Room 2

Installation shot of silver gelatin print.

@_embroidered_cloths on Instagram

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Installation shot of silver gelatin print. From The Poetics of Flux. Change is the giver of dizziness. It is also the only thing we can truly count on. It throws us around, confuses us, and forces us to lose control. It has the strength of furious, running water. You can not resist if you want to survive, you do not know what will happen, you have to go with the flow. Change is enigma. This is the series I made as a way of coping with covid.

@_embroidered_cloths on Instagram

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Texas, 2020, Medium format film image

@_markforbes_ on Instagram

@_markforbes_ on Twitter

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Deriva belongs to a photographic series entitled No place. In this series, the balloon is the common element that I use to create visual metaphors of the reality that we have lived for a year in my country from my vision.

@ailenmaleta on Instagram

@ailenmaleta on Twitter

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A self portrait when I was feeling really melancholic.

All images from "Apparent Insignificance "series.

@analealphoto on Instagram

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A couple of people walk on the beach during pandemic.

From "Apparent Insignificance "series.

@analealphoto on Instagram

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A view from my bedroom window at the very beginning of the pandemic. 

From "Apparent Insignificance "series.

@analealphoto on Instagram

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Each image submitted encapsulates for me what happened during this time interval when COVID-19 pretty much dominated my life and the people close around me. They tell a story of reflection, hope and perseverance, respectively. My own creativity continued using the flowers in our garden to create lumen photograms using light sensitive photographic paper. There was a sense of peace restored by again being outdoors without being out and a realization that we were very lucky to have private access to nature.

@annpetruckevitch on Instagram

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Wrapped for your protection.



@clairscollections on Instagram

@Robins_clair on Twitter

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Laura is a friend I met just before lockdown. During Covid we met whenever it was possible to portrait each other.

@eine.symphonie on Instagram

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This series of portraits was made on Election Day, November 3, 2020, outside my designated voting center in Detroit. Voters were invited to take a complimentary large-format portrait, and later received a print of their image. These portraits became ever more significant when Detroit became a focus for baseless allegations of voter fraud. The images counter these claims by visualizing the real people behind the votes, those who faced disenfranchisement from elected officials pandering to a dangerously false political narrative. They also celebrate our triumph of democracy in the midst of a historic pandemic, with masks and gloves as repeated icons of the safety precautions taken by voters.

This is an ongoing project, started in 2016, that provides the opportunity for me to engage with individuals beyond political rhetoric, and offers a small token of civic service to my local community. The resulting images demonstrate a diverse group of American citizens proud to exercise their democratic right to vote, and my belief in the power of photography to unite, rather than divide.

@eleanoroakes on Instagram

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Self portrait with shiny shoes, stood on a chair against velvet curtains.

@elizabourner on Instagram

@elizabourner on Twitter

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A still life of a celebratory balloon floating towards a door in a dimly lit, wallpapered room.

@elizabourner on Instagram

@elizabourner on Twitter

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A goldfish in a plastic bag sits on a radiator.

@elizabourner on Instagram

@elizabourner on Twitter

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Self portrait, lying down and blowing bubblegum.

@elizabourner on Instagram

@elizabourner on Twitter

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Atraido por el medio ambiente

@extreme_simplicity/ on Instagram

@Joseiba37 on Twitter

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November 11, 2020/ 13in x 20in/ Photo Collage

@jooeunbae on Instagram

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November 11, 2020/ 13in x 20in/ Photo Collage

@jooeunbae on Instagram

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April 01, 2021/ 13in x 20in/ Photo Collage

@jooeunbae on Instagram

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April 01, 2021/ 13in x 20in/ Photo Collage

@jooeunbae on Instagram

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A photograph of the sky captured through a window during lockdown, digitally edited to create an illusionary reinterpretation.

@juanrie_photography on Instagram

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I've been documenting myself and my life for many years but when the pandemic hit and the lockdowns began, things felt different. Now I was forced to be alone, I had no choice. I began documenting this time and had kept some tulips that I had bought the week before lockdown, I felt like I needed to keep them as a souvenir of life before covid. I still have one. Documenting myself is hugely important to me and helps me deal with anxiety around my own mortality. 
Shot on Polaroid SX-70

@leannesurfleet on Instagram

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Imaginary landscape of dis-topic future

@leonidas_toumpanos_photography and @elena_kollatou on Instagram

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Sam (New Waves series), London 2021.

@raphaelneal.1 on Instagram

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Pray, 2020 - Xerox Scanned body portrait

@ryankevin on Instagram

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In India, to touch, pull, tear out, or cut a woman’s hair is considered an intimate violation tantamount to rape. Many women reported experiencing this type of assault during the communal clashes in India. Visual metaphor photographed in Kolkata, West Bengal, India, 2021.

@taniya.sarkar2 on Instagram

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Why do we worry so much it, when nothing really matters and everything is mostly a facade to what reality really is.

@yosnfz on Instagram

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Yet I'm still here longing for something that   is less real than my last night's dream.

@yosnfz on Instagram

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A confusing and challenging phase for growth in all aspects of life, be it cultural, societal and as an individual.

@yosnfz on Instagram

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Allowed is a study of wild urban growth during the first Covid-19 wave in the UK. It comprises colour photographs taken in the centre and residential areas of Cardiff, Wales, and re-examines our relationship with city plant-life in the urgent context of biodiversity loss and climate crisis. This work presents the relationship of the built environment to the plant ecology it replaces, capturing the aesthetic quality and ecological necessity of pandemic-allowed nature.

@zillahbowes on Instagram

@zillahbowes on Twitter

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Allowed is a study of wild urban growth during the first Covid-19 wave in the UK. It comprises colour photographs taken in the centre and residential areas of Cardiff, Wales, and re-examines our relationship with city plant-life in the urgent context of biodiversity loss and climate crisis. This work presents the relationship of the built environment to the plant ecology it replaces, capturing the aesthetic quality and ecological necessity of pandemic-allowed nature.

@zillahbowes on Instagram

@zillahbowes on Twitter

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A photograph from a story called "Ebb and flow of my thoughts during lockdown due to covid-19 pandemic" where these plants gave me the impression of a bar graph developed every day by the World Health Organization for tracking the daily covid cases.

? on Instagram

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Tudor Toma has been working on the frontline for the HNS to combat coronavirus in one of the largest hospitals in SE London. He is from Romania and moved to the UK 20 years ago. He is currently an NHS Consultant Respiratory Physician and one of the most important doctors in the hospitals. He doesn't like to be called a hero, he told me that what he does is his duty and currently is more important than ever. Despite this, we do consider them heroes because they are by our side in one of the hardest periods of our lives. 

I have photographed him in front of the hospital, in a quiet park, giving him a moment to rest.

@alecsandra.dragoi.photo on Instagram

@AlecsDragoi on Twitter

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Triple exposure, 2020

@alfiewphoto on Instagram

@alfiewphoto on Twitter

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Death in Bloom is an image taken in January 2021, when covid cases once again began to rise. At the time myself and my family had covid and so we were isolating together. We were all quite unwell and so flowers around the house went unwatered for a while. When I started to feel better (on about day 8) I kept myself amused by creating a little make shift studio in a corner of my room to take pictures for my final major project at University. 

When I went downstairs I saw the tulips on the table... they looked to be on their way out even though they were yet to bloom- all wilting apart from one. The image forms part of a larger body of work titled 'Something Where There Should Be Nothing: Nothing Where There Should Be Something' which alludes to a realm beyond our understanding. But it is also very much a reflection of the circumstances of the last year and a half- of the people and time we lost.

@anna__sturgeon on Instagram

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@cosimodamiano_ on Instagram

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Along with the progress of the digitalized world, it is hard to ignore the immaterial perspective within the context of the built environment and post-nature, especially during a whole year’s pandemic. Contextually, a computational/immaterial method of world-making is changing our environment and challenging our perception of nature and the physical world. The image series is from the project “the grass is greener” and includes actual photographs, digitally made images, and combined methods. Project statement: With the project ”The grass is greener”, I am interested in addressing the questions: How world of thing become more and more unreal, how the new realm is formed, how digital mechanics see things and shape realities, and how we percept in the mixed-realities in the post-nature discourse. The grass is greener is based on the post-nature context from built environment to digital landscape. It is to analyze how world of mixed-realities between the original/ the faux/ the virtual are formed and how modeling work as intermediaries. I re-interpret a grassland through material ‘1:1 copy’ and re-mapping". I confront different layers of simulations that constitute the replica (materiality-immateriality

@feipan_00 on Instagram

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Along with the progress of the digitalized world, it is hard to ignore the immaterial perspective within the context of the built environment and post-nature, especially during a whole year’s pandemic. Contextually, a computational/immaterial method of world-making is changing our environment and challenging our perception of nature and the physical world. The image series is from the project “the grass is greener” and includes actual photographs, digitally made images, and combined methods. Project statement: With the project ”The grass is greener”, I am interested in addressing the questions: How world of thing become more and more unreal, how the new realm is formed, how digital mechanics see things and shape realities, and how we percept in the mixed-realities in the post-nature discourse. The grass is greener is based on the post-nature context from built environment to digital landscape. It is to analyze how world of mixed-realities between the original/ the faux/ the virtual are formed and how modeling work as intermediaries. I re-interpret a grassland through material ‘1:1 copy’ and re-mapping". I confront different layers of simulations that constitute the replica (materiality-immateriality

@feipan_00 on Instagram

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Valentina (27) Verona.
In my case, loneliness was filled with my work. I spent about 12 hours a day doing swabs to people, and providing health care. I felt useful, but above all, responsible. I always been a person who likes company and confusion. During this time I begun to appreciate more the silence, distancing myself from things not strictly necessary.
When I was doing swabs, I was going into people’s home with PPE suit, mask, gloves, socks, being careful not to touch anything. Despite this, I always felt “dirty”. Sometimes I felt afraid that I forgot some steps in security procedures. I felt like a possible contamination vehicle. My predominant emotion was diffidence.

@giacomo_dorlando on Instagram

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Along with the progress of the digitalized world, it is hard to ignore the immaterial perspective within the context of the built environment and post-nature, especially during a whole year’s pandemic. Contextually, a computational/immaterial method of world-making is changing our environment and challenging our perception of nature and the physical world. The image series is from the project “the grass is greener” and includes actual photographs, digitally made images, and combined methods. Project statement: With the project ”The grass is greener”, I am interested in addressing the questions: How world of thing become more and more unreal, how the new realm is formed, how digital mechanics see things and shape realities, and how we percept in the mixed-realities in the post-nature discourse. The grass is greener is based on the post-nature context from built environment to digital landscape. It is to analyze how world of mixed-realities between the original/ the faux/ the virtual are formed and how modeling work as intermediaries. I re-interpret a grassland through material ‘1:1 copy’ and re-mapping". I confront different layers of simulations that constitute the replica (materiality-immateriality

@feipan_00 on Instagram

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Along with the progress of the digitalized world, it is hard to ignore the immaterial perspective within the context of the built environment and post-nature, especially during a whole year’s pandemic. Contextually, a computational/immaterial method of world-making is changing our environment and challenging our perception of nature and the physical world. The image series is from the project “the grass is greener” and includes actual photographs, digitally made images, and combined methods. Project statement: With the project ”The grass is greener”, I am interested in addressing the questions: How world of thing become more and more unreal, how the new realm is formed, how digital mechanics see things and shape realities, and how we percept in the mixed-realities in the post-nature discourse. The grass is greener is based on the post-nature context from built environment to digital landscape. It is to analyze how world of mixed-realities between the original/ the faux/ the virtual are formed and how modeling work as intermediaries. I re-interpret a grassland through material ‘1:1 copy’ and re-mapping". I confront different layers of simulations that constitute the replica (materiality-immateriality

@feipan_00 on Instagram

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Along with the progress of the digitalized world, it is hard to ignore the immaterial perspective within the context of the built environment and post-nature, especially during a whole year’s pandemic. Contextually, a computational/immaterial method of world-making is changing our environment and challenging our perception of nature and the physical world. The image series is from the project “the grass is greener” and includes actual photographs, digitally made images, and combined methods. Project statement: With the project ”The grass is greener”, I am interested in addressing the questions: How world of thing become more and more unreal, how the new realm is formed, how digital mechanics see things and shape realities, and how we percept in the mixed-realities in the post-nature discourse. The grass is greener is based on the post-nature context from built environment to digital landscape. It is to analyze how world of mixed-realities between the original/ the faux/ the virtual are formed and how modeling work as intermediaries. I re-interpret a grassland through material ‘1:1 copy’ and re-mapping". I confront different layers of simulations that constitute the replica (materiality-immateriality

@feipan_00 on Instagram

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With the 2020's lockdown, the human contact was put aside. Libido was on hold.

@insano_net on Instagram

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Alessandro (29) Napoli.
I think I’ve never had total control over my life and I don’t think I will have it in the future either. I stopped chasing news about the outside world in order to lose the conception of time and focus only on myself.
It was shocking to see what was happening outside, because it was something new never happened before. Since the pandemic broke out, I’ve noticed that people have changed their habits drastically, becoming more wary and less expansive. 
My predominant emotion was bewilderment.

@giacomo_dorlando on Instagram

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Photograph, 2020

@LucasKingKong on Instagram

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A city skyline born out a confined domestic space. I took this photograph in the most mundane place – my bathroom. Yet, the strange beauty of the shadows against the dying light of day created something else, and I saw the world outside from the inside of my house. This work is an exercise of the imagination.

@marianabicudocunha on Instagram

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The work is titled Brian Armstrong

@markwalton2 on Instagram

@markwaltonph on Twitter

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During the pandemic, I covered all the light that came in through the windows and made only a small hole. The result was the projection of the external image, inverted, on the bedroom walls, as in the early days of photography. That was my camera obscura. I invited my grandchildren to participate in this experience and they could feel the unexpected upside-down world that appeared on the walls.

@miriam__ramalho on Instagram

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This image was taken on 26th July, 2020 when COVID-19 was at its peak in this couple of months in india. Even small villages were not spared by virus transmission, India was on total lockdown during this period. I took this image at evening from my terrace with my phone. Image of my neighbour who was sitting alone in his house at evening depicts the grief & loneliness came from this pandemic. And I think this was not only case in one house, we heard the stories from all around the world of affect of this pandemic on our lives. But still there was hope of rays in darkness. And courage to say this that, "This too shall pass".

@mthenorthstar on Instagram

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There is something about tall hats

@rafhuggins on Instagram

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From the series ‘The Illusion of separation’

The greatest Illusion in this world is the illusion of separation and is ultimately the cause of the negative human impact we continue to have on our planet. In this series I am researching ancient wisdom from Sikh and Hindu theology to address these contemporary issues, such as the way we live, consume and act. The Goddess Maya means illusion, that which is temporary and is the one who blinds everything in illusion, but at the same time, she’s the one who shows the truth. She’s the source of all illusions, stating that we view life through a series of distorting veils that prevent us from seeing "actual reality" 

I am interested in exploring these veils of Maya (an illusion) where we consider our separateness from our environment and the universe as absolute. The problem lies with us and our own consciousness, we continue to deplete and destroy the very nature that we are so intrinsically a part of. Humankind is but one thread within the web of life so whatever we do to that web, we do to ourselves. All things are connected and all things are bound together. We are one of the many shapes nature has taken but Maya, the veil of illusion masks the truth of our reality. We need to address this disconnectedness and the damaging impact the human species is having on this planet of ours. To evolve past this illusion and our dominance over this planet in order to be beneficial to the whole.

@sonia.6bh on Instagram

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At least in Spring 2020 the weather was good enough to get out and explore the local area. I had more time to photograph the area I live in, and went back to developing my own C41 films. The texture of the grass on the hill and the sinuous curve of the dry valley give a tactile quality to the landscape. It is so sparsely populated there is no human trace to date it.

@trevordingle on Instagram

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During the dark Winter months of the 2020 pandemic, I received news that one of my mother's neuroendocrine tumours had become aggressive. I live in London, although my family home is in Australia. Dreams overlapped with memories of my childhood home, as I tried desperately to travel back to my mother and the rest of my family. The bath in my London flat became a space craft in which my six-year-old son, Adelchi, and I imagined flying home, guided by the stars and kept safe by the light of the moon. We searched for a path through the night sky, knowing we were linked to my mother by its womb-like containment. Winged creatures took on new significance as we remained trapped in London, and unable to fly home. The bath changed from a vessel in which to float and dream, to a solid porcelain cage, the hard edges becoming a border which we were not permitted to cross.

As the months trickled slowly by, my longing to be home in Australia grew unbearable. The landscape of my childhood home mixed with memories of my mother, and the two became inseparable: one clinging desperately to the other in my mind. Trees became my mother’s fingers, holding me, reaching for me.

After several more months of cancelled flights and logistical nightmares, Adelchi and I managed to fly home in late February 2021. After 15 days in quarantine, we could finally see my mother and the family. My parent's bed became a place of comfort and dreams, as my son lay with them, held with love and tenderness. I watched, while the stars shone down on me, their glow mapping my journey, and holding me still.

@aletheiacasey on Instagram

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During the dark Winter months of the 2020 pandemic, I received news that one of my mother's neuroendocrine tumours had become aggressive. I live in London, although my family home is in Australia. Dreams overlapped with memories of my childhood home, as I tried desperately to travel back to my mother and the rest of my family. The bath in my London flat became a space craft in which my six-year-old son, Adelchi, and I imagined flying home, guided by the stars and kept safe by the light of the moon. We searched for a path through the night sky, knowing we were linked to my mother by its womb-like containment. Winged creatures took on new significance as we remained trapped in London, and unable to fly home. The bath changed from a vessel in which to float and dream, to a solid porcelain cage, the hard edges becoming a border which we were not permitted to cross.

As the months trickled slowly by, my longing to be home in Australia grew unbearable. The landscape of my childhood home mixed with memories of my mother, and the two became inseparable: one clinging desperately to the other in my mind. Trees became my mother’s fingers, holding me, reaching for me.

After several more months of cancelled flights and logistical nightmares, Adelchi and I managed to fly home in late February 2021. After 15 days in quarantine, we could finally see my mother and the family. My parent's bed became a place of comfort and dreams, as my son lay with them, held with love and tenderness. I watched, while the stars shone down on me, their glow mapping my journey, and holding me still.

@aletheiacasey on Instagram

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During the dark Winter months of the 2020 pandemic, I received news that one of my mother's neuroendocrine tumours had become aggressive. I live in London, although my family home is in Australia. Dreams overlapped with memories of my childhood home, as I tried desperately to travel back to my mother and the rest of my family. The bath in my London flat became a space craft in which my six-year-old son, Adelchi, and I imagined flying home, guided by the stars and kept safe by the light of the moon. We searched for a path through the night sky, knowing we were linked to my mother by its womb-like containment. Winged creatures took on new significance as we remained trapped in London, and unable to fly home. The bath changed from a vessel in which to float and dream, to a solid porcelain cage, the hard edges becoming a border which we were not permitted to cross.

As the months trickled slowly by, my longing to be home in Australia grew unbearable. The landscape of my childhood home mixed with memories of my mother, and the two became inseparable: one clinging desperately to the other in my mind. Trees became my mother’s fingers, holding me, reaching for me.

After several more months of cancelled flights and logistical nightmares, Adelchi and I managed to fly home in late February 2021. After 15 days in quarantine, we could finally see my mother and the family. My parent's bed became a place of comfort and dreams, as my son lay with them, held with love and tenderness. I watched, while the stars shone down on me, their glow mapping my journey, and holding me still.

@aletheiacasey on Instagram

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During the dark Winter months of the 2020 pandemic, I received news that one of my mother's neuroendocrine tumours had become aggressive. I live in London, although my family home is in Australia. Dreams overlapped with memories of my childhood home, as I tried desperately to travel back to my mother and the rest of my family. The bath in my London flat became a space craft in which my six-year-old son, Adelchi, and I imagined flying home, guided by the stars and kept safe by the light of the moon. We searched for a path through the night sky, knowing we were linked to my mother by its womb-like containment. Winged creatures took on new significance as we remained trapped in London, and unable to fly home. The bath changed from a vessel in which to float and dream, to a solid porcelain cage, the hard edges becoming a border which we were not permitted to cross.

As the months trickled slowly by, my longing to be home in Australia grew unbearable. The landscape of my childhood home mixed with memories of my mother, and the two became inseparable: one clinging desperately to the other in my mind. Trees became my mother’s fingers, holding me, reaching for me.

After several more months of cancelled flights and logistical nightmares, Adelchi and I managed to fly home in late February 2021. After 15 days in quarantine, we could finally see my mother and the family. My parent's bed became a place of comfort and dreams, as my son lay with them, held with love and tenderness. I watched, while the stars shone down on me, their glow mapping my journey, and holding me still.

@aletheiacasey on Instagram

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During the dark Winter months of the 2020 pandemic, I received news that one of my mother's neuroendocrine tumours had become aggressive. I live in London, although my family home is in Australia. Dreams overlapped with memories of my childhood home, as I tried desperately to travel back to my mother and the rest of my family. The bath in my London flat became a space craft in which my six-year-old son, Adelchi, and I imagined flying home, guided by the stars and kept safe by the light of the moon. We searched for a path through the night sky, knowing we were linked to my mother by its womb-like containment. Winged creatures took on new significance as we remained trapped in London, and unable to fly home. The bath changed from a vessel in which to float and dream, to a solid porcelain cage, the hard edges becoming a border which we were not permitted to cross.

As the months trickled slowly by, my longing to be home in Australia grew unbearable. The landscape of my childhood home mixed with memories of my mother, and the two became inseparable: one clinging desperately to the other in my mind. Trees became my mother’s fingers, holding me, reaching for me.

After several more months of cancelled flights and logistical nightmares, Adelchi and I managed to fly home in late February 2021. After 15 days in quarantine, we could finally see my mother and the family. My parent's bed became a place of comfort and dreams, as my son lay with them, held with love and tenderness. I watched, while the stars shone down on me, their glow mapping my journey, and holding me still.

@aletheiacasey on Instagram

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Photojournalist Shafiqul Islam Kajol is seen behind bars of Jessore Central Jail, Bangladesh, while his son's (photographer himself) hand is resting on the window frame, 3rd May 2020.

@whereiskajol on Instagram

@monorompolok on Twitter

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This image depicts the day I was able to reunite with my Grandma after a year of isolation due to the pandemic. When coronavirus cases started rising within the UK in March 2020, my families dominant concern was my Grandma and her safety, suffering with COPD she was categorised as 'high risked' and told to isolate at home, not even being able to do her own shopping or go for a walk. As the year progressed not only did we collectively worry about my grandma contracting the virus, but the physical and mental toll of her isolating alone was also a concern. The moment I was finally able to see her was so special for the both of us, even though we remained physically distanced we still connected through tea, conversation and the taking of this image.

@niamh.mcparland on Instagram

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The domestic Goddess Vanilla in our eighties kitchen at home.

He is just starting out. Wearing cheap wigs and clothes given to him by girly pals. This portrait shows him in his best light, confident and powerful. He is stronger than I will ever be.

@ruaridhfraserphotography on Instagram

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The human existence can be one of many avenues.

@ross.mead.photography on Instagram

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My grandfather, who was 88 at the time, began acting strangely in the winter of 2016. That was while I was in tenth grade I remembered. He began to forget our names, was unable to recognize us at times, was unable to pronounce sentences well, and became quickly enraged and disturbed, which was very strange at first. After receiving the test results, the doctor informed my father that he is suffering from Alzheimer's disease with some stroke in the brain, there has no solution due to his advanced age. After a few days, his condition began to deteriorate, and no one had come to our house since he believes that anyone who comes to our house is there to steal. Someone must always be present in the house to look after him. He began to talk to himself in the middle of the night and began to believe that we were strangers to him. My grandfather's health is failing, and the family's condition is becoming increasingly precarious. He occasionally throws tea at us, believing it to be poison, due to mental illusion. He always comes into my room late at night and sleeps like a baby. We have grown quite close to him as a result of his illnesses. My father is constantly trying to divert his attention away from his deluded thoughts I can feel the isolation and loneliness with the progression of the disease. With the growth of the condition, I can feel the solitude and loneliness. His love and devotion for me, as well as his encouragement to pursue a career in athletics, were remembered. The 21 years I spent with him was special in every aspect, and I will never forget them. Even though because of Alzheimer he may not able recognize us but he never stop loving us the way he used to do it Before I Forget is a memoir of my relationship with my grandfather and family. I'm attempting to remember him by photographing him like a grandchild rather than a photographer. Trying to connect with honesty while dealing with a slew of unresolved questions.

? on Instagram

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a video paying homage to Richard Russel (Sky King) a man who took his own life after successfully stealing a commercial airplane and doing a barrel roll with it.

@Spacekidspliff on Instagram

@spacekidsplifff on Twitter

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Cellphone footage of Richard Russels' infamous barrel roll with cut scenes from the Star Fox Video Game, and overlays made inside of After Effects.