“Ballet dancing,” LIFE magazine told its readers in 1936, “is a hard, steady, painstaking job.”
Seen through Alfred Eisenstaedt’s lens, it is also a singularly beautiful pursuit. See for yourself here.
(Alfred Eisenstaedt—Time & Life Pictures/Getty Images)
We knew Brad Pitt was skilled in front of the camera, but who knew he was a photographer as well? Lomography posted images from a fantastic W Magazine editorial on the star’s life at home.
For the shoot, Brad found 40 rolls of expired Kodak Tech Pan film on Ebay. The intimate black and white photos offer a glimpse into the life of true super celebrities.
Pedro Luis Raota
“Often his subjects are depicted in the complex throes of an effort to make sense of their togetherness, and appear at odds to some degree with the environment that surrounds them – disconnected, albeit momentarily, from the ground on which they stand. This disjuncture is counterpointed by alarming and deeply compelling moments of sincerity and intimacy that serve not only to reassert the insufficiency of a model of victimhood as a means by which to make sense of hardship, but that also evince an unbending faith in the essentially humane basis of hope.
All of this is expressed in a vivid palette of striking contrast, and colour imbued with deep-running fertility. So often in these images colour is the analogue of a pivotal emotional tone, but what is perhaps most compelling about its use is the way in which it so often subverts the conventional expectation of the moment or environment in which it is employed. A certain warmth and gratitude underpin the tears of a middle-aged woman stood on a street corner, her gaze welcoming the touch of a man who whose face we cannot see, but whose finger gently brushes a tear from her face; another young woman with a black eye is crowned by the deep gold shimmer of small lights in the distance, her pallid complexion seeming at odds with the warmth that surrounds her. Life as seen in these images is both vivid and monochromatic – as complex as the contradictory circumstances that each photograph seeks so sympathetically to depict. In the end, the images deliver a truth more felt than known.”
— from the introduction to Something more felt than known: a conversation with Curran Hatleberg.
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