The Archival Look


As I looked at the portfolio of commercial photographer Michelangelo DiBatista, I began noticing that advertising photography is currently going through an interesting phase that’s reminiscent of the old, pre-digital days.

Another sample of that archival look,as I call it, can be found in the movie poster I posted above,

I particularly enjoy looking at warm over-toned photography that somehow remind me of old, archival images. To me, they communicate a certain sense of comfort and familiarity; and those are very strong points when it comes to brand promotion.

Al momento de mirar los trabajos que ha realizado Michelangelo DiBatista, me detuve con atención para detallar algunas de las fotos que le ha tomado a varias celebridades y campañas publicitarias, y caí en cuenta de lo común que se ha vuelto el ver imágenes con aspectos añejos, tal cual si hubieran sido archivadas por mucho tiempo… Curiosamente, el afiche de esta película de cine es otro ejemplo; en lo particular, me gusta este tipo de manipulaciones pues comunican familiaridad y añoranza, los cuales son elementos muy potentes a la hora de promover una marca.

Jumpology

Anthony Perkins by Phillipe Holsman
Audrey Hepburn by  by Phillipe Holsman
Dean Martin and Jerry Lewis  by Phillipe Holsman
Eva Marie Saint  by Phillipe Holsman
Marilyn Monroe  by Phillipe Holsman

Phillippe Halsman was one of the most sought after commercial photographers during the Hollywood golden era, he photographed over 100 covers for Life magazine. Helsman was also an author, I was first introduced to his work through a book he wrote himself titled The Jump Book. In his book, Helsman makes emphasis on the act of jumping in front of the camera as a means to help the model reveal hidden psychological aspects. What follows are some fragments I read in his book that got me thinking.
In a jump, the subject, in a sudden burst of energy overcomes gravity. He cannot simultaneously control his expressions, his facial and his limb muscles. The mask falls, the real self becomes visible, one has only snap it with the camera (…)While other psychological methods are lengthy and costly, the jump is rapid and economical. (…)Jumping humanity can be divided into two categories: One which tries to jump as high as possible and one which doesn’t care. The ones who don’t care, either don’t take jumping seriously or lack ambition.
With that said, what type of jumper are you?

Dahl-Wolfe

Dah-Wolfe for Harper's Bazaar, 1938

I couldn’t believe my eyes when I first saw this image in the pages of a photography book. Just like how sometimes we find illustrations that resemble photographs, with this picture, we find a photograph that resembles an illustration. I really enjoy the narrative quality and the contrast variety of this photograph taken by Loise Dah-Wolfe . Rather than a camera, it seems as if it was rendered with graphite over Bristol board.

Ruven Afanador | Mil Besos

A short selection from the "Mil Besos" | "1000 Kisses" collection.

Surveying photography is simply one of my greatest indulgences, and I have most recently come across with the work of Ruven Afanador; who is a photographer famous for his fashion portfolio and celebrity portraits. Afanador’s Spanish ethnicity makes a profound influence over his personal work, which can be observed in “Mil Besos / 100 kises,” a wonderful coffee table book that showcases Afanador’s fascination with Flamenco Dancers. Each photograph includes a female character expressing wonderful gestures. What I really enjoy most its how each photograph evokes such a large variety of emotional contrast in crip clear black and white.

The Ishirian Test:What do you see?

Shape and Color

What follows, is a direct quote from Foundations of Graphic Design, an old Design text book I found recently, definitely an interesting exercise


The Ishirian test, developed in Japan, is administered internationally to determine colorblindness. If you read the number 74 in the above right circle, you have normal color vision, but if you see the number 21 you have a red green deficiency, the most common form of colorblindness. If you are colorblind, you will see the number 2 in the lefthand circle, and if you have normal vision, you will not be able to clearly distinguish any number.