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„Náš“ Yari Beňo vydal knihu s názvem Fake Polaroid, pro kterou napsal předmluvu spoluzakladatel THEditions Honza Vojtek. Podívejte se na malou ukázku s Honzovým textem###

THEditions offers two photographs from Petra Hajdůchová’s series Dolněmčí which she began in 2010 at The Museum in Dolní Němčí. The photographs were taken with a 60 mm film roll used on Arca Swiss large format camera.

Petra Hajdůchová: These days we perceive costumes only as a part of the folklore and history of villages and towns. My series Dolněmčí approaches costumes as "fashion" objects. These photographs depict several types of costumes from my village that are used for a variety occasions. The images are mainly staged at the museum with other original artifacts associated with these type dress.

When shooting, I use a flash. When I took picture of a one year old girl (on this photo) she always blinked; but because the reflex was a bit slow, she was blinking about two seconds after flash, which was really cute. And we all laughed.

Honza Vojtek: What I admire about Dolněmčí is how reality and fiction blend together with traditional values ​​to remind us of our history. I think these photographs are quite timely, considering how our society is increasingly saturated by virtual space and how this can shift cultural focus to superficial values. Petra’s photographs aren’t forceful or judgmental though; they’re actually quite playful. However, they beneath this lightheartedness you can find deeper meanings and symbolism.

THEditions offers two photographs from Petra Hajdůchová’s series Dolněmčí which she began in 2010 at The Museum in Dolní Němčí. The photographs were taken with a 60 mm film roll used on Arca Swiss large format camera.

Petra Hajdůchová: These days we perceive costumes only as a part of the folklore and history of villages and towns. My series Dolněmčí approaches costumes as "fashion" objects. These photographs depict several types of costumes from my village that are used for a variety occasions. The images are mainly staged at the museum with other original artifacts associated with these type dress.

When shooting, I use a flash. When I took picture of a one year old girl (Dolněmčí 01) she always blinked; but because the reflex was a bit slow, she was blinking about two seconds after flash, which was really cute. And we all laughed.

Honza Vojtek: What I admire about Dolněmčí is how reality and fiction blend together with traditional values ​​to remind us of our history. I think these photographs are quite timely, considering how our society is increasingly saturated by virtual space and how this can shift cultural focus to superficial values. Petra’s photographs aren’t forceful or judgmental though; they’re actually quite playful. However, they beneath this lightheartedness you can find deeper meanings and symbolism.

This photo of Stonehenge was taken with a digital camera in 2007.

Robin Závodný: This is an amusing little observation captured during travels around the UK. The photograph was not staged.

Todd Forsgren: I’ve spent a fair bit of my life as a tourist, trying to visit famous sites as attempt to ‘seriously’ consider the distant culture that is responsible for a place. Seeing these onlookers viewing Stonehenge makes me smile and think that this couple is sharing a unique insight about the space that I might not see if spent the rest of my life consider the space.

Honza Vojtek: I fell in love with this photograph at first sight; and I still enjoy it after six months' acquaintance. Before writing this text I didn't actually try to analyze what attracted me to it and why should it interest anyone else. But to formulate several reasons was not at all difficult. It's definitely unusual; the most unique "Souvenir" from a Stonehenge visit I've ever seen. The colorful and impressive woman with her unique style attracts attention a bit more than her casual hunk escort, probably a British garage band drummer. Although this pair seems like an odd couple at first glance, now it seems to me that these two fit together and are perfectly complementary. Perhaps as a sort of good cop, bad cop. I especially like the pink feather boa that created quite a headband to match the man with his partner.

The series Yeshua, which THEditions offer two photographs from, was completed during 2009 while Petra was studying in Israel. It was shot on a Yashica camera using 6x6 cm negatives. You can see the complete series HERE.

Petra Hajdůchová: The biggest inspiration for this work, which is full of symbolism, was my visits to the places where Jesus lived. These sites are where he performed many of his miracles. Maps of Israel that show Christ's journey often include humble places where we can be alone and indicate specific events that are supposed to have occurred in the place, according to biblical stories. Some of my photographs are used to understand and explain the symbolism of these stories. Jesus is symbolized as a white cloth in each of the photographs… Each photo is also accompanied by a specific passage from the Bible that belongs to that place and the deed done by Christ:

Acts 1: 9
After he said this, he was taken up before their very eyes, and a cloud hid him from their sight.

Todd Forsgren: The rich art history of images of Jesus Christ’s life and it’s depth within western culture’s ideology are two reasons I find it such an exciting yet challenging subject. I think Petra’s series provides a solution that subtly reinvigorates this subject matter with mystery.

Honza Vojtek: Petra’s series Yeshua fills me with a very peaceful and calm feeling. I think this is due to quietness of all the components of these photos: their color, composition, subtle symbolism, concept, and content. Yeshua reminds me of the very worthy cultural and spiritual history of our culture.

 

The series Yeshua, which THEditions offer two photographs from, was completed during 2009 while Petra was studying in Israel. It was shot on a Yashica camera using 6x6 cm negatives. You can see the complete series HERE.

Petra Hajdůchová: The biggest inspiration for this work, which is full of symbolism, was my visits to the places where Jesus lived. These sites are where he performed many of his miracles. Maps of Israel that show Christ's journey often include humble places where we can be alone and indicate specific events that are supposed to have occurred in the place, according to biblical stories. Some of my photographs are used to understand and explain the symbolism of these stories. Jesus is symbolized as a white cloth in each of the photographs… Each photo is also accompanied by a specific passage from the Bible that belongs to that place and the deed done by Christ:

Acts 1: 9
After he said this, he was taken up before their very eyes, and a cloud hid him from their sight.

Todd Forsgren: The rich art history of images of Jesus Christ’s life and it’s depth within western culture’s ideology are two reasons I find it such an exciting yet challenging subject. I think Petra’s series provides a solution that subtly reinvigorates this subject matter with mystery.

Honza Vojtek: Petra’s series Yeshua fills me with a very peaceful and calm feeling. I think this is due to quietness of all the components of these photos: their color, composition, subtle symbolism, concept, and content. Yeshua reminds me of the very worthy cultural and spiritual history of our culture.

Jan created Garlic Trilogy in 2010 using a digital camera and manual lens with fixed focus. In 2011 it was exhibited in České Budějovice in the Movie theatre Kotva.

Jan Vermouzek: These photographs were created at the request of a friend as a gift for her father. The condition was that the photos should feature garlic, because her dad loves it. After several weeks and countless attempts, just as it was starting to seem absurd and when I almost gave up on the still life, I arrived at this abstracted view of the aromatic crops, the Garlic trilogy. Everyone can project their own idea on the images, regardless of what the photo really shows.

Todd Forsgren: This elegant black-and-white print and Jan’s story of struggling with the subject matter reminds me of the American photographer Edward Weston and his famous photograph Pepper #30. Both Weston and Vermouzek struggled with banal subject matter to create images that are quite extraordinary.

Honza Vojtek: I think Jan met the assignment of his friend quite successfully… In this photograph, the humble garlic seems to become monumental to me. What more can I say? It's such a nice picture; and ideal for room of anyone who is afraid of vampires. :-)

 

Jan created Garlic Trilogy in 2010 using a digital camera and manual lens with fixed focus. In 2011 it was exhibited in České Budějovice in the Movie theatre Kotva.

Jan Vermouzek: These photographs were created at the request of a friend as a gift for her father. The condition was that the photos should feature garlic, because her dad loves it. After several weeks and countless attempts, just as it was starting to seem absurd and when I almost gave up on the still life, I arrived at this abstracted view of the aromatic crops, the Garlic trilogy. Everyone can project their own idea on the images, regardless of what the photo really shows.

Todd Forsgren: This elegant black-and-white print and Jan’s story of struggling with the subject matter reminds me of the American photographer Edward Weston and his famous photograph Pepper #30. Both Weston and Vermouzek struggled with banal subject matter to create images that are quite extraordinary.

Honza Vojtek: I think Jan met the assignment of his friend quite successfully… In this photograph, the humble garlic seems to become monumental to me. What more can I say? It's such a nice picture; and ideal for room of anyone who is afraid of vampires. :-)

Jan created Garlic Trilogy  in 2010 using a digital camera and manual lens with fixed focus. In 2011 it was exhibited in České Budějovice in the Movie theatre Kotva.

Jan Vermouzek: These photographs were created at the request of a friend as a gift for her father. The condition was that the photos should feature garlic, because her dad loves it. After several weeks and countless attempts, just as it was starting to seem absurd and when I almost gave up on the still life, I arrived at this abstracted view of the aromatic crops, the Garlic trilogy. Everyone can project their own idea on the images, regardless of what the photo really shows.

Todd Forsgren: This elegant black-and-white print and Jan’s story of struggling with the subject matter reminds me of the American photographer Edward Weston and his famous photograph Pepper #30. Both Weston and Vermouzek struggled with banal subject matter to create images that are quite extraordinary.

Honza Vojtek: I think Jan met the assignment of his friend quite successfully… In this photograph, the humble garlic seems to become monumental to me. What more can I say? It's such a nice picture; and ideal for room of anyone who is afraid of vampires. :-)
 

Both of the Fashion photographs included in the portfolio THEditions were taken in 2010 using a data projector and digital camera, with minimal post-processing.

Robin Závodný: The series which this image comes from is a reaction to excessively retouched fashion photography, which takes place in a computer simulated environment rather than on location. In this style of photography, models lose their personality and nature, the original environment is at best only semi-finished product in the resulting image. The entire series of photographs was published in the book and was part of several international exhibitions.

Todd Forsgren: The tightly cropping body parts with odd markings make these photographs quite compelling imagery... The photos are part luscious, albeit blemished, skin and part 8-bit video game. This odd mixture of visual language leaves plenty of room for interpretation and conversation.

Honza Vojtek: I found Robin’s fashion photographs quite provocative even before I sensed the rational behind his work (You can see the entire series HERE). But at first I was afraid it's kind of computer edited aesthetic game. The method and Robin’s motivation absolutely thrilled me. As a photographer who was "suckled" by developer, I often feel frustrated that the photographic craft has declined because of digital technologies and is replaced by computerized coloring books. Robin's photos are a very refreshing commentary on the evolution of photographic media.

Both of the Fashion photographs included in the portfolio THEditions were taken in 2010 using a data projector and digital camera, with minimal post-processing.

Robin Závodný: The series which this image comes from is a reaction to excessively retouched fashion photography, which takes place in a computer simulated environment rather than on location. In this style of photography, models lose their personality and nature, the original environment is at best only semi-finished product in the resulting image. The entire series of photographs was published in the book and was part of several international exhibitions.

Todd Forsgren: The tightly cropping body parts with odd markings make these photographs quite compelling imagery... The photos are part luscious, albeit blemished, skin and part 8-bit video game. This odd mixture of visual language leaves plenty of room for interpretation and conversation.

Honza Vojtek: I found Robin’s fashion photographs quite provocative even before I sensed the rational behind his work (You can see the entire series HERE). But at first I was afraid it's kind of computer edited aesthetic game. The method and Robin’s motivation absolutely thrilled me. As a photographer who was "suckled" by developer, I often feel frustrated that the photographic craft has declined because of digital technologies and is replaced by computerized coloring books. Robin's photos are a very refreshing commentary on the evolution of photographic media.
 

This photo is part of Viktor Sykora’s series "Tajemství rostlin" (Mystery Plants), which he has been working on since 2006. Part of this series was published by Academia Publishing House under the same name in 2009. Sykora’s THEditons portfolio includes four photographs from the series.

Todd Forsgren: As someone with a scientific background, I was immediately attracted to Sykora’s work. His marco photographs has all the right marks technically, aesthetically, and conceptually. Using elegant lighting and exceptional craftsmanship, Viktor brings the sometimes dry world of scientific photography to life.

Honza Vojtek: Although the purpose of Sykora’s macro photos is primarily scientific, his images are far more than merely simple descriptions. On the one hand, he shows us the world from an unknown perspective and this opens up a new horizon to us. The work is also very decorative and aestheticized, based on both the nature of the objects he photographs as well as Sykora’s inventive style, technical prowess, and artistic sensibility. These are the reasons that his work has quite deservedly collected awards around the world.
 

This photo is part of Viktor Sykora’s series "Tajemství rostlin" (Mystery Plants), which he has been working on since 2006. Part of this series was published by Academia Publishing House under the same name in 2009. Sykora’s THEditons portfolio includes four photographs from the series.

Todd Forsgren: As someone with a scientific background, I was immediately attracted to Sykora’s work. His marco photographs has all the right marks technically, aesthetically, and conceptually. Using elegant lighting and exceptional craftsmanship, Viktor brings the sometimes dry world of scientific photography to life.

Honza Vojtek: Although the purpose of Sykora’s macro photos is primarily scientific, his images are far more than merely simple descriptions. On the one hand, he shows us the world from an unknown perspective and this opens up a new horizon to us. The work is also very decorative and aestheticized, based on both the nature of the objects he photographs as well as Sykora’s inventive style, technical prowess, and artistic sensibility. These are the reasons that his work has quite deservedly collected awards around the world.
 

This photo is part of Viktor Sykora’s series "Tajemství rostlin" (Mystery Plants), which he has been working on since 2006. Part of this series was published by Academia Publishing House under the same name in 2009. Sykora’s THEditons portfolio includes four photographs from the series.

Todd Forsgren: As someone with a scientific background, I was immediately attracted to Sykora’s work. His marco photographs has all the right marks technically, aesthetically, and conceptually. Using elegant lighting and exceptional craftsmanship, Viktor brings the sometimes dry world of scientific photography to life.

Honza Vojtek: Although the purpose of Sykora’s macro photos is primarily scientific, his images are far more than merely simple descriptions. On the one hand, he shows us the world from an unknown perspective and this opens up a new horizon to us. The work is also very decorative and aestheticized, based on both the nature of the objects he photographs as well as Sykora’s inventive style, technical prowess, and artistic sensibility. These are the reasons that his work has quite deservedly collected awards around the world.
 

This photo is part of Viktor Sykora’s series "Tajemství rostlin" (Mystery Plants), which he has been working on since 2006. Part of this series was published by Academia Publishing House under the same name in 2009. Sykora’s THEditons portfolio includes four photographs from the series.

Todd Forsgren: As someone with a scientific background, I was immediately attracted to Sykora’s work. His marco photographs has all the right marks technically, aesthetically, and conceptually. Using elegant lighting and exceptional craftsmanship, Viktor brings the sometimes dry world of scientific photography to life.

Honza Vojtek: Although the purpose of Sykora’s macro photos is primarily scientific, his images are far more than merely simple descriptions. On the one hand, he shows us the world from an unknown perspective and this opens up a new horizon to us. The work is also very decorative and aestheticized, based on both the nature of the objects he photographs as well as Sykora’s inventive style, technical prowess, and artistic sensibility. These are the reasons that his work has quite deservedly collected awards around the world.

Co bych to popíral – jsem nanejvýš pyšný, že jsme měli možnost vydat práce věhlasného grafika Miloše Ondráčka v limitovaných edicích THEditions. Jak to probíhalo###

This digital photograph was captured in 2008 and is part of series called Opravdu (Really).

Author: Truthfulness – that's what I'm amazed about. It's everywhere around us all the time, but to actually experience it is so seldom although it's so natural. And then the emptiness it leaves in us is like a period in the middle of a sentence. The chance to keep on, tell the rest, is gone for a while again.

For personal reasons this photo photo is somehow mystical to me. I'm fascinated by casualness of the whole situation in the capture. Total harmony between living creature and it's habitat – absolutely natural but so fragile.

Honza: I'm on the other hand attracted by spurious unnaturalness of dog sleeping in the forrest as if it was something regular. Luckily animals are still pretty common in the open. But retrievers? My neighbor has two of them and we all take a lift together from time to time. I guess it affects my perception of naturalness. Dogs run in forrest, rest, eat... I'm used to that. But sleeping dog in an forrest is as natural to me as alive deer in the living room.

This photo has very similar spirit to free other photos by David Muzik we've released – they all give me enough room for my imagination and I can engineer my own theories for what's going on in them. I don't even want to know the “truth” because I'd lose a big portion of what attracts me to them – mystery.

Kromě tematických portfolií, jako je například Fauna a flora, připravujeme speciální portfolia. Jedním z nich je YAFA Specials, které prezentuje autory z projektu || young - fresh ||###

This photo is of a courageous swimmer at the famous Bondi Beach in Australia. Like our other photo by Roman, available HERE, 'The Pool seems a celebration joy of using a camera, which is typical of Mlejnek's work.

Author: I've photographed this swimming pool at Bondi Beach many times and repeatedly jumped into it too. It is full of salt water because it's almost connected with the ocean. In the fall, when the shot was taken, the waves are at their greatest height, as this image shows. The beach was empty, but because Australians love water, the pool found a brave hero. My gratitude goes out to the unknown swimmer who made this photograph possible.

Todd: The delicate ropes of the swimming lanes and the tiny figure of the swimmer  about to be enveloped by the water. Yet the swimmer seems focused and composed amid this chaos, and Roman has also masterfully composed the turbulent moment.  This image reminds me of Hokusai's famous "Great Wave" print.  Read more thoughts on my blog post.

Todd: There is a sophisticated tension in the image that is created by the flattening of the world that happens because of a camera's lens.  The subject is not really peering up the nose of the painting. Instead he's likely several meters back. But Mlejnek and his wide lens has put these subjects together to create this illusion.  Read more thoughts on my blog post.

This photograph was captured in 2009. You can take a look at two other photos from the same series HERE and HERE. With this triptych we're opening new YAFA Specials portfolio which is coming of our cooperation with || young - fresh || association.

You can have a look at David Mužík's || young - fresh || presentation HERE.

Author: In fact I use the elementary photography components – light and glass. The world distorts itself. A. Kratochvíl's comment: “Dude you are further ahead. You're over us. One day we'll catch up ... with you … but you'll be probably dead by then.

Honza: I have to add that modest author of this series didn't feel like publishing A. Kratochvíl's comment, because Kratochvíl is the world famous photographer and David Mužík didn't want to look like a boaster. I'm confident about David deserving acclamation for his photographs as well as for everything he's been doing for Czech young art scene.

What I like about this triptych is the mystery that is present in both form and contents. In other words – what is this guy shooting and how? I don't mind being unable to figure it out. In fact that's what turns on my desire to watch them over and over. I can always find new meanings in them.

This photograph was captured in 2009. You can take a look at two other photos from the same series HERE and HERE. With this triptych we're opening new YAFA Specials portfolio which is coming of our cooperation with || young - fresh || association.

You can have a look at David Mužík's || young - fresh || presentation HERE.

Author: In fact I use the elementary photography components – light and glass. The world distorts itself. A. Kratochvíl's comment: “Dude you are further ahead. You're over us. One day we'll catch up ... with you … but you'll be probably dead by then.

Honza: I have to add that modest author of this series didn't feel like publishing A. Kratochvíl's comment, because Kratochvíl is the world famous photographer and David Mužík didn't want to look like a boaster. I'm confident about David deserving acclamation for his photographs as well as for everything he's been doing for Czech young art scene.

What I like about this triptych is the mystery that is present in both form and contents. In other words – what is this guy shooting and how? I don't mind being unable to figure it out. In fact that's what turns on my desire to watch them over and over. I can always find new meanings in them.

This photograph was captured in 2009. You can take a look at two other photos from the same series HERE and HERE. With this triptych we're opening new YAFA Specials portfolio which is coming of our cooperation with || young - fresh || association.

You can have a look at David Mužík's || young - fresh || presentation HERE.

Author: In fact I use the elementary photography components – light and glass. The world distorts itself. A. Kratochvíl's comment: “Dude you are further ahead. You're over us. One day we'll catch up ... with you … but you'll be probably dead by then.

Honza: I have to add that modest author of this series didn't feel like publishing A. Kratochvíl's comment, because Kratochvíl is the world famous photographer and David Mužík didn't want to look like a boaster. I'm confident about David deserving acclamation for his photographs as well as for everything he's been doing for Czech young art scene.

What I like about this triptych is the mystery that is present in both form and contents. In other words – what is this guy shooting and how? I don't mind being unable to figure it out. In fact that's what turns on my desire to watch them over and over. I can always find new meanings in them.

We're very proud to release exclusive limited edition of graphics by Miloš Ondráček who's author of bank notes and postage stamps all around the globe.

8 x 13 cm sized original engraving is magnified up to 50x on our limited edition prints which gives it brand new perspective. You can check out some detailed samples on our Facebook HERE. This unique peace of art can become both decent decoration and collector's investment.

By Miloš Ondráček we also offer Peacock, Icarus and Violinist (Paganini).

We're very proud to release exclusive limited edition of graphics by Miloš Ondráček who's author of bank notes and postage stamps all around the globe.

10 x 5 cm sized original engraving is magnified up to 80x on our limited edition prints which gives it brand new perspective. You can check out some detailed samples on our Facebook HERE. This unique peace of art can become both decent decoration and collector's investment.

By Miloš Ondráček we also offer Hommage á Oldřich Kulhánek, Icarus and Violinist (Paganini).

We're very proud to release exclusive limited edition of graphics by Miloš Ondráček who's author of bank notes and postage stamps all around the globe.

3 x 6 cm sized original engraving is magnified up to 250x on our limited edition prints which gives it brand new perspective. You can check out some detailed samples on our Facebook HERE. This unique peace of art can become both decent decoration and collector's investment.

By Miloš Ondráček we also offer Peacock, Hommage á Oldřich Kulhánek and Violinist (Paganini).

We're very proud to release exclusive limited edition of graphics by Miloš Ondráček who's author of bank notes and postage stamps all around the globe.

3,5 x 8 cm sized original engraving is magnified up to 140x on our limited edition prints which gives it brand new perspective. You can check out some detailed samples on our Facebook HERE. This unique peace of art can become both decent decoration and collector's investment.

By Miloš Ondráček we also offer Peacock, Icarus and Hommage á Oldřich Kulhánek.

Stejně jako vše ostatní z produkce THEditions, i naše rámy jsou archivní, tedy kyselinoprosté / acid free. Kyselé prostředí má negativní vliv na ###

Todd: Borecký's small but luscious print of a ping-pong table lit with immaculate chiaroscuro do much to romanticize table tennis. In the hierarchy of racquet-sports it normally seems on the bottom of the pile, beneath things like squash, tennis, and badminton. These, unlike ping-pong, all make me think of country-clubs and blue blood. But I'm happy the Borecký's photograph is working to improve the reputation of this sport.

This unusual capture of Eiffel Tower was photographed in 2009 using digital camera. It becomes part of FotoVideo Specials portfolio after winning public vote in contest announced by FotoVideo magazine and THEditions.

Author: I photographed Eiffel Tower during my journey to Paris on April 10, 2009. It was Easter, loads of tourists everywhere, so it was impossible to capture the tower without crowds. That led me to the idea of capturing it in unusual angle - from below. I almost forgot about this photograph as it's not part of our family album, but my wife convinced me to edit it and submit to the contest. I like the geometric look being distracted by construction net in one of the corners.

Honza: Paľo Čepček is clearly not the only one with idea of capturing Eiffel Tower from below, there's bunch of similar photos on the internet. But his rendition is way above the rest thanks to it's exceptional technical precision, clean geometric composition and last but not least – there are just 60 copies of this photograph to be sold in this THEditions limited edition. It's very dignified alternative to common decorative Eiffel Tower posters.

Michaela Brachtlová took this photograph in 1994 on a sheet of film 9 x 12 cm as part of her series "Bestiarium for two." This series consists of three themes in which the author confronts the female and male body with plants, animals, and fur.

Author: Squid are fascinating creatures to me. I Admire their abilities and intelligence; and their is a surprising physical attraction in me of the theoretical and fanciful idea of bodily contact with squid, to try to create a deeper connection.  To touch of their delicate skin still seems incredibly sensual. Though I have unfortunately never touched the skin of a living squid.

Todd: I’ve always found giant squid and other ‘sea monsters’ fascinating. My first images of them were from grainy B&W horror movies of the Godzilla era, with special effects that now seem comical. Hollywood has continued to villify these elusive creatures (although actual footage of a live giant squid in its natural habitat was first filmed in 2005). Michaela’s photograph turns this paradigm upside down... Her large format film image of mingling human bodies and cephalopod tentacles with luscious B&W tones speaks more directly to me: though the ‘unknown’ can be a bit frightening, it is more beautiful and wonderful.  (Read my more indepth thoughts on the blog post about this photo)

Honza: I find this photograph aesthetically compelling and, for me, that alone is more than enough. But in addition the image has tension. One factor is a natural tension about the octopus, but even greater is the uncertainty of what is happening in the picture. Is the cephalopod tightening the relationship between two people or seeking to merge with them? Or perhaps it is more of a violent suffocation... I do not know and do not need to know. The secret hidden in its content becomes dramatic in my imagination, and makes me want to look again. It’s like I’m trapped by the octopus tentacles too, and my interest in the image does not seem to be able to escape.
 

This photograph by Michael Brachtlová was taken in 1993 and is a complement to our previously released edition which can be seen HERE. Although we feel the two photos work together very well, they are from two different series and use different techniques. While our first release, from “Bestiarium for Two“ was taken using sheet film, this image from her untitled series uses 120 roll film.  Because the image was shot with a smaller film, the texture of the film is visible at large sizes, which works nicely with the bumpy texture of the skin and plant in the photograph. 

Author: My K series, which this photo is from, was inspired by the “Story of the Eye“ of Georges Bataille. When I read it I felt so excited, shocked, and amazed... 

Todd: I adore the visual rhyming of the goose-bumps on the skin with the bumps on the pistil of the plant.  Michaela's photographs have a theatrical element I admire, in this case it calls to mind a romantic movie from the 50's; Read more thoughts on my blog post, here.

Tato fotografie byla pořízena dírkovou komorou – tedy bez použití objektivu – film je exponován pouze miniaturním otvorem o průměru řádově desetin milimetru. Formát použitého negativního filmu byl 4x5 palců (cca 10 x 15 cm). Fotografie Isamu Noguchi je součástí Ksandrova cyklu pinhole fotografií New Yorku, ze které nabízíme v limitované edici ještě fotografie Central Park, Madison Square Park a Five in One (pro jejich zobrazení klikněte na jejich název).

Autor: Fotografie pinhole kamerou vznikaly během mých častých návštěv New Yorku. Dírkové komory jsem si jako student FAMU stavěl sám, posléze jsem začal kombinovat technicky dokonalý systém pro velkoformátovou fotografii Sinar s všemožnými malými otvůrky. Od doby, kdy jsem v New Yorku objevil v obchodě B&H již hotovou pinhole kameru, používám výhradně profesionálně vyrobené dírkové komory s laserem vypálenou dokonalou dírkou. Používám několik exemplářů z různého dřeva a různých ohnisek. Dírkovou komorou je potřeba film exponovat delším časem než u běžného fotoaparátu. Díky tomu z fotografie „zmizí“ pohybující se objekty. Touto technikou se mi podařilo vytvořit z turbulentní metropole New York město plné klidu a pohody. Objevovat na vyvolaných filmech, co se zaznamenalo a co nikoli, je fantastický pocit. Dírková komora je obohacení fotografie.

Honza: Jsem moc rád, že jsme měli možnost vydat soubor čtyř pinhole fotografií od George Ksandra. Prvním z důvodů je to, že jeho reklamní i volné práce vynikají naprostou technickou precizností a nejinak je tomu u těchto fotografií vytvořených bez použití optiky. I „nejprimitivnější“ formu záznamu obrazu dokáže povýšit na profesionální úroveň. Druhým důvodem je vytvoření kontrastu k pinhole fotografiím Jindry Hrnčířové (ZDE), která k jejich focení používá krabičky od sirek, bonbónů apod. V principu se jedná o stejnou techniku, ale se dvěma naprosto odlišnými přístupy a každý má své nezaměnitelné kouzlo.

Autor: Fotografie pinhole kamerou vznikaly během mých častých návštěv New Yorku. Dírkové komory jsem si jako student FAMU stavěl sám, posléze jsem začal kombinovat technicky dokonalý systém pro velkoformátovou fotografii Sinar s všemožnými malými otvůrky. Od doby, kdy jsem v New Yorku objevil v obchodě B&H již hotovou pinhole kameru, používám výhradně profesionálně vyrobené dírkové komory s laserem vypálenou dokonalou dírkou. Používám několik exemplářů z různého dřeva a různých ohnisek. Dírkovou komorou je potřeba film exponovat delším časem než u běžného fotoaparátu. Díky tomu z fotografie „zmizí“ pohybující se objekty. Touto technikou se mi podařilo vytvořit z turbulentní metropole New York město plné klidu a pohody. Objevovat na vyvolaných filmech, co se zaznamenalo a co nikoli, je fantastický pocit. Dírková komora je obohacení fotografie.

Honza: Jsem moc rád, že jsme měli možnost vydat soubor čtyř pinhole fotografií od George Ksandra. Prvním z důvodů je to, že jeho reklamní i volné práce vynikají naprostou technickou precizností a nejinak je tomu u těchto fotografií vytvořených bez použití optiky. I „nejprimitivnější“ formu záznamu obrazu dokáže povýšit na profesionální úroveň. Druhým důvodem je vytvoření kontrastu k pinhole fotografiím Jindry Hrnčířové (ZDE), která k jejich focení používá krabičky od sirek, bonbónů apod. V principu se jedná o stejnou techniku, ale se dvěma naprosto odlišnými přístupy a každý má své nezaměnitelné kouzlo.

Tato fotografie byla pořízena dírkovou komorou – tedy bez použití objektivu – film je exponován pouze miniaturním otvorem o průměru řádově desetin milimetru. Formát použitého negativního filmu byl 4x5 palců (cca 10 x 15 cm). Fotografie Central Park je součástí Ksandrova cyklu pinhole fotografií New Yorku, ze které nabízíme v limitované edici ještě fotografie Isamu Noguchi, Madison Square Park a Five in One (pro jejich zobrazení klikněte na jejich název).

Autor: Fotografie pinhole kamerou vznikaly během mých častých návštěv New Yorku. Dírkové komory jsem si jako student FAMU stavěl sám, posléze jsem začal kombinovat technicky dokonalý systém pro velkoformátovou fotografii Sinar s všemožnými malými otvůrky. Od doby, kdy jsem v New Yorku objevil v obchodě B&H již hotovou pinhole kameru, používám výhradně profesionálně vyrobené dírkové komory s laserem vypálenou dokonalou dírkou. Používám několik exemplářů z různého dřeva a různých ohnisek. Dírkovou komorou je potřeba film exponovat delším časem než u běžného fotoaparátu. Díky tomu z fotografie „zmizí“ pohybující se objekty. Touto technikou se mi podařilo vytvořit z turbulentní metropole New York město plné klidu a pohody. Objevovat na vyvolaných filmech, co se zaznamenalo a co nikoli, je fantastický pocit. Dírková komora je obohacení fotografie.

Honza: Jsem moc rád, že jsme měli možnost vydat soubor čtyř pinhole fotografií od George Ksandra. Prvním z důvodů je to, že jeho reklamní i volné práce vynikají naprostou technickou precizností a nejinak je tomu u těchto fotografií vytvořených bez použití optiky. I „nejprimitivnější“ formu záznamu obrazu dokáže povýšit na profesionální úroveň. Druhým důvodem je vytvoření kontrastu k pinhole fotografiím Jindry Hrnčířové (ZDE), která k jejich focení používá krabičky od sirek, bonbónů apod. V principu se jedná o stejnou techniku, ale se dvěma naprosto odlišnými přístupy a každý má své nezaměnitelné kouzlo.

Autor: Fotografie pinhole kamerou vznikaly během mých častých návštěv New Yorku. Dírkové komory jsem si jako student FAMU stavěl sám, posléze jsem začal kombinovat technicky dokonalý systém pro velkoformátovou fotografii Sinar s všemožnými malými otvůrky. Od doby, kdy jsem v New Yorku objevil v obchodě B&H již hotovou pinhole kameru, používám výhradně profesionálně vyrobené dírkové komory s laserem vypálenou dokonalou dírkou. Používám několik exemplářů z různého dřeva a různých ohnisek. Dírkovou komorou je potřeba film exponovat delším časem než u běžného fotoaparátu. Díky tomu z fotografie „zmizí“ pohybující se objekty. Touto technikou se mi podařilo vytvořit z turbulentní metropole New York město plné klidu a pohody. Objevovat na vyvolaných filmech, co se zaznamenalo a co nikoli, je fantastický pocit. Dírková komora je obohacení fotografie.

Honza: Jsem moc rád, že jsme měli možnost vydat soubor čtyř pinhole fotografií od George Ksandra. Prvním z důvodů je to, že jeho reklamní i volné práce vynikají naprostou technickou precizností a nejinak je tomu u těchto fotografií vytvořených bez použití optiky. I „nejprimitivnější“ formu záznamu obrazu dokáže povýšit na profesionální úroveň. Druhým důvodem je vytvoření kontrastu k pinhole fotografiím Jindry Hrnčířové (ZDE), která k jejich focení používá krabičky od sirek, bonbónů apod. V principu se jedná o stejnou techniku, ale se dvěma naprosto odlišnými přístupy a každý má své nezaměnitelné kouzlo.

Tato fotografie byla pořízena dírkovou komorou – tedy bez použití objektivu – film je exponován pouze miniaturním otvorem o průměru řádově desetin milimetru. Formát použitého negativního filmu byl 4x5 palců (cca 10 x 15 cm). Fotografie Five in One je součástí Ksandrova cyklu pinhole fotografií New Yorku, ze které nabízíme v limitované edici ještě fotografie Isamu Noguchi, Madison Square Park a Central Park (pro jejich zobrazení klikněte na jejich název).

Autor: Fotografie pinhole kamerou vznikaly během mých častých návštěv New Yorku. Dírkové komory jsem si jako student FAMU stavěl sám, posléze jsem začal kombinovat technicky dokonalý systém pro velkoformátovou fotografii Sinar s všemožnými malými otvůrky. Od doby, kdy jsem v New Yorku objevil v obchodě B&H již hotovou pinhole kameru, používám výhradně profesionálně vyrobené dírkové komory s laserem vypálenou dokonalou dírkou. Používám několik exemplářů z různého dřeva a různých ohnisek. Dírkovou komorou je potřeba film exponovat delším časem než u běžného fotoaparátu. Díky tomu z fotografie „zmizí“ pohybující se objekty. Touto technikou se mi podařilo vytvořit z turbulentní metropole New York město plné klidu a pohody. Objevovat na vyvolaných filmech, co se zaznamenalo a co nikoli, je fantastický pocit. Dírková komora je obohacení fotografie.

Honza: Jsem moc rád, že jsme měli možnost vydat soubor čtyř pinhole fotografií od George Ksandra. Prvním z důvodů je to, že jeho reklamní i volné práce vynikají naprostou technickou precizností a nejinak je tomu u těchto fotografií vytvořených bez použití optiky. I „nejprimitivnější“ formu záznamu obrazu dokáže povýšit na profesionální úroveň. Druhým důvodem je vytvoření kontrastu k pinhole fotografiím Jindry Hrnčířové (ZDE), která k jejich focení používá krabičky od sirek, bonbónů apod. V principu se jedná o stejnou techniku, ale se dvěma naprosto odlišnými přístupy a každý má své nezaměnitelné kouzlo.

Autor: Fotografie pinhole kamerou vznikaly během mých častých návštěv New Yorku. Dírkové komory jsem si jako student FAMU stavěl sám, posléze jsem začal kombinovat technicky dokonalý systém pro velkoformátovou fotografii Sinar s všemožnými malými otvůrky. Od doby, kdy jsem v New Yorku objevil v obchodě B&H již hotovou pinhole kameru, používám výhradně profesionálně vyrobené dírkové komory s laserem vypálenou dokonalou dírkou. Používám několik exemplářů z různého dřeva a různých ohnisek. Dírkovou komorou je potřeba film exponovat delším časem než u běžného fotoaparátu. Díky tomu z fotografie „zmizí“ pohybující se objekty. Touto technikou se mi podařilo vytvořit z turbulentní metropole New York město plné klidu a pohody. Objevovat na vyvolaných filmech, co se zaznamenalo a co nikoli, je fantastický pocit. Dírková komora je obohacení fotografie.

Honza: Jsem moc rád, že jsme měli možnost vydat soubor čtyř pinhole fotografií od George Ksandra. Prvním z důvodů je to, že jeho reklamní i volné práce vynikají naprostou technickou precizností a nejinak je tomu u těchto fotografií vytvořených bez použití optiky. I „nejprimitivnější“ formu záznamu obrazu dokáže povýšit na profesionální úroveň. Druhým důvodem je vytvoření kontrastu k pinhole fotografiím Jindry Hrnčířové (ZDE), která k jejich focení používá krabičky od sirek, bonbónů apod. V principu se jedná o stejnou techniku, ale se dvěma naprosto odlišnými přístupy a každý má své nezaměnitelné kouzlo.

Tato fotografie byla pořízena dírkovou komorou – tedy bez použití objektivu – film je exponován pouze miniaturním otvorem o průměru řádově desetin milimetru. Formát použitého negativního filmu byl 4x5 palců (cca 10 x 15 cm). Fotografie Madison Square Park je součástí Ksandrova cyklu pinhole fotografií New Yorku, ze které nabízíme v limitované edici ještě fotografie Isamu Noguchi, Central Park a Five in One (pro jejich zobrazení klikněte na jejich název).

Autor: Fotografie pinhole kamerou vznikaly během mých častých návštěv New Yorku. Dírkové komory jsem si jako student FAMU stavěl sám, posléze jsem začal kombinovat technicky dokonalý systém pro velkoformátovou fotografii Sinar s všemožnými malými otvůrky. Od doby, kdy jsem v New Yorku objevil v obchodě B&H již hotovou pinhole kameru, používám výhradně profesionálně vyrobené dírkové komory s laserem vypálenou dokonalou dírkou. Používám několik exemplářů z různého dřeva a různých ohnisek. Dírkovou komorou je potřeba film exponovat delším časem než u běžného fotoaparátu. Díky tomu z fotografie „zmizí“ pohybující se objekty. Touto technikou se mi podařilo vytvořit z turbulentní metropole New York město plné klidu a pohody. Objevovat na vyvolaných filmech, co se zaznamenalo a co nikoli, je fantastický pocit. Dírková komora je obohacení fotografie.

Honza: Jsem moc rád, že jsme měli možnost vydat soubor čtyř pinhole fotografií od George Ksandra. Prvním z důvodů je to, že jeho reklamní i volné práce vynikají naprostou technickou precizností a nejinak je tomu u těchto fotografií vytvořených bez použití optiky. I „nejprimitivnější“ formu záznamu obrazu dokáže povýšit na profesionální úroveň. Druhým důvodem je vytvoření kontrastu k pinhole fotografiím Jindry Hrnčířové (ZDE), která k jejich focení používá krabičky od sirek, bonbónů apod. V principu se jedná o stejnou techniku, ale se dvěma naprosto odlišnými přístupy a každý má své nezaměnitelné kouzlo.

Autor: Fotografie pinhole kamerou vznikaly během mých častých návštěv New Yorku. Dírkové komory jsem si jako student FAMU stavěl sám, posléze jsem začal kombinovat technicky dokonalý systém pro velkoformátovou fotografii Sinar s všemožnými malými otvůrky. Od doby, kdy jsem v New Yorku objevil v obchodě B&H již hotovou pinhole kameru, používám výhradně profesionálně vyrobené dírkové komory s laserem vypálenou dokonalou dírkou. Používám několik exemplářů z různého dřeva a různých ohnisek. Dírkovou komorou je potřeba film exponovat delším časem než u běžného fotoaparátu. Díky tomu z fotografie „zmizí“ pohybující se objekty. Touto technikou se mi podařilo vytvořit z turbulentní metropole New York město plné klidu a pohody. Objevovat na vyvolaných filmech, co se zaznamenalo a co nikoli, je fantastický pocit. Dírková komora je obohacení fotografie.

Honza: Jsem moc rád, že jsme měli možnost vydat soubor čtyř pinhole fotografií od George Ksandra. Prvním z důvodů je to, že jeho reklamní i volné práce vynikají naprostou technickou precizností a nejinak je tomu u těchto fotografií vytvořených bez použití optiky. I „nejprimitivnější“ formu záznamu obrazu dokáže povýšit na profesionální úroveň. Druhým důvodem je vytvoření kontrastu k pinhole fotografiím Jindry Hrnčířové (ZDE), která k jejich focení používá krabičky od sirek, bonbónů apod. V principu se jedná o stejnou techniku, ale se dvěma naprosto odlišnými přístupy a každý má své nezaměnitelné kouzlo.

Tato fotografie byla pořízena dírkovou komorou (respektive krabičkou od bonbónů) bez použití optiky na barevný konofilm. Od Jindry Černické dále nabízíme v limitované edici Pampelišku a Zdola (zobrazíte kliknutím na jejich název).

Autorka: V roce 2006 jsem dostala novou hračku od fotografa Honzy Holuba, který se pinhole fotografiemi zabýval daleko dřív, než já. Dírkovou komoru s vymyšleným názvem „AMARONAP“ vyrobil z krabice od drahých bonbónů a rozříznutého dětského puku, aby film neležel v rovině, ale za dírkou aby tvořil oblouk. Tenhle vzácný dar jsem si nosila i do práce, a v jednu volnou chvíli jsem narazila na tyhle ševelící stromy. Vítr jim dal řeč.

Tato fotografie byla pořízena dírkovou komorou (respektive krabičkou od sirek) bez použití optiky na černobílý kinofilm. Od Jindry Hrnčířové dále nabízíme v limitované edici fotografie Dohady a Zdola (zobrazíte kliknutím na jejich název).

Pro srovnání zcela odlišného přístupu k technice dírkové komory doporučujeme shlédnutí fotografií od George Ksandra (ZDE).

Autorka: Fotografie Pampeliška vznikla v roce 2008. Na louce. Chtěla jsem vyzkoušet něco pro mě nového, na vlastní oči se přesvědčit, že krabička od sirek umí fotit. „Foťák“ jsem si vyrobila dost nedbale, jako že na první pokus to stačí. Používáním se „odfoukla“ izolační páska, kterou byla v krabičce upevněná dírka. Ta pak vytvořila masku, kterou kdybych chtěla záměrně, tak se mi určitě nepovede. Není to nijak objevné, ale poprvé jsem měla fotku i mezi perforací, proto jsem ji na záběru přiznala.

Autorka: Fotografie Pampeliška vznikla v roce 2008. Na louce. Chtěla jsem vyzkoušet něco pro mě nového, na vlastní oči se přesvědčit, že krabička od sirek umí fotit. „Foťák“ jsem si vyrobila dost nedbale, jako že na první pokus to stačí. Používáním se „odfoukla“ izolační páska, kterou byla v krabičce upevněná dírka. Ta pak vytvořila masku, kterou kdybych chtěla záměrně, tak se mi určitě nepovede. Není to nijak objevné, ale poprvé jsem měla fotku i mezi perforací, proto jsem ji na záběru přiznala.

Tato fotografie byla pořízena dírkovou komorou (respektive krabičkou od sirek) bez použití optiky na černobílý kinofilm. Od Jindry Hrnčířové dále nabízíme v limitované edici fotografie Dohady a Pampeliška (zobrazíte kliknutím na jejich název).
Autorka: Fotografie Zdola vznikla v roce 2008. Na louce. Chtěla jsem vyzkoušet něco pro mě nového, na vlastní oči se přesvědčit, že krabička od sirek umí fotit. „Foťák“ jsem si vyrobila dost nedbale, jako že na první pokus to stačí. Používáním se „odfoukla“ izolační páska, kterou byla v krabičce upevněná dírka. Ta pak vytvořila masku, kterou kdybych chtěla záměrně, tak se mi určitě nepovede. Není to nijak objevné, ale poprvé jsem měla fotku i mezi perforací, proto jsem ji na záběru přiznala.

This photograph of an iris was released a limited edition along with two other photographs from Stuchelová's series “Flowers 2010 – 2011“... Amaryllis is available HERE and White Orchid is HERE. All three were taken in 2011. In this series, Vera continues her quest to explore the changing medium of photography with digital editing techniques.

Author: The series “Flowers“ uses alternative methods of digital processing. Flowers are a symbol of transience, beauty, and destruction. I try to present them as objects that are plastic, tangible and monumentalized, but using color adjustments that still emphasize their magical spirit. I like them to seem to be almost like common flowers, that we have not really noticed the change, but that it makes them a interesting and maybe a bit mysterious.

Todd: These technicolor flowers remind me of a collision of two American artists, Andy Warhol and Robert Mapplethorpe, with updated techniques for the digital age. The unnatural and extreme color combinations seemed unnerving to me at first, but this digitized aesthetic certainly raises some interesting questions... Read more on my blog post, HERE.

Today's photograph is our second release by Michaela Brachtlová. This time it's from an untitled series###

This photograph of an amaryllis was released a limited edition along with two other photographs from Stuchelová's series “Flowers 2010 – 2011“... Iris is available HERE and White Orchid is HERE. All three were taken in 2011. In this series, Vera continues her quest to explore the changing medium of photography with digital editing techniques.

Author: The series “Flowers“ uses alternative methods of digital processing. Flowers are a symbol of transience, beauty, and destruction. I try to present them as objects that are plastic, tangible and monumentalized, but using color adjustments that still emphasize their magical spirit. I like them to seem to be almost like common flowers, that we have not really noticed the change, but that it makes them a interesting and maybe a bit mysterious.

Todd: These technicolor flowers remind me of a collision of two American artists, Andy Warhol and Robert Mapplethorpe, with updated techniques for the digital age. The unnatural and extreme color combinations seemed unnerving to me at first, but this digitized aesthetic certainly raises some interesting questions... Read more on my blog post, here.

This photograph of an orchid was released a limited edition along with two other photographs from Stuchelová's series “Flowers 2010 – 2011“... Amaryllis is available HERE and Iris is HERE. All three were taken in 2011. In this series, Vera continues her quest to explore the changing medium of photography with digital editing techniques.

Author: The series “Flowers“ uses alternative methods of digital processing. Flowers are a symbol of transience, beauty, and destruction. I try to present them as objects that are plastic, tangible and monumentalized, but using color adjustments that still emphasize their magical spirit. I like them to seem to be almost like common flowers, that we have not really noticed the change, but that it makes them a interesting and maybe a bit mysterious.

Todd: These technicolor flowers remind me of a collision of two American artists, Andy Warhol and Robert Mapplethorpe, with updated techniques for the digital age. The unnatural and extreme color combinations seemed unnerving to me at first, but this digitized aesthetic certainly raises some interesting questions... Read more on my blog post, here.

"Fusion" is one of a pair of photographs THEditions has released by Marta Černická.  The second photograph, "Safistifed Wishes," can be seen here.  Both photographs were taken in 2008.

Author: The photo "Fusion" was created during a photograph investigation on the theme of the "human footprint". While I was wandering around monument for Jiří Hradec. During these travels I felt that photography provided "Satistfied Wish." When the photo appeared before me, I could not believe my eyes: how many stories can be written on the walls? … yet they seem so very ordinary.

Todd: In both of Marta's photographs there is a dance of different elements that create an allegory of sorts: Light flattens the shape of the tree. The shadow hits the wall. The wall lines up with the real world behind it. This is lined up with the 'real world' beyond the wall. And then all of this information is flattened again as it passes through the camera's lens and onto the film.  But it is the relationship between her two photos that really interests me...  Read More.

The two photographs we've chosen to release by Roman Mlejnek are from two very different places: Bondi Beach, Australia and Berlin, Germany### 

"Satisfied Wishes" is one of a pair of Photographs THEditions has released by Marta Černická. The second photograph, "Fusion," can be seen here.  Both Photographs were taken in 2008.

Author: The photo "Satisfied Wishes" was created during a photograph investigation on the theme of the "human footprint". While I was wandering around monument for Jiří Hradec. During these travels I felt that photography provided "Satistfied Wish." When the photo appeared before me, I could not believe my eyes: how many stories can be written on the walls? … yet they seem so very ordinary.

Todd: In both of Marta's photographs there is a dance of different elements that create an allegory of sorts: Light flattens the shape of the tree. The shadow hits the wall. The wall lines up with the real world behind it. This is lined up with the 'real world' beyond the wall. And then all of this information is flattened again as it passes through the camera's lens and onto the film. But it is the relationship between her two photos that really interests me... Read More.

The full name of this photograph is "Šedivka se pouští i do hnízd velkých ptáků” or “The Hen is not Afraid of Entering the Nests of Larger Birds." The photo was taken with a Polaroid 600SE in 2008 as part of Václav’s photographic diary. Our THEdition prints are created from scanned enlargements of this unique print. Because the photograph was created with this type of camera, the prints have colors typical of the material and the focus and edges are quite soft. The aesthetics of “Šedivka” are part of the charm of the unusual photographic technique, but this impressive material has an extremely fine texture that shows no grain even when it is enlarged at our “XL” A0 sized prints.

Author: This photograph of a hens was taken in the garden, her home territory. Though it was captured in a single moment, this moment is far from unique, as this hen spend almost all day standing and staring from this spot. This leaves me in no doubt that she experienced or saw something here that she altered her perception of the world. " Šedivka se pouští i do hnízd velkých ptáků " could be called a back story. I’ve always found stuffed animals a bit horrific, but “Šedivka” is most certainly alive.

Todd: Václav’s photograph of this hen is quite unique. Using a Polaroid 600SE camera with a 127mm lens, the artist needed to get quite close to his subject to take the picture. Compared to the extreme telephoto lenses that most nature photographers use to photograph of animals from far away, this close-up taken shows a certain trust between the artist and the hen. This lens and the warm evening light highlight the special relationship between Václav and the hen.

Honza: Václav’s photograph and its lengthy title seem both fun and serious. I remember when "Šedivka" was untitled, and then he just called it "Depressed Hen.” The current witty title is an elevation of the bird’s behavior to an almost human personality. Whatever the real thoughts of this hen might be (and they’re probably quite trivial), the author gave her a soul and life which touches the imagination of countless viewers. The print’s vibrant warm colors add to this feeling.
 

Read more about the print HERE.

The whole name of this photograph is "Každý ze samečků natáhne krk, rozevře lyru, spustí křídla, poskakuje, točí se, zejména poté, co přilétly slepice." or "Each of the males stretch their necks, opens the lyre, the wings start, jump, and spin, especially after the chicken arrives.". It was taken on Polaroid in 2008 as part of the author's photographic diary. The THEditions prints are therefore enlargements from a scan of this Polaroid. This gives the image a certain aesthetic; in addition to the typical color of this material, it also has soft edges, especially our larger prints. Rather than seeing these qualities as defects, we consider them highlights showing the charm of this unique technology, as well as the hen. However, this impressive material shows no grain even at our XL size, but only the fine structure of the emulsion of the original Polaroid. This is the second THEdition of this "model" hen, the other can be viewed HERE.

Author: This photograph of a hens was taken in the garden, her home territory. Though it was captured in a single moment, this moment is far from unique, as this hen spend almost all day standing and staring from this spot. This leaves me in no doubt that she experienced or saw something here that she altered her perception of the world. " Šedivka se pouští i do hnízd velkých ptáků " could be called a back story. I’ve always found stuffed animals a bit horrific, but “Šedivka” is most certainly alive.

Todd: Václav’s photograph of this hen is quite unique. Using a Polaroid 600SE camera with a 127mm lens, the artist needed to get quite close to his subject to take the picture. Compared to the extreme telephoto lenses that most nature photographers use to photograph of animals from far away, this close-up taken shows a certain trust between the artist and the hen. This lens and the warm evening light highlight the special relationship between Václav and the hen.

This photograph is published alongside a second picture, P 19, which you can see here. Both shots were taken in autumn of 2010 with a Polaroid SX-70. Our prints are scanned enlargements of these polaroids. These photographs show impressionist colors that blend with the sharp texture of the Polaroid material, which is especially visible in the large and X-large size prints.

Author: This image is of the approximately 60m high building in the coking area of Kladno. It was taken with the classic Polaroid SX-70 camera using new first generation of experimental color film. The color scheme depends on the temperature during developing process. In this case, my favorite sun-warmed black sweatshirt created an ideal "experimental" lab. I put the exposed polaroid onto the warm sleeve, and this was the result.

Todd: Though I admire many of the experimental styles that Šimon has used to explore Kladno's industry, these Polaroids are my favorite. The strange color shifts of and texture of the film match the crumbling architecture but also give these hulking concrete buildings an odd delicacy. The patina that is created by a combination of aging buildings and Polaroid material is a fitting reflection of the current state of these industrial sites.

This photograph is published alongside a second picture, P 11, which you can see here. Both shots were taken in autumn of 2010 with a Polaroid SX-70. Our prints are scanned enlargements of these polaroids. These photographs show impressionist colors that blend with the sharp texture of the Polaroid material, which is especially visible in the large and X-large size prints.

Author: This view of industrial sites focuses on the actual shape of the building: simple, mystical, symbolic. With the enlarged polaroids, especially the A0 size, small details become beautifully apparent; like random cracks in the emulsion, the formation a separate color paths across the image, the more colorful specks forming in units and the color grains of chemical crystals scattered across the surface film.

Todd: Though I admire many of the experimental styles that Šimon has used to explore Kladno's industry, these Polaroids are my favorite. The strange color shifts of and texture of the film match the crumbling architecture but also give these hulking concrete buildings an odd delicacy. The patina that is created by a combination of aging buildings and Polaroid material is a fitting reflection of the current state of these industrial sites.

If you take a look at Šimon Vejvančický's website, www.industryArt.cz, it's quite apparent that he's really into photographing industry... Often focusing on the town of Kladno here in the Czech Republic. ###

This photo was taken on one of Alexander’s walks through nature. During these walks he carries little other than a large format wood camera with 9cm x 12cm film, along with twelve film holders, each carrying just one negative. Every shot must be considered carefully.

Author: Running through the forest, the trees are upright, they turn at sharp right angles away from the surface, it swings nicely. Photography. How an archaic machine teaches me to slow down. A small ritual: to wander into a place, stick my head under black velvet and watch a small projection of reality on the glass, flipped upsidedown and backwards. Perhaps I don’t even need to take a picture, but that’s another question entirely. Just twelve shots per day and then it’s dark again: mixing, rinsing, wetting, drying… And finding out how much of this fascinating reality I was actually able to catch.

Todd: Alex used his view camera to twist the focal plane of this photograph quite drastically, creating dynamic tension. Like many photographs that use camera movements, the soft focus adds to a mystical atmosphere of the image. But Alex’s choice to use one simple camera movement that makes the plane of focus slice right down the center of the image is what I like about it. This seems narrow band of sharpness cuts its way through the forest like a saw.

Honza: The camera that Alex used to take this photograph (a view camera) makes it possible to change the plane of focus. This can be used for technical photographs (to make completely sharp and squared images) as well as creative shots (to cause unique blurs and distortions). Many photographers who try to use this blur effect, but do so without elegance; these over-exaggerations result in a images that seem free but empty. Sasha use of camera movements creates a sophisticated atmosphere, which is an excellent complement to "his" forest.
 

Alex Dobrovodský took this photograph with a large-format camera, just like his other THEditions release, "Lost in Forest Space”, which you can see HERE.

Author: The collapsing ribs of a boat near an old stone house, the recollection of simple village life in the north of Scotland... in the eyes of the disillusioned bourgeoise this seems romantic, but the reality is certainly harder. Objects can gain a soul as they crumble and merge with the landscape, creating a beautiful new craft as valid as any of today's "art.”

Todd: As in our first release by Alex, this photo uses drastic shifts and tilts to the focal plane made possible by the large format camera. These 'camera movements' enhance the photo's sentimental subject matter. But more importantly, in my opinion, they abstract the image. I find this abstraction particularly compelling as it plays with the ruins of the boat in the foreground. The narrow depth of field and the diagonal focal plan that cuts through it seems to shrink the boat (and the landscape), making it seem a bit like a macro photograph of some strange sort of manmade flower...  Read more of my thoughts HERE.

Honza: As with the previous photo released by Alex Dobrovodský through THEditions, there is a very intelligent use of variations of the plane of focus. This leads the eye diagonally from the top of the boat to the crumbling house and through the top of the image, giving it an almost surreal effect. Although it is a real outdoor scene, the viewer may get the impression that it is a macro photograph of a small model of the landscape.

Today's photograph is oure second image available by the Prague-based Slovak/Russian/Italian Alexander Dobrovodský, which he photographed in Scotland###

Stalo sa v roku 2003. Prvýkrát vo svojom živote som si omočil svoje bosé nohy v mori, anglickom###

Author: These photographs are a sort of meditation, when I get up early and go to the shore at a time when no one is there.  I finish shooting when the first visitors begin to show up for their early morning walks, often accompanied by their pets.  My shooting is a seach for silence or an inner world before I am confronted with the noisy business of the day.

Todd: These minimalist square images of the seaside flip some conventional ideas about landscape; Beňo depicts a soft and delicate horizon behind functional coastal architecture which challenges our normal relationship with the sea.  Here, the effect of man cannot be overlooked despite the vastness of the ocean.  Read more in depth thoughts on my blog post.

Author: These photographs are a sort of meditation, when I get up early and go to the shore at a time when no one is there. I finish shooting when the first visitors begin to show up for their early morning walks, often accompanied by their pets. My shooting is a seach for silence or an inner world before I am confronted with the noisy business of the day. 

Todd: These minimalist square images of the seaside flip some conventional ideas about landscape; Beňo depicts a soft and delicate horizon behind functional coastal architecture which challenges our normal relationship with the sea. Here, the effect of man cannot be overlooked despite the vastness of the ocean. Read more in depth thoughts on my blog post.

Author: These photographs are a sort of meditation, when I get up early and go to the shore at a time when no one is there. I finish shooting when the first visitors begin to show up for their early morning walks, often accompanied by their pets. My shooting is a seach for silence or an inner world before I am confronted with the noisy business of the day. 

Todd: These minimalist square images of the seaside flip some conventional ideas about landscape; Beňo depicts a soft and delicate horizon behind functional coastal architecture which challenges our normal relationship with the sea. Here, the effect of man cannot be overlooked despite the vastness of the ocean. Read more in depth thoughts on my blog post.

Today we're pleased to release three photographs from Jaroslav Yari Beňo's series 'Simple Seaside'... ###

Author: The windows depicted in Lookout were photographed in the Czech Republic, the United States, Great Britain, and Australia, countries where I have lived for an extended period of time. Lookout is a collection of observations into how we live in proximity to other people and nature, and how we strike a balance between the desire for contact, concern for security, and our need for privacy.

Todd: On the surface, Lynn's beautiful printed and exposed images of windows would make any Italian Renaissance painter jealous with their beautiful chiaroscuro. But there is also much more beneath the surface of these image; read more of my thoughts on exactly what that is in my blog post, here. 

Author: The windows depicted in Lookout were photographed in the Czech Republic, the United States, Great Britain, and Australia, countries where I have lived for an extended period of time. Lookout is a collection of observations into how we live in proximity to other people and nature, and how we strike a balance between the desire for contact, concern for security, and our need for privacy.

Todd: On the surface, Lynn's beautiful printed and exposed images of windows would make any Italian Renaissance painter jealous with their beautiful chiaroscuro.  But there is also much more beneath the surface of these image; read more of my thoughts on exactly what that is in my blog post, here.  

I am very pleased that THEditions is able to offer these two photographs by Lynn Silverman, from her series Lookout... ###

This photo was taken with a medium format camera using a 6 x 9 cm negative as part of the author's series "Everyday." We have also published "The Crow", which can be viewed HERE.

Author: There are actually two versions of this photograph. During a hiking trip around Šumava, my friend Aleš and I went a bit astray to try to take a picture of some sheep in the nearby fog. The moment when I turned to go back to our group this scene materialized before me... But I made the mistake of gasping with enthusiasm and this warned Aleš. He did not hesitate, and took his own photo from another angle but of the "same" situation. Perhaps his camera was faster than mine, but as for his version of the shot, I still haven't seen it.

Todd: I really like the photos from the artist's series “Everyday.” While much of Ľubo's work is dense and conceptual, I find this series more direct and poetic: observational celebrations made during his physical and mental wanderings. They beautifully depict the quiet sort of surrealism we encounter in our daily lives.  Read more of my thoughts on his work on our blog.

Honza: The two photos we are offering from Ľuba Lukča both give me an impression of a mystical and surreal world. Creating this illusion while photography completely banal daily situations requires a true artist, which I consider Ľuba to be.

This photo was taken with a medium format camera using a 6 x 9 cm negative as part of the author's series "Everyday."  We have also published "The Sheep", which can be viewed HERE.

Author: I took this photograph on a business trip to Transylvania, in the foothills of Mount Magura. There is a legend of a white bus that suddenly appears in the surrounding woods, the local people will tell you it has always been there.

Todd: I really like the photos from the artist's series “Everyday.” While much of Ľubo's work is dense and conceptual, I find this series more direct and poetic: observational celebrations made during his physical and mental wanderings. They beautifully depict the quiet sort of surrealism we encounter in our daily lives.  Read more of my thoughts on his work on our blog.

Honza: The two photos we are offering from Ľuba Lukča both give me an impression of a mystical and surreal world.  Creating this illusion while photography completely banal daily situations requires a true artist, which I consider Ľuba to be.

Today's releases, two photographs by the Slovak photographer Ľubomír Lukčo, are part of his “Everyday” series. This is a new body of work that he started after completed in Master's degree in June 2010... ###

Od začátku března jsme snížili cenu za naše největší - XL fotografie, tedy formát A0 (84 x 120 cm) z 8000,- Kč na 6900,- Kč. Použili jsme k tomu drobný "trik"... ###

Pavel Matela's 'Hatching Out' is a series of six photographs from 6x9 cm negatives, which have been scanned and are printed on a single sheet of paper.

Author: Hatching Out developed from the strong momentum I felt when I was closing one chapter of my life/work and opening another. At the time I felt an inner strength with which I did not know what to do with, and I felt that something inside me must be different. The series actually took several days of work to create. In the aesthetic I paid tribute to the tradition of classic black-and-white photography, while at the same time the piece is also my own symbolic departure from this style.

Todd: Matela's photograph shows a new creation myth offering a different possibility for human natural history. It's a story of intelligent life that perhaps developed from birds or dinosaurs instead of from monkeys. Awkward humans emerging fully-developed but seemingly afraid and alone from their large egg-sacs. Moments later the creature runs out of the frame to fend for itself. The humor of this story makes me laugh, but beneath that joke there's a philosophical examination of the human experience...  read more of my thoughts about it on our blog, here.

Honza: To me, "Hatching out" seems like something out of a textbook on the history of photography. The classical processing and this odd action, depicting a very alien way for a human life to begin, make it an ideal photo to open "Human's Bodies," our second thematic portfolio.

Pavel Matela's 'Hatching Out' has a historical aesthetic and an almost primordial creation story which I think make it an ideal way to begin our first portfolio of 2011, 'Human's Bodies.' ###

This photograph was released together with "Spring #1". Both were shot on 6 x 6 cm color negative film without any lens - the artist used a pinhole camera instead.

Author: These photographs were taken sometime in March of 2004, when the dreary winter all around began to stir. To make the camera obscura, I used a cap from a tin of tea. A lot was left to chance because it's hard to make a precise exposure, but I used good color negative film. The impression that was created depicted the fine day well, with an atmosphere that preserved that feeling. And the confusion and blur of the photos is so close to what my vision would be without glasses. An old photography teacher once told me: "Those of us who wear glasses have a big advantage over those who don't. When we see them take off, we see color abstraction everywhere."

Todd: It's a cold December day as I write this, and look longingly at Jiří Ernest's camera obscura photographs. Though he several of the photos from this series on his website depict similar cold days, perhaps Honza and I were drawn to these ones in particular since we've already seen so much snow this season. Something about the camera obscura's soft rendering of the world always makes the images they make seem oddly eternal... And Jiří choice to depict the ephemeral colors of spring with this technique (read more about that on my blog post, here) makes it seem like those days might last as long as I've always wanted them to last.

This photograph was released together with "Spring #2". It was shot on 6 x 6 cm color negative film without any lens - the artist used pinhole instead.

Author: These photographs were taken sometime in March of 2004, when the dreary winter all around began to stir. To make the camera obscura, I used a cap from a tin of tea. A lot was left to chance because it's hard to make a precise exposure, but I used good color negative film. The impression that was created depicted the fine day well, with an atmosphere that preserved that feeling. And the confusion and blur of the photos is so close to what my vision would be without glasses. An old photography teacher once told me: "Those of us who wear glasses have a big advantage over those who don't. When we see them take off, we see color abstraction everywhere."

Todd: It's a cold December day as I write this, and look longingly at Jiří Ernest's camera obscura photographs. Though he several of the photos from this series on his website depict similar cold days, perhaps Honza and I were drawn to these ones in particular since we've already seen so much snow this season. Something about the camera obscura's soft rendering of the world always makes the images they make seem oddly eternal... And Jiří choice to depict the ephemeral colors of spring with this technique (read more about that on my blog post, here) makes it seem like those days might last as long as I've always wanted them to last.

These final two images of our 'Flora and Fauna' portfolio were taken with Jiří Ernest and his pinhole camera, or camera obscura. Which brings us back to the origins of photography... ###

Well, it's a few days before Christmas, and Honza and I had been looking for an interesting photograph of a carp to release today. Hmmm... I really should take a moment to explain that last sentence for those of you who aren't from the Czech Republic... ###

This photograph was taken in 2010 in Berlin using a full-frame digital camera.

Author: While I had the camera glued to the front of this aquarium and as I was trying to watch the fish moving in front and square the building behind them I had time to reflect. I even added background music in my head as I photographed the scene: "We're just two lost souls swimming in a fish bowl ... year after year"... I had got an opportunity to illustrate one of my favorite Pink Floyd songs. And as someone who has spent much time in the corporate world, I got the opportunity to express the feelings of loneliness that accompany this somewhat ubiquitous and compartmentalized world. I recommend that this photograph with an accompaniment of Pink Floyd's 'Wish You Were Here.'

Todd: Petr's photograph this week is a wonderful compliment to last week's photograph, 'Wait for Me' by Katerina Zelingerova. Both were taken within the framework of reportage photography... but the direct and dry 'objectivity' (dare I say it?) and warm tones of Katerina's photo are very different from the surreal ambiguity and cool colors of Petr's. The photograph, both strange and peaceful, continues what has been one of the themes of our Flora and Fauna portfolio... understanding animals within mademade environments.  More of my thoughts about the photo are on the blog, here.

Honza: In this photo Petr chose a great perspective that manipulates reality. At first glance I thought that it is collage. Photography provides many people with a sense of objectivity, and so they consider it an “True” representation of reality. However, for a photographer there are many possibilities and ways to frame the world and guide how the audience interprets the image. Here, Garský's highly aestheticized framing calms my mind and the floating fish create a strange anxiety against this environment that seems so alien to them.

Katerina’s photograph, “Wait for me” captures a fairly typical scene in Czech life, and reminds me of my own father and childhood... ###

Katerina took this photograph in Železný Brod with a medium format camera.

Author: This photograph was taken during a trip to Železný Brod. It remains one of my favorites, aesthetically, because of the grey, yellow, and red color scheme, but it also seems to represent an emotional state I often feel, as I feel like I too am waiting for something. This photograph always reminds me of the isolation each of us faces of this great big world.

Todd: My father is a veterinarian and humanitarian who has spent much of his life promoting the importance of the ‘human-animal bond.’ When he first visited the Prague in the autumn of ‘10, he was amazed and impressed by Czech’s affinity for dogs. Katka’s photograph captures so well… Though I’ve seen scenes like this almost daily since moving to the Czech Republic, and tried to take similar photos many times, I’ve never with nearly as much success as Katka’s. This photo is perhaps the most ‘documentary’ image we’ve released in the ‘Flora & Fauna” portfolio. I think it’s a very well observed photograph that captures this relationship between man and animal. Read more details in my blog post, here.

Honza: This photo is largerly photojournalistic in style. But as in all Katerina’s work, the photograph also incorporates different aspects of photography, and is quite aestheticised. The image quality is excellent thanks to the use of 120 film with a low ISO. And the composition and perspective are great, even though she photographed it relatively quickly using medium-format camera, which is not exactly an ideal device for reportage. The colors seem in harmony too – most of the image is neutral with warm tones of red and yellow accenting it throughout. The lighting is soft, but it still creates a good range of tones on the dog. The content tells a short story that most anyone can relate to. I'm sure that many dog owners, dog boutique shop, or even a disgruntled shopper (annoyed by barking dogs) would appreciate that photograph. This image can also evoke emotions, like loyalty and friendship.

On Friday we had our first weekly THEditions raffle for a chance to wine a free A4 size print. Every week we'll be picking a new winner randomly from our Facebook fans... ###

Michaela Brachtlová series "Bestiarium for two" has captured my imagination. And from this series we choose one of her photographs of octopus and humans interacting... ###

Untitled #1 is a B&W photograph of a Capsella bursa-pastoris, museum speciman (CZ: kokoška pastuší tobolka, EN: shepherd's-purse taken with a large-format camera from Tomáš Hrůza’s series ‘Nature Motifs.’ It is part of a double edition from this series, which also includes Untitled #2.

Author: In my work is still more or less appear two basic elements - human being and nature. So in this series of photographs (Nature motifs) I'm building my artwork like a sum of elements which refers to typical western thinking in categories and aspirations to didactic marked and classify everything around us. But I always trying to play a game with other connotation to keep a spectators and finally myself in the way of infinite meanings.

Todd: Tomáš’s ‘Nature Motifs’ series is dry both literally and figuratively. I really like how the texture of the dried-out and brittle plants, and especially how they have been snapped by the botanists in order to fit onto the paper. And while these photographs remind me of the first artworks I fell in love with (bird and botanical drawings) they have an almost clinic dryness akin to the Becher’s typographies. To me, the photos are clearly the work of a very intelligent and self-conscious romantic.  Read my blog post here for more thoughts.

Honza: I am always excited when someone is able to elevate ordinary things that most people might not notice, and show us something's hidden beauty: to make it art. Tomáš succeeded with his photographs of common plants. I can tell you that these photographs look amazing when framed and hanging on the wall!

Untitled #2 is a B&W photograph of a Plantago lanceolata museum specimen (CZ: jitrocel kopinatý, EN: narrowleaf plantain) taken with a large-format camera from Tomáš Hrůza’s series ‘Nature Motifs.’ It is part of a double edition from this series, which also includes Untitled #1.

Author: In my work is still more or less appear two basic elements - human being and nature. So in this series of photographs (Nature motifs) I'm building my artwork like a sum of elements which refers to typical western thinking in categories and aspirations to didactic marked and classify everything around us. But I always trying to play a game with other connotation to keep a spectators and finally myself in the way of infinite meanings.

Todd: Tomáš’s ‘Nature Motifs’ series is dry both literally and figuratively. I really like how the texture of the dried-out and brittle plants, and especially how they have been snapped by the botanists in order to fit onto the paper. And while these photographs remind me of the first artworks I fell in love with (bird and botanical drawings) they have an almost clinic dryness akin to the Becher’s typographies. To me, the photos are clearly the work of a very intelligent and self-conscious romantic. For more thoughts, you can read my blog post here.

Honza: I am always excited when someone is able to elevate ordinary things that most people might not notice, and show us something's hidden beauty: to make it art. Tomáš succeeded with his photographs of common plants.  I can tell you that these photographs look amazing when framed and hanging on the wall!

These two photographs of plant specimens come from Tomáš Hrůza's series 'Nature Motifs'... ###

Martina with a Fish was created by combining a color print (from 35mm film) with a large format 4"x5" negative using a scanner.

Author: In the early 90’s I first went to the Natural History Museum in New York. I thought it was absolutely amazing and so I started to take these photographs with a simple point-and-shoot film camera. Ten years later I found the photographs and started to work with them, scanning them. At the same time, I found a batch of negatives my husband had thrown in the trash. So I added these two things together to try to give them both a new life. At first I didn’t know who the girl in the photograph was, but when it was hanging in Manes Gallery [in Prague], Martina’s mother (an old friend of mine) saw the picture, and she recognized that it was her daughter!

Todd: I love natural history museums and zoos. And I’ve seen a lot of wonderful photographs taken at museums and zoos (see my blog post for more of those). Jindra’s choice to place negatives on her images from the museum is pure brilliance. The girl becomes an ambiguous mirror that mediates the relationship between the viewer (you) and the shark. Though her stare is intense, because she is a negative I’m not certain whether that stare is meant for me or for the shark… Is she looking outward or inward? The photograph reminds me of when my father took me to the Shedd Aquarium in Chicago. How long I must have sat staring at the fish just like I imagine Martina is doing, and when everything there seemed so beautiful and pure.

Honza: I was surprised and fascinated by a combination of shark in the background and the girl Martina in the foreground. As the author mentioned above, the museum was photographed with an ordinary compact camera, and optically that photographs is not too good, but it has emotion. In contrast, the "negative" of Martina was photographed by my former professor Pavel Banka with excellent large format film. In the resulting image there is an enlivening tension between both the girl and the shark, as well as the two completely different photographic techniques. This is visually perfect: the rough and grainy shark circling around the girl who is rendered in subtle soft gray tones.
 

I’ve coveted Jindra’s photograph of ‘Martina with a Fish’ since I first saw it shortly after we met in 2005... ###

Mark Prethero's series "Beneath the Pavement, the Beach" is a combination of medium format film and digital photography.  Through digital editing, the images place wild animals in urban settings.

Author: “Alone, we are forced to recognize that we have been created, like everything else. Only our soles, when encouraged, remember the origin, wordlessly.” (Berger, J. 1992)

Todd: Mark’s photograph combine the surreal and sublime with a twist of humor that makes me smile.  At the same time they reflect on important questions about environmental ethics and our relationship with the planet. Cities constructed by man tower over these wild creatures... By putting these animals in our world, he humanizes them. Though I like his entire series (take a look at all five on his website), this one is my favorite. It seems the most full of mystery. I’m not sure whether I’m relate to the hyenas more, or to the horse.

Honza: I really like how sensitively and plausibly the author placed these animal actors in an environment, where they normally do not belong. It could be tempting to turn this concept into a more simple "joke" (ie. an elephant walking down Main Street). Mark Prethero avoided such a straighforward solution and in doing so he created a very impressive and somewhat disturbing situation –- the quietly standing horse and two hyenas in a combat position -- which gives wide space for interpretation of the story or plot. In addition, I was intrigued by the contrast between the organic animal "models" and the geometric lines constructing the photograph.

Read more about the photo and Mark on our blog post, here...

Today's release is a photograph from Mark Prethero's series Beneath the Pavement, the Beach.  In this project, he enigmatically places wild animals into urban environments... ###

Discovering Susan Silas’s work earlier this year was an absolute delight for me. Her photographs both inspire me and challenge me...  ###

This photograph was taken on the Tisza River in Hungary near the town of Tiszakürt. It is part of a series of images entitled “The Dreamlife of Mayflies”. This will be the first printing of this image.

Author: My work has dealt for a long time with the fragility of sentient being. The Tisza mayfly lays dormant in the river for three years in its larval stage but its life out in the open air is a mere three hours. Once it emerges into the light of day its life consists of sex, procreation and death. The frenzy that takes place when these mayflies erupt from the surface of the water is unlike anything I have ever seen or heard. Sitting on the water surface in a small boat one is completely engulfed in the sound of them. This image is a forward scout for a larger project that is still in progress.

Todd: I know I like Susan's photograph of mayflies, but some days I find it beautiful and other times it seems a bit disturbing.  This seems to fit my unease about the life cycle of these creatures... as I'm also not sure if having such a short period of time during which to love and fly is romantic or tragic.  This image, like much of Susan's work, straddles a line that shows how wonderful our temporal lives can be, but also how difficult it is to come to terms with the end.  While the entire image is alive with this frenzy of activity, my favorite moment of the picture is that individual mayfly in flight above the water in what seems to me as an attempt to escape his/her impending death.

Honza: In Czech we often refer to mayflies as an adjective to describe something that lasts for very short period of time. We know “mayflies” as an expression rather than the amazing creature. When I was a child, I didn't have any idea that the mayfly actually lives as a larva for three years and then as an adult it doesn't have any mouth, because it's too busy during it's three hours of life to find as many sexual partners as possible. I was just sorry for it, living only a few hours. Now I see it's not that bad for mayflies at all; I guess they probably live a very enjoyable life (for an insect's standards anyway). And I'm also happy for them that Susan Silas managed to capture their short life in such aesthetic way, and they'll keep “flying” for a hundred years on our archival prints, pretending to be noble birds above the water surface.

Read more about Susan's photograph here.

This week's edition is a photograph by Alexander Dobrovodský titled "Lost in Forest Space." It was taken with a large-format camera... ###

Butterlygram in Color is grid composed of six photograms originally made as analog color prints. To make these photograms, Matthew Moore used butterflies in the same way that a film is used in traditional photography: light passing through the butterfly wings was used to expose photographic paper. The prints in this edition are scanned reproductions of the original photographs.

Author: The butterflygram evolved from my interest in the way humans learn to interact with animals at a young age. I found it strange that there is an entire network of so called “science” companies out there that sell ant-farms and sea-monkey kits to children, fostering the idea that it’s OK to treat animals like a toy as long as its in the name of education. What it really teaches children is that humans are the dominate species and that animals can be owned and used for amusement. The images in this series, entitled Collections, are my way of simulating and aestheticizing some of these childhood activities. This way the viewer has the opportunity to revisit the experiences from their own youth, and perhaps form a new opinion.

Todd: Matthew’s butterflygram is among the most accessible photographs from his new Collections project. The photogram process he has used to aestheticize what was originally a somewhat kitschy and morbid butterfly taxidermy collection has given these creatures a new life; a sort of second metamorphosis. As the butterflies seem to dissolve into the background, they have a spiritual quality, which I think makes them seem even more ephemeral and mysterious than they were when alive.

Honza: I don't question the concept and ideas behind Matt's “Butterflygram” that the artist and my colleague Todd mention. However, what I also like about this photo is that it can work on it's own as an aesthetic object with no need for any explanation. And that's not considered commonplace in contemporary conceptual art.

Read our blog post about the butterflygram and Matthew Moore HERE.

Butterlygram in Color is a grid composed of six photograms originally made as analog color prints. To make these photograms, Matthew Moore used butterflies in the same way that film is used in traditional photography... ###

"Šedivka se pouští i do hnízd velkých ptáků" or "The Hen is not Afraid of Entering the Nests of Larger Birds" ###

This photograph was taken in the spring of 2010 and it is part of Dvořák’s series documenting life in the southern Moravian countryside.

Author: Our stallion is the Appaloosa breed, which has blue eyes (that I featured in this photograph). I photographed him with a wide-angle lens in the spring of 2010 when he was at the blacksmith having his shoes repaired. The wide-angle lens changed the perspective; I like this abstraction of reality. And don’t think that the halter matching his eye color is random :-). The photograph was taken as part of the daily documentation project Week of Life, and I try to photograph for this project throughout the year.

Todd: Zdenek's unique composition fits the horse into the shape of the rectangle. This framing combines the shapes of a powerful animal and the architecture of our camera's frames or computer screens. In doing so, he highlights a contrast between the organic form that is the subject of the photograph and the pixels that are the content of the digital image. This creates an interesting tension, where it seems that at one moment the horse is confined by the rectangle and in the next it overwhelms the frame of the photograph.

Honza: I like how this particular photograph fits into Zdeňek’s series of rural life, and yet it is also quite unique compared to the rest of the series. This is due to the unusual view (achieved by using a wide-angle lens) and the abstraction of the subject that is quite unusual compared to much of Zdeňek’s more traditional documentary work. Because of this abstraction, the photograph is more suitable for decorative purposes than purely journalistic images.

Read more about the photo HERE.

This photograph was taken as part of Dvořák’s ongoing series documenting life in the southern Moravian countryside.  It's THEditions's second release from this series, see the Dvořák's other photograph HERE.

Author: When I took this picture of the pig, I had a shower and put on totally clean clothes. Not after the picture (because of the smell), but just before it. A shower, clean overalls and even underwear and socks. All this was to protect against infection. It's a good thing I did not have to disinfect the camera... In the picture the piglet is 20 days old and my request to photograh him on top of the straw bale was something he did not like a all!

Todd: This image has a delightful awkwardness to it.  The fresh fleshy tones of the brightly lit pig...  Zdeněk got down to eye-level with the pig and the uneven ground makes the pig seem a bit off balanced, like he's about to fall over.  All this serves to personify this creature, who is destined to be our dinner.  

THEditions is pleased to announce the release of our second limited edition photographic print: Modroočko (Blue-Eyed), a photo taken by Zdeněk Dvořák in 2010... ###

Jan Přibylský's series Kytky (Plants) is a set of portraits of the artist's own houseplants. This photograph was taken in 2007 with 6x6cm color film. You can also check edition of Plant I.

Todd: Přibylský's intimate portraits of houseplants are not loud photographs; many people might pass by them without giving them a thought or glance. But these images can convey a lot... by depicting the humble decor of the artist's own apartment, the photos open as a window into Jan's home. This aesthetic conveys a quality of care and nurturing that gives me a peaceful feeling similar to coming home.

Honza: When I first brough Jan Přibylsky's plant photos home about six months ago, my wife ridiculed them and wondered if it was a silly joke, "what boring photos." She even bet that we will not sell a single copy. Now she has become very fond of them. To me, this is one of the differences between artistic photographs and the photos at Ikea, which might be beautiful but quickly becomes tiresome and dull.

Read more about the photos HERE.

THEditions is pleased to announce the release of our first two limited edition photographic prints. Jan Přibylský’s photographs Květina I and Květina II... ###

S potěšením Vám představujeme historicky první limitovanou edici THEditions. Sestává ze dvou fotografií Jana Přibylského... ###

Jan Přibylský's series Kytky (Plants) is a set of portraits of the artist's own houseplants. This photograph was taken in 2007 with 6x6cm color film. You can also check edition of Plant II.

Todd: Přibylský's intimate portraits of houseplants are not loud photographs; many people might pass by them without giving them a thought or glance. But these images can convey a lot... by depicting the humble decor of the artist's own apartment, the photos open as a window into Jan's home. This aesthetic conveys a quality of care and nurturing that gives me a peaceful feeling similar to coming home.

Honza: When I first brough Jan Přibylsky's plant photos home about six months ago, my wife ridiculed them and wondered if it was a silly joke, "what boring photos." She even bet that we will not sell a single copy. Now she has become very fond of them. To me, this is one of the differences between artistic photographs and the photos at Ikea, which might be beautiful but quickly becomes tiresome and dull.

Read more about the photos HERE.