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“I think perfection is ugly.
Somewhere in the things humans make, I want to see scars, failure, disorder, distortion.”

― Yohji Yamamoto




Electric Blossom by Torkil Gudnason.



















ruineshumaines:

Holi, the Hindu festival of colour. (x)



















Gravity - Sand Creatures, by Claire Droppert.



















Mitch Dobrowner



















Medusa by Guido Mocafico.



















  1. Marilyn Monroe at the Ambassador Hotel before the premiere of Cat on a Hot Tin Roof, New York, March 24, 1955.  Photo by Ed Feingersh
  2. Marilyn Monroe for Clash by Night directed by Fritz Lang, 1952. Photo by Bruno Bernard.
  3. Portrait of Marilyn Monroe by Richard Avedon, 1957.
  4. Marilyn Monroe by Earl Moran, 1948.
  5. Marilyn Monroe by Ted Baron, 1954.
  6. Marilyn Monroe on the set of The Seven Year Itch directed by Billy Wilder, 1955. Photo by Elliott Erwitt.
  7. Portrait of Marilyn Monroe, 1953. Photo by John Florea.
  8. Marilyn Monroe on the set of The Misfits directed by John Huston, 1961. Photo by Eve Arnold. 
  9. Marilyn Monroe on the set of Some Like it Hot directed by Billy Wilder, 1959.
  10. Marilyn Monroe for We’re Not Married directed by Edmund Goulding, 1952. Photo by Slim Aarons.


















Takashi Kitajima



















Elena &Vitaliy Vasilievy


















Torkil Gudnason, Body Vase.



















Tommy Eliassen



















Open Book, Anne Collier.



















Oleg Oprisco



















The Quiet of DissolutionSonja Braas.



















Photo Opportunities, Corinne Vionnet.



















Empty by Erin O’Keefe | On Tumblr.


These photographs examine the interaction of color and light in space, and the way photography alters and transforms these phenomena.
 

In order to explore these relationships, I built a plywood box that I painted and repainted. I used a limited palette of simple colors, altering their sequence in the box, and made a photographic record of each combination. Each image contains two colors and one neutral grey. 

The color relationships in the photographs exist exclusively in the photograph – they reference the actual spatial condition, but the translation is entirely the product of the camera.