© Oliver Delgado
Vintage Shop, Queensland
Photograph by Ana Paula Estrada,
Mrs. May Haupt, February 2012, Montville, Queensland, Australia. One day I entered a little vintage store in Montville, Australia, and I stumbled upon an 86-year-old woman working behind her desk. During the following days I could not stop thinking of that image, so a week later I returned and asked her if I could take her picture exactly as I found her. Not only did she allow me to photograph her, but she also shared with me her beautiful life story. Her portrait is part of a photographic series called “Of Another Time,” a project based on photographs and stories of people over 70. —Ana Paula Estrada
The first time Maja Daniels saw Monette and Mady together, walking briskly down the streets of Paris, she wasn’t sure they were real. Like Alice’s White Rabbit, they were there and gone in a flash.
When she finally approached the identical twins in 2010, after years of watching them from afar, they thought it was strange that she would want to document them.
Admittedly, though, it wasn’t the first time they’d been approached by curious passersby. And it’s easy to see why: Not only are the sisters identical, but whenever they go out in public, they dress exactly alike.
It’s not uncommon, perhaps, to see that with babies and young children. But turn the clocks forward a few decades, and the sight is bound to turn heads.
“I think they do it as a provocation to other people,” Daniels said. “To them, we’re just singular people. They’ve elevated beyond the single person.”
Minimalist Landscape Photographs with Exposure Times of Up to Eight Hours
Samuel Burns is a photographer based in Sydney, Australia who specializes in shooting minimalist landscape photographs using a large format camera. While the scenes chosen for his photographs are already simple and bare, Burns captures them with extremely long exposure times in order to give the locations a blurry and dreamy look.
The 33-year-old photographer first sets up his camera — a 4×5 camera with either a film or a Phase One back — on a tripod, slides his head under the dark cloth hanging from the back, and carefully composes his shot.
I hide away behind the camera under a dark cloth to compose each image on a ground glass, seeing the image up-side-down and using old fashioned dials to adjust and refine the composure. It is not unusual for me to spend half an hour setting up a composition, employing large format camera movements such as rise, shift and tilt and then hiding back away under the dark cloth to make sure everything is perfect. It needs to be to make sure the wait is worth it!
Once everything is “perfect,” he triggers the shutter and waits — up to eight hours.