thinking out loud and saying nothing
Along Iceland’s eastern coast.
This photo received an honorable mention in National Geographic photo competition.
Imagination Cultivation by Nanami Cowdroy
Chained by guilt: noellosvald
Senyor Malaussene: Maria Corte
You Can’t Hide by Max Emil
David Walsh - The Dragon
The Beautiful Earth - Saeed Al Amri
Self-Portrait 2007: American painter Chuck Close reinvented portraiture in the late 1960s with his series of monumental paintings of himself and fellow artists.
Threesome: by tony boyce
Passing a tree: Peter Polter
Baptism Traveler: Jennifer Hudson
![[hyphen] Americans
They loom out of the darkness, as if hovering uncertainly between past and present, offering themselves for our scrutiny with an intensity that borders on the confrontational. Part of it is the look these people give us, staring at the camera for as long as sixty seconds and more, resulting in a kind of clenching of the eyes (as a sitter, you become aware of the sheer physicality of looking under these conditions, of the need to fight your eyes’ desire to wander). Part of it is the texture of their skin, turned into rugged planetary surfaces by the tintype’s peculiar response to color and high resolution of detail. And part of it is the differential focus with which the subjects are depicted—sharp in some places and strangely liquid in others—as if their bodies are floating in a primordial wet world with just the faces breaking the surface. For all these reasons, Keliy Anderson-Staley’s tintype portraits are best described as other worldly, rather than antiquarian.](http://25.media.tumblr.com/tumblr_m4tu94OZrr1r55mo5o1_1280.jpg)
They loom out of the darkness, as if hovering uncertainly between past and present, offering themselves for our scrutiny with an intensity that borders on the confrontational. Part of it is the look these people give us, staring at the camera for as long as sixty seconds and more, resulting in a kind of clenching of the eyes (as a sitter, you become aware of the sheer physicality of looking under these conditions, of the need to fight your eyes’ desire to wander). Part of it is the texture of their skin, turned into rugged planetary surfaces by the tintype’s peculiar response to color and high resolution of detail. And part of it is the differential focus with which the subjects are depicted—sharp in some places and strangely liquid in others—as if their bodies are floating in a primordial wet world with just the faces breaking the surface. For all these reasons, Keliy Anderson-Staley’s tintype portraits are best described as other worldly, rather than antiquarian.
Kozlowska Street by Leszek Bujnowski
