Tag: foliage

David Tatin :: from “Bestiary” series, unique original print by
cyanotype (colored with tea) “One of the borders I like to
roam, is the one between day and night. It’s a good time to observe
animals, but it is difficult to transmit the feelings you get because
the most beautiful moments, the most intense, often boil down to a
stealthy animal silhouette.” quoted from source: loeildelaphotographie

Oana Stoian :: from “How to think inside the box” series. It showcases some comic portraits of an anonymous young woman.

“How to think inside the box Instructions: Step 1: You find a box. Step 2: You check if the box is empty. Step 3: You check so that no one can see you. Step 4: You give the box a try. Step 5: You seem to like the box. Step 6: You take the box in different places. Step 7: You find a friend. Step 8: You try to understand your new friend. Step 9: You fail and get sad. Step 10: You have no clue what to do with your life. Use the box with extreme caution!”

/ src: romania journal

more [+] by this photographer

 

Fontainebleau Forest by Cuvelier

Eugène Cuvelier :: [Fontainebleau Forest], early 1860s. Salted paper print from paper negative. | src The Metropolitan Museum
Eugène Cuvelier :: [Fontainebleau Forest], early 1860s. Salted paper print from paper negative. | src The Metropolitan Museum

In September 1856, at the age of nineteen, Eugène Cuvelier visited Barbizon. This small town on the edge of the ancient Forest of Fontainebleau served as home base for the pre-Impressionists who popularized the practice of plein-air painting. Three years later, he married Louise Ganne, daughter of the Barbizon innkeeper in whose auberge the painters gathered to eat, drink, and talk about art. Although the young couple settled in Arras, they returned often to Barbizon, where Cuvelier explored the village streets and nearby forest with his tripod and camera, just as his painter friends did with their easels and paintboxes.

Blessed with talent, early technical training, and the friendly mentoring of the naturalist painters, Cuvelier created some of the most lyrical and sensitive of all nineteenth-century landscape photographs. Wide-ranging in expression and subject, his sylvan views masterfully render the dappled light of the forest interior, the palpable atmosphere of a misty clearing in the wood, the muscular power of leafless oaks rising against a wintry sky, or the delicacy of a sapling in spring. Like the forest itself, Cuvelier’s exquisite photographs invite us to escape momentarily from the modern urban world and to breathe the air of a place where nature impresses the senses and the soul. [quoted from source]

Eugène Cuvelier :: [Fontainebleau Forest], ca. 1860s. Salted paper print from paper negative. | src The Metropolitan Museum
Eugène Cuvelier :: [Fontainebleau Forest], ca. 1860s. Salted paper print from paper negative. | src The Metropolitan Museum

The Forest of Fontainebleau-and, in particular, the small town of Barbizon within it-was a popular destination for artists seeking refuge from urban, industrial life in the mid-nineteenth century. With its forty thousand acres of dense woods intercut with rocky gorges and dotted with ancient oaks, Fontainebleau provided an idyllic natural setting for plein-air painters, such as Corot and Millet, as well as for photographers, including Gustave Le Gray and Eugène Cuvelier.

Although the process of making salted paper prints from paper negatives was already somewhat antiquated by the 1860s, Cuvelier chose the technique because of its aesthetic qualities-the soft fibrous effect of the paper negative and the velvety mat surface of the print. [quoted from source]