I’m drawn to these various themes of fine art photography below. I admire how the effects came out in analog photography — their images look surreal, whimsical, dreamlike, fantasy, dramatic, melancholic, haunted and ghostly.

In the frames constituting an extraordinary blend of symbolism, folklore and legends, a peformance of perception and experience, vibrant with the sensitivity and delicacy takes place, offering an imaginative look at its own corporeality and identity. Laura Makabresku’s photography stems the tide against such passive viewing and she states that her wish is to create images that remind the audience to contemplate life rather than just impetuously live it. Laura spins deliciously essential “metaphoric threads’ that, at first glance, are beautiful, but also deeply allegorical and meaningful.

Polina Washington is a 25 year old photographer from Saint-Petersburg, Russia, who was born in Novgorod the Great town. She graduated as a Director of Photography from the University of Cinema and Television in 2014. She had been shooting analog 35mm film over 10 years, and spent 5-6 of them working with multiple exposure and soaking techniques for her Dvrkvisions series. She reveals her universe through this series of photographs taken in a mysterious forest. Between enchanting black esotericism and enchanting nature, her inspirations and sensibility are illustrated by these sublime photos whose fantastic character she reinforces with double exposure effects very well mastered.

Here is a video performing herself:

That’s how Polina Washington has experimented with film soaking for her photographs:

Rebecca Cairns a Toronto-born photographer who currently resides in Montreal. She attended Humber College where she did her studies in creative photography. Since her graduation, her work has been featured in many exhibitions and publications on an international level and she has been fortunate enough to have collaborated with many different artists working in a wide variety of mediums. In 2011, she released her first book, titled ‘ghost’, and have since switched over from digital to all analogue based means.

The mystery and the wonder that lays behind shooting analogue is one that is rewarding. The act of shooting something (regardless of whether or not you have an actual ‘plan’) and not having any idea of what exactly it is you’ll see after development. Film is a constant learning process. Analogue does not give you the instant results which today’s technologies do – it reminds us that time exists and sometimes we must wait for or work for a desirable end product.

Her photography feels like distorted dreams. A dystopia. Somewhere in between the true and false, the real or imagined.

    

Here are a few similar photographs that I’ve been researching for my practice:

http://www.nastymagazine.com/photography/symbols-of-the-sun-by-li-hui/

http://www.nastymagazine.com/photography/whiteout-by-ulrike-biets/

I’m thinking for my next new project I may do something similar like this but in my own way using analog camera and I also will make a film. This is an example that has helped me to explore her photography and get my own ideas for this next project coming up.