Copenhagen Photo Festival ended yesterday. A favorite was a set of photos by putput, with feather dusters in house plants. Here’s another of their series I like: ice sponges
luis dourado’s departure series in étapes magazine this month.
![utnereader:
When Google launched Street View in 2007, it was the company’s intent to map and document every street in the United States. Cars were dispatched into every city to drive every street and back road, using nine directional cameras mounted on the roofs of special cars. These cameras give us 360° movable views at a height of about 8.2 feet. There are also GPS units for positioning and three laser-range scanners designed for measuring up to 50 meters 180° in the front of the vehicle. [Artist Doug] Rickard analyzed tens or hundreds of thousands of Street Views in his search for perfect pictures, something he describes as containing an “apocalyptic-like brokenness.” Indeed, the height of the camera at 8.2 feet, while creating an aesthetic cohesion and uniformity of vision, adds a distinct feeling of “alienation” that Rickard employs. Unlike the making of street photos in the traditional sense, with Street View there is an oblivious-ness to the camera as it goes about its job with no feeling or emotion. In spite of this anonymity of machine, his images are—perhaps surprisingly—layered with empathy.
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When Google launched Street View in 2007, it was the company’s intent to map and document every street in the United States. Cars were dispatched into every city to drive every street and back road, using nine directional cameras mounted on the roofs of special cars. These cameras give us 360° movable views at a height of about 8.2 feet. There are also GPS units for positioning and three laser-range scanners designed for measuring up to 50 meters 180° in the front of the vehicle. [Artist Doug] Rickard analyzed tens or hundreds of thousands of Street Views in his search for perfect pictures, something he describes as containing an “apocalyptic-like brokenness.” Indeed, the height of the camera at 8.2 feet, while creating an aesthetic cohesion and uniformity of vision, adds a distinct feeling of “alienation” that Rickard employs. Unlike the making of street photos in the traditional sense, with Street View there is an oblivious-ness to the camera as it goes about its job with no feeling or emotion. In spite of this anonymity of machine, his images are—perhaps surprisingly—layered with empathy.
