The photography series ‘Epic’ by Christian Stoll includes a sequence of spaces that have one thing in common: they are immense. These spaces may not have been designed using perpective renderings, but they are are engineered or urban planned to stunning effect, even if it’s accidental. These are vantage points that we aren’t used to seeing, even though the spaces facilitate or support processes ubiquitous to our daily lives. These are pictures of the staggering engineering that allows things happen quietly: an order ships, a file downloads, and the only time they occur to us is when something goes wrong. Even though thinking about a processing facility or bank of escalators may not sound too exciting, even quotidian spaces, from a particular vantage point, can be epic. (via Fast Co Design)

The photography series ‘Epic’ by Christian Stoll includes a sequence of spaces that have one thing in common: they are immense. These spaces may not have been designed using perpective renderings, but they are are engineered or urban planned to stunning effect, even if it’s accidental. These are vantage points that we aren’t used to seeing, even though the spaces facilitate or support processes ubiquitous to our daily lives. These are pictures of the staggering engineering that allows things happen quietly: an order ships, a file downloads, and the only time they occur to us is when something goes wrong. Even though thinking about a processing facility or bank of escalators may not sound too exciting, even quotidian spaces, from a particular vantage point, can be epic.

(via Fast Co Design)

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Cristina De Middel photo journalistic series “Afronauts” captures the narrative of Zambia’s failed attempt to put man on the moon in a dignified, triumphant light. Zambia didn’t put space boots on the moon, but these photographs show a quilted portrait of not shattered, unattained dreams, but nationalist hope and determination.  (via thefoxisblack)

Cristina De Middel photo journalistic series “Afronauts” captures the narrative of Zambia’s failed attempt to put man on the moon in a dignified, triumphant light. Zambia didn’t put space boots on the moon, but these photographs show a quilted portrait of not shattered, unattained dreams, but nationalist hope and determination. 

(via thefoxisblack)

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These aren’t pictures of the solar system, instead they are beautiful photographs of frying pans in a series called Devour by Norwegian photographer Christoper Jonassen. Like moons characterized by the “wear and tear” they encounter looping around in space, cookware is marked by its encounters with heating cycles and the occasional scour pad. (via The Fox is Black)

These aren’t pictures of the solar system, instead they are beautiful photographs of frying pans in a series called Devour by Norwegian photographer Christoper Jonassen. Like moons characterized by the “wear and tear” they encounter looping around in space, cookware is marked by its encounters with heating cycles and the occasional scour pad.

(via The Fox is Black)

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Ezra Shaw, a Getty Images photographer, shoots divers at the 14th FINA World Championships: “Like any event, I am always trying to get something a little different each day. We had just got a 800mm lens shipped in from London and I decided to take it over to the diving pool and see what I could get. I set up down on the pool deck for the men’s 3-meter springboard prelims. After the first diver went, I realized it was going to be much more difficult to capture the type of images I wanted because the divers were jumping so fast, and the 800mm lens was so tight. However, I started to get the hang of it, and by the end of the session, I got a handful of pictures that I really liked showing the different faces of the divers.” (The Wall Street Journal)

Ezra Shaw, a Getty Images photographer, shoots divers at the 14th FINA World Championships:

“Like any event, I am always trying to get something a little different each day. We had just got a 800mm lens shipped in from London and I decided to take it over to the diving pool and see what I could get. I set up down on the pool deck for the men’s 3-meter springboard prelims. After the first diver went, I realized it was going to be much more difficult to capture the type of images I wanted because the divers were jumping so fast, and the 800mm lens was so tight. However, I started to get the hang of it, and by the end of the session, I got a handful of pictures that I really liked showing the different faces of the divers.”

(The Wall Street Journal)

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