On Photography

Susan Sontag closes her seminal book On Photography with a “brief anthology of quotations”—compiling remarks from various brilliant people on the topic. Sontag writes:

The final reason for the need to photograph everything lies in the very logic of consumption itself. To consume means to burn, to use up—and, therefore, to need to be replenished.

There’s always a new thing to look at, the same way there’s always a new way to say that. The following statements are a variation on Sontag’s original collection of quotes—misheard, translated, or reimagined for the year 2014 and for replenishment’s sake. This isn’t what they said, but it’s what they meant.

Beauty, you’re under arrest. I have a camera, and I’m not afraid to use it.
—Julia Margaret Cameron

I love looking at famous people. Because of the way they look. Because of the way photography makes them look famous.
—Arthur Schopenhauer

I can only see beautiful things when I’m fucked up.
—Friedrich Nietzsche

If you can take photographs with language, I’m taking one right now.
—Lewis Hine

Continue

From the 2014 VICE Photo Issue: Cindy Sherman, Cover Girl (Vogue)

While an art student at Buffalo State College in 1975, Cindy Sherman photographed herself on the cover of Vogue as Jerry Hall, the supermodel girlfriend of Mick Jagger. The first photograph in this triptych is the original cover with Hall, photographed in black-and-white. In the second photograph we see Sherman’s face, which suddenly looks a lot like Hall’s. In the third photograph, Sherman winks playfully back at the camera, spoiling any illusion of resemblance. We include this work here as a note of encouragement to young photographers everywhere: Fake it till you make it.

Weegee’s Pre-Photoshop Darkroom Distortions, from the VICE 2014 Photo Issue

Weegee’s Pre-Photoshop Darkroom Distortions, from the VICE 2014 Photo Issue

Weegee’s Pre-Photoshop Darkroom Distortions, from the VICE 2014 Photo Issue

Weegee’s Pre-Photoshop Darkroom Distortions, from the VICE 2014 Photo Issue


An off-beat and beguiling journey into the dark corners of the mind, Go Down Death is something you haven’t seen before. It was shot on black-and-white Super 16mm and filmed in 14 days in an old abandoned paint factory in Greenpoint, Brooklyn. The film feels like it was beamed from another plane of existence. It’s an ensemble piece that takes place entirely on constructed sets of decaying buildings that are inhabited by amputated soldiers, tone-deaf bar singers, child gravediggers, and shape-shifting doctors, all surrounded by an unseen, foreboding presence existing outside the frame.
It’s also the kind of rare filmmaking that sticks with you. I found myself recalling moments from the film—like the howling sound of the wind or a character muttering the line “Ghost haunt me, but I’ll haunt no one”—days after I’d seen it. Perhaps the film’s lasting quality can be attributed to its grim subject matter. There’s a lot of talk of death, disease, and the breakdown of the body. It’s all very exposed and vulnerable. You’ll probably find yourself feeling those qualities after the credits roll.

Do you remember when we interviewed the filmmaker behind Go Down Death a few months back? The film’s now out on iTunes. Check it out! 

An off-beat and beguiling journey into the dark corners of the mind, Go Down Death is something you haven’t seen before. It was shot on black-and-white Super 16mm and filmed in 14 days in an old abandoned paint factory in Greenpoint, Brooklyn. The film feels like it was beamed from another plane of existence. It’s an ensemble piece that takes place entirely on constructed sets of decaying buildings that are inhabited by amputated soldiers, tone-deaf bar singers, child gravediggers, and shape-shifting doctors, all surrounded by an unseen, foreboding presence existing outside the frame.

It’s also the kind of rare filmmaking that sticks with you. I found myself recalling moments from the film—like the howling sound of the wind or a character muttering the line “Ghost haunt me, but I’ll haunt no one”—days after I’d seen it. Perhaps the film’s lasting quality can be attributed to its grim subject matter. There’s a lot of talk of death, disease, and the breakdown of the body. It’s all very exposed and vulnerable. You’ll probably find yourself feeling those qualities after the credits roll.

Do you remember when we interviewed the filmmaker behind Go Down Death a few months back? The film’s now out on iTunes. Check it out! 

Barbershops of Brooklyn 
Photos by Ol’ Skool Sean

Barbershops of Brooklyn 

Photos by Ol’ Skool Sean

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