All Photos © Ryan Pyle

On a 2006 trip, Ryan Pyle decided to focus his camera on the disappearing culture of China’s remote western Xinjiang province. He says, “The culture is vanishing before my eyes. Each time I return something is missing—a market, an old shop full of blacksmiths, a local mosque. This cultural fabric will be lost forever.” Previously named Chinese Turkestan, the Xinjiang province is bordered by the Gobi desert and some of the highest mountain ranges in the world, making this location incredibly remote.

Ryan Pyle is a Canadian born-artist. He graduated from the University of Toronto in 2001 and moved permanently to China in 2002 where he is a contributor, covering China, for the New York Times. In addition to this photographic series, Pyle has created a multimedia piece.

(more…)

©Julie Mack, Self Portrait with Family in SUV, Michigan, 2007. C-print, 30 x 40-inches.  Laurence Miller Gallery

This image will be on display with the Laurence Miller Gallery at this year’s AIPAD show from March 18th-21st. For more details about the AIPAD Photography Show New York, click here. For more work from Julie Mack and the Laurence Miller Gallery, click here.

© All photographs by Yassine Ouhilal

Yassine Ouhilal captures surfer Cheyne Cottrell riding an icy wave amidst the snow-capped mountains of Norway’s Arctic. This shot was taken around 11 PM due to the high latitude and prevailing midnight sun.

Photographer Yassine Ouhilal, known as “Yazzy,” recently traveled to Norway’s Arctic Circle for a surfing expedition feature with Outside magazine. In Norway, Yazzy was also able to shoot for Eddie Bauer, who sponsored the trip. He produced a documentary while traveling that is posted on YouTube, and which has been seen in 200 countries.

(more…)

© Irwin Berman/courtesy of Palm Beach Photographic Center.

Irwin Berman’s “Sitting Man”, involves manipulation of conventional photographs using a heavy metal call Barium, which is used in painting and in Medical X-Rays. His unique technique is called ‘flottage’ because the Barium is floated and shaped over the photograph using brushes and sculpture tools. The photographic paintings are then exposed to X-Ray light, creating a transparency. In each of these works his intent is that the resultant XRay transparency will become an “infrastructural expression of the original photographic substance, as if a virtual spawn of the parent photograph.”