Athletic composites by photographer Pelle Cass.
Highly manipulated with up to 500 layers in each, the figures and poses are carefully selected from thousands of fixed location photographs shot at games and training sessions around Boston
It’s a technique that’s been well explored by the likes of Matej Pelijhan and others but Holleben – some of whose images feature up to 5000 individual photographs – takes it to a whole new L.S Lowry-esque level.
Composites (each of which was painstaking assembled over three months like a reverse jigsaw puzzle) drawn from snippets of up to 70 photographs found in the US Library of Congress Archives by artist Jim Kazanjian. Sez he:
My current series is inspired by the classic horror literature of H.P. Lovecraft, Algernon Blackwood and similar authors. I am intrigued with the narrative archetypes these writers utilize to transform the commonplace into something sinister and foreboding. In my work, I prefer to use these devices as a means to generate entry points for the viewer. I’m interested in occupying a space where the mundane intersects the strange, and the familiar becomes alien. In a sense, I am attempting to render the sublime.
The year 2010 recorded in a composite image of 3,888 photographs taken by Erik Solheim from the window of his apartment in Oslo.
Solheim set up his Canon 400D to record one image every 30 minutes: 16,000 photographs whittled down to 3,888 from each of which he extracted a one-pixel wide line, then composited the lot (from January on the left to December on the right) using a computer script.
Full sized image here.
The source imagery was later turned into a rolling gif by ReditorITwitchToo.
A composite image derived from footage (above) of a giant, elbowed Magnapinna (Bigfin squid) filmed in 2007 by an ROV at a Shell oil drilling site two and a half kilometers below the Gulf of Mexico.
Once they learn to hover above ground, we’re all doomed.