Every week, we curate the best new photography and photojournalism on the web, so you can spend your weekend kicking back and enjoying some beautiful pictures. Here are this week's picks:
From Adwoa Aboah in Rubchinskiy to Claire Foy in Alexander McQueen and long-time muse Tilda Swinton in Armani, the photographer Tim Walker's portraits are highly imaginative pieces of work.
[See the photos at The Guardian]
"When Ray-Jones returned to Britain, he re-invented a lot of what he had learned in the U.S., adding a wicked sense of humour in order to capture the eccentricities of the British. Part of is genius lay in his ability to recognise the potential of the English at play on the beach. His photographic ability lies in being able to render incredibly complex scenes of chaos into perfect sense."
[See the photos at Huck Magazine]
Intimate spaces that others don't see - like the inside of your bag, your pockets or perhaps even your email inbox - can say a lot about what type of person you are when not performing for others. For Virginia-based photographer Matthew Casteel the interior of the car has a similar power. While working with US army veterans over a period of five years, he became deeply interested in shooting these intimate spaces as an alternative method of portraiture.
[See the photos at It's Nice That]
At first glance, the viewer may believe he is seeing a solid sculpture. In reality, the image captures a fabric form in 'mid-flight'. The sculpture exists for a split second in time; once photographed, it is otherwise lost forever, never to be re-created.
[See the photos at Photogrist]
Pull back from the animals in Sohier's wide-angle photographs and you find—more animals. A Boston terrier looks quizzically at three rats on a bed (one of the rats was named Sage) while dozens of stuffed-animal toys look on. The owners of dogs, cats, snakes, and pot-bellied pigs have decorated their homes with pictures of dogs, cats, lions, penguins, and unicorns. These are mounted on the walls alongside dog-show prizes, baby pictures, and guns. As Sohier acknowledged when we spoke recently, "Animals" is now also a record of certain American tastes and textures in the nineteen-eighties and early nineties.
[See the photos at The New Yorker]