photojojo:

Hailing from the Czech Republic, self-taught photographer Martin Stranka uses a bit of Photoshop magic to create totally surreal portraits. He also compiled his favorite shots into a limited edition book that is worth checking out.

Surreal Portraiture from Self-Taught Photographer

via We and the Color

jakiiiro:

Photographs taken inside musical instruments making them look like large and spacious rooms.

mierswa kluska.

legalmexican:

my city chicago

(Source: touchdisky, via bruken)

lomographicsociety:

Go Wide and Infrared — via the Plastic SLR Route

Single-lens-reflex (SLR) cameras have for decades been on the forefront of enthusiast and professional camera development. Sharp lenses, perfect exposure meterin,g and precise autofocus aren’t really features that you would look for in Lomography, but they do come to a great use in Infrared Photography - as long as a few precautions are taken.

realgucci:

National Geographic september 1961

(via tills)

Chances are that if you’re into extreme sports, you already know about GoPro, the company that makes small, wearable, waterproof and shockproof cameras. Founder Nick Woodman was inspired to start a company dedicated to adventure photography after a 2002 surfing trip to Australia. Hoping to capture incredible images, he soon discovered that high quality equipment could not be obtained for reasonable prices. So, he decided to start a company where everyday people could capture professional-like shots. Hence, the company’s name “GoPro.”

Here’s a picture of Kelly Slater during his 51st win on the tour at the Quicksilver Pro France.

(Source: mymodernmet.com)

Back in 2007, Google sent out an army of hybrid electric automobiles, each one bearing nine cameras on a single pole. Armed with a GPS and three laser range scanners, this fleet of cars began an endless quest to photograph every highway and byway in the free world.

Consistent with the company’s mission “to organize the world’s information and make it universally accessible and useful,” this enormous project, titled Google Street View, was created for the sole purpose of adding a new feature to Google Maps.

Every ten to twenty meters, the nine cameras automatically captured whatever moves through their frame. Computer software stitches the photos together to create panoramic images. To prevent identification of individuals and vehicles, faces and license plates are blurred.

One year ago, Jon Rafman started collecting screen captures of Google Street Views from a range of Street View blogs and through his own hunting. This essay illustrates how his Street View collections reflect the excitement of exploring this new, virtual world. The world captured by Google appears to be more truthful and more transparent because of the weight accorded to external reality, the perception of a neutral, unbiased recording, and even the vastness of the project. At the same time, he acknowledges that this way of photographing creates a cultural text like any other, a structured and structuring space whose codes and meaning the artist and the curator of the images can assist in constructing or deciphering.

In part 3 of Snapkeep’s mini-series, we feature some of Jon’s collections.

(Source: jonrafman.com)

Back in 2007, Google sent out an army of hybrid electric automobiles, each one bearing nine cameras on a single pole. Armed with a GPS and three laser range scanners, this fleet of cars began an endless quest to photograph every highway and byway in the free world.

Consistent with the company’s mission “to organize the world’s information and make it universally accessible and useful,” this enormous project, titled Google Street View, was created for the sole purpose of adding a new feature to Google Maps.

Every ten to twenty meters, the nine cameras automatically captured whatever moves through their frame. Computer software stitches the photos together to create panoramic images. To prevent identification of individuals and vehicles, faces and license plates are blurred.

One year ago, Jon Rafman started collecting screen captures of Google Street Views from a range of Street View blogs and through his own hunting. This essay illustrates how his Street View collections reflect the excitement of exploring this new, virtual world. The world captured by Google appears to be more truthful and more transparent because of the weight accorded to external reality, the perception of a neutral, unbiased recording, and even the vastness of the project. At the same time, he acknowledges that this way of photographing creates a cultural text like any other, a structured and structuring space whose codes and meaning the artist and the curator of the images can assist in constructing or deciphering.

In part 2 of Snapkeep’s mini-series, we feature some of Jon’s collections.

(Source: jonrafman.com)

Back in 2007, Google sent out an army of hybrid electric automobiles, each one bearing nine cameras on a single pole. Armed with a GPS and three laser range scanners, this fleet of cars began an endless quest to photograph every highway and byway in the free world.

Consistent with the company’s mission “to organize the world’s information and make it universally accessible and useful,” this enormous project, titled Google Street View, was created for the sole purpose of adding a new feature to Google Maps.

Every ten to twenty meters, the nine cameras automatically captured whatever moves through their frame. Computer software stitches the photos together to create panoramic images. To prevent identification of individuals and vehicles, faces and license plates are blurred.

One year ago, Jon Rafman started collecting screen captures of Google Street Views from a range of Street View blogs and through his own hunting. This essay illustrates how his Street View collections reflect the excitement of exploring this new, virtual world. The world captured by Google appears to be more truthful and more transparent because of the weight accorded to external reality, the perception of a neutral, unbiased recording, and even the vastness of the project. At the same time, he acknowledges that this way of photographing creates a cultural text like any other, a structured and structuring space whose codes and meaning the artist and the curator of the images can assist in constructing or deciphering.

In part 1 of Snapkeep’s mini-series, we feature some of Jon’s collections.

(Source: jonrafman.com)

Cloud.

(Source: joshuafbenmore, via hy-per-paradise)