Syuwandi Lie captures a bright and colorful world through his macro lens.
These spectacular photos of icebergs are by David Burdeny.
Burdeny on his project:
During 2007 and into the spring of 2008, I made several long journeys to the upper and lower extremes of our planet to photograph the shorelines, monolithic ice forms and landscapes of Greenland, Icelandic and Antarctica. Most of these places are arduous to reach, beyond the borders of domestic transportation routes, accessible only by small aircraft or boat. All are endangered to some extent – threatened by tourism, climate change, industry and the hunt for oil.
This new series, Icebergs begins to explore what are currently the most geopolitical and geographically sensitive shorelines on earth.
Formally different than my previous work, but motivated by similar principals, these images attempt to encapsulate both the otherworldliness and the vital reality of the northern seas and oceans. I was drawn to the fragility and grace of the frozen landscape. For me, the work is both a celebration of nature’s survival and an elegy.
Catherine Ulisky has painted the connections between the European starlings in these photographs to show the entire flock as one faceted geometric shape.
Ulisky on her work:
My work presents and explores aspects of our surroundings in ways that are new to me, yet faithful to what exists in nature. Carefully observing natural phenomena reminds me constantly of the limitless complexity and wonder of the world we inhabit. It is an exciting, reciprocal process that continually reinvigorates my own appreciation for what is around me.
Rob Kesseler was invited to work with teams of cellular and molecular scientists in the Instituto Ciencia Gulbenkian in Portugal for a cross-cultural inter-disciplinary project to celebrate the International Year of Biodiversity in 2010.
About the work:
Using a variety of microscopy techniques the cellular structures of Portuguese wild flora including a number of rare orchids, reveal complex patterns and structures. Micro-fine sections of the flower stems were stained to expose functional characteristics. Working at a higher magnification than is normally used for whole sections detailed large format images are constructed from up to 500 individual frames. The dazzling variety of structural pattern and colour will form the basis of a collection of designs to be applied to a new range of porcelain in collaboration with Vista Alegre.
Exclusive for TIME from NASA:
The view of New York from the International Space Station evolved today, as the new World Trade tower became the tallest building in the city. See more here.
Auroras over Arctic Henge
Auroras in Arctic Henge, the Icelandic Stonehenge near Raufarhöfn.
Super legit photography of the Enterprise Shuttle on its New York City fly-by earlier this morning. We spotted Eric Hwang (go visit his website!) on the 9th floor of IAC with a killer camera snapping away, so naturally asked if we could run some of his photos on the tumblr. Thanks Eric! These are great!!
As a former surfer, Paul Bobko had plenty of time to observe waves of all shapes and forms. It was during this time that he found his inspiration for his series Water Landscapes-Suspended Energy.
About the project:
In his magnum opus, Gravity’s Rainbow, Thomas Pynchon introduces us to the German concept of Brenschluss in the telemetry of the flight of the V2 rocket. The rocket is propelled by its engines and travels along its parabolic arc. At a certain point the engines turn off, this flameout is called brenschluss. At brenschluss the rocket’s ascendancy is checked by gravity, and before it begins to fall to its target on earth, it hesitates for just a moment. After this moment gravity and momentum alone, not a rocket engine, define the inexorable trajectory of descent to its inevitable, calamitous end.
So to do Paul Bobko’s Water Landscapes-Suspended Energy photographs allow us to see that very moment of hesitation when the force of nature that is the ocean wave, ceases to be propelled by the surging forces of the ocean floor. The ocean suddenly lets go and sets it free, it hesitates at this moment of release, then crashes on the shore, liberated, but spent. Bobko shows us this very moment of hesitation, before the explosion. The outline of the explosion is clear and coming, but it hasn’t happened yet, it is, as yet, prelude…the power is still coiled in the curl, frozen for this second. Light comes glowing through that watery tunnel, foam is leaping from its crest, escaping and ecstatic. The menace is limned in the terrifying flexing of its form. It is most exhilarating to see the noun become the verb.