Natalie Dybisz . 2009 . Her Fleeting Imprint
The first photograph I've chosen is by Natalie Dybisz. You can see her work here. I choose this photograph because I felt that when you look at it you get a very surreal and dream like feeling from it. I find all the little details in her setting to add to that interest as well as her idea of multiplicity. I also find her use of light very nice. While the image is bright and clear her light source is neatly tucked away into a corner where you can barely see it. Her use of movement and color also continue to add interest and and detail.
Brooke Shaden . 2011 . Ships in Dry Land .
The next photograph I selected is by photographer Brooke Shaden. You can see more of her work here. Brooke creates mainly surreal/ dream like photographs and there for I felt like I had to use her. Choosing one photo was very hard and I recommend looking at all her work to get a true idea of her style. Moving on, I chose this photograph because I liked its sense of value . It draws a fair amount of attention to the subject without loosing the background. I also liked that the narrative was simple but still very effective and that the models face was hidden. I think that its simplicity keeps things from getting too cluttered and hard to read.
Rebeca Carpintero . 2010 . Wake up, Leave Body
The last image is by Rebeca Carpintero. You can see her work here. I chose this photograph because I felt that while it was simple it has a great amount of impact. First her setting is lit using daylight (something I happen to favor) which created a soft white wash to her colors. This for me creates a welcoming space to view. However it is quickly disturbed by the image of the subject's soul pulling out of her body. I liked the way it was portrayed because it was something anyone with any camera or computer could do. It was a simple double exposure, but rather than being boring or overly complicated it's simple and effective. Finally we come down to a crackled texture on the ground left with and erie broken feeling.
