William Eggleston is one of America’s most important and influential photographers, who “secured color photography as a legitimate artictic medium for display in galleries.”

This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston’s retrospective William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 at the Whitney Museum of American Art.

A key figure in American photography, Eggleston is credited almost single-handedly with ushering in the era of color photography. Eggleston discusses his shift from black and white to color photography in this video as, “it never was a conscious thing. I had wanted to see a lot of things in color because the world is in color.” Also included in this video are Eggleston’s remarks about his personal relationships with the subjects of many of his photographs.

Michael Almereyda is director of the film William Eggleston and the Real World (2005).

 
Sally Davies photographed a McDonald’s Happy Meal over 6 months. This is the result.

Now you know, if you want to leave a beautiful corpse live off McDonald’s.
 

 
Via Henri Podin
 

 
These film stills are taken from ffffilm a website where users can upload and share frames from their favorite films. ffffilm reaffirms the notion that we tend overlook many beautifully composed scenes when watching a film.  Looking at these images, I was reminded of a book from the 1970s, which did something similar by examining the best of Laurel and Hardy frame-by-frame, except here you have hundreds of films to look at. It also brought to mind Douglas Gordon’s 24-Hour Psycho, which presented the incredible skill, artistry and ambiguity in a slowed-down projection of Alfred Hitchcock’s classic 1960 thriller Psycho.
 
More stills from ffffilm after the jump…
 

 
Incredible photos of life in China. View more here.

 

 

 
Feature Shoot says:

Francesco Giusti lives and works in Rome, Italy. He recently won 1st Prize in the Viewbook Photostory competition for his documentary series, SAPE. Of this series, he says, ?

 

 

 

 
Korean artist and photographer Gwon Osang builds his lightweight sculptures by taking hundreds of photographs of his subjects. Gwon Osang discusses his sculptures:

I began with photographs to make lightweight sculpture. I first made a chisel for wood and then stone. Following that I finished a work titled An Obsessive Report on Power (p. ), which consisted of an arm to symbolize material and the power to control it. I had created these because they were elements that I felt I lacked. Though I linked sculpture to photography, I think I was more interested in photography at the time.

In fact, it was people in photography who first responded to my work and at the time photography was more influential. I took full advantage of photography’s merits, not least of which was the ease of changing the object’s size. And I was fascinated by the commonality between film negatives and the plaster mold. This has helped me make the human body in all its different and often distorted forms.

Gwon Osang
 
(via accidental mysteries)

 
I’m fascinated by what’s often the fuzzy line between representation and reality, so I guess that explains my interest in photographer, Jaime Diamond, and her slyly subversive series, Constructed Portraits.  Diamond assembled groups of strangers in rented hotel rooms, and took their picture.  As she explains it:

It all began with my own family portrait.  Somehow the image it portrayed didn?