Shot over the course of 3 years on the Canary Islands. The series highlights the contrast between crowded beach towns and less popular natural parks. The islands have become accessible because of low-budget airlines, but mostly only get appreciated for their climate. The colourful photographs show souvenirs from beach towns brought into nature. Leaving us with the question: what is natural? And how does it affect out planet.

View the collection at https://foundation.app/collection/souvenirs

After first visiting Bangkok in 2015, I returned in the summer of 2019 to photograph & learn more about Takraw, the most dynamic sport I’ve ever witnessed. I revisited the courts where I'd fallen in love with the takraw in order meet the players & watch pickup games played in large part by local taxi drivers & refugees from neighboring countries such as Myanmar & Laos — often late into the evening, before or after their shifts. As I got to know the players, I learned what beers they preferred to drink, who was most revered on the court, as well as witnessed the unique bonds they shared as a result of meeting each night to play. The photographs in 'Takraw' are meant to draw attention to the dynamism & beauty of the sport along with those who have mastered it.

View the collection at https://foundation.app/collection/takraw

This new body of work by artist Manjari Sharma extends her metaphorical gaze to one of the most fundamental elements of human life and transforms her viewers alongside her subjects.

Water is life. It cleanses, it feeds, it transforms, and it destroys. Surface Tension explores our metaphysical relationship with water through diverse human forms submerged in swimming pools. These immersive and gestural forms highlight the fragility, circularity, and oneness of our existence, turning the pool into a vessel for transcendence. The artist writes:

“A new world appears; Figures turn into landscapes, limbs into fins, and bodies morph and merge into peculiar yet familiar organic shapes and structures. A ceremonial splash is followed by a momentary lapse of consciousness, and new galaxies are born with every drawn breath. What are we but a series of star-crossed enigmas; a deck of cards in the wind, twisted by fate and held together, loosely, by a glue that has no name.”

View the collection at nft.assembly.art/collections/surface-tension

Appropriated/collaged photograph digitally edited, rendered in wet ink and re-scanned to virtual space.

View the collection at https://foundation.app/collection/mxtp

Assembly Curated presents Magnum photographer Carolyn Drake’s “Knit Club,” the result of a several-years-long collaboration with a group of women Drake met while living in Water Valley, Mississippi. The nature of the club is ambiguous. It is a cross between a gang, a cult of mysteries, and a group of friends bound by secrets only they share. Drake shies away from literal descriptions, and leans toward the surreal and mysterious to present a different perspective on southern femininity and motherhood that feels subversive. The viewer is encouraged to question preconceptions of what it means to be a “woman.” Drake and her subjects collaboratively play with hiding and revealing the women’s faces and bodies, retaining a sense of interiority for a subject that has historically been fixed and exposed by the male gaze. Responding to the writer William Faulkner, the images are enigmatic, Gothic in style, and richly layered with a symbolism that resists interpretation. As with much of her earlier work, Drake’s subjects are also artists, integral to the construction of the photographs. “Knit Club” presents a community that manages to exist outside the gaze or control of men. Women, children, and mothers, shrouded in masks and mystery to live a life on their own terms.

View the collection at https://nft.assembly.art/collections/knit-club

Early in the morning some dancers get ready for the carnival parade in Potosí. Bolivia 2009.

"Buscando a Bolívar" is the result of my journeys through Bolivia, Ecuador and Venezuela between 2009 and 2014, during the presidencies of Evo Morales, Rafael Correa and Hugo Chavez. Along this route I found much more than I was looking for. I was dazzled by the unexpected, actracted by the ambiguity and the complexity; which are the very essence of reality.

View the collection at https://foundation.app/collection/bbblv

Dancing with the Tupinambá is a collection between photographer Fernanda Liberti and indigenous artist activist Glicéria Tupinambá.

Glicéria is the first person in over three hundread years to make a Tupinambá Cape, a pre-colonial sacred garment that is a central point of spiritual connection and power for the community.

Before her creation, there were only a few capes left in the world, all sitting in European collections for the last centuries.

The image represents the force of the Majé, the female version of the Pajé (spiritual leader). Since all of the accounts of the pre-colonisation Tupinambá was done by 1500s European men, the role of woman is completely underdescribed in their accounts.

Although there was no official literature that confirmed the female presence in relationship to the capes, Glicéria was always a firm believer in their power and presence, not only in the making of them but also in their authority to wear them.

View the collection at https://foundation.app/collection/tupinambacape

Assembly presents "What Did the Deep Sea Say” by New York-­based visual artist Sara Macel. This NFT collection explores the private lives of women dealing with their own unique circumstances at different points in time while swimming in the same waters. "What Did the Deep Sea Say” was inspired by a suitcase full of photographs belonging to Macel’s deceased grand­mother that unearthed an unknown chapter in her family history that led to Hollywood, Florida. In this seaside town that appears lost in time, Macel retraces her grandmother’s footsteps while also photographing the land­scape, her mother, and herself. By interspers­ing medium-­format color photographs with her grandmother’s black-­and­-white images from the 1940s and her mother’s color snap­shots from the 1970s, a visual conversation emerges.

View the collection at https://nft.assembly.art/collections/what-did-the-deep-sea-say

Tango in the Big Mango – a Baudelaire-like photo imagination about Bangkok, working at a ground zero of now-ness.

“Many of the characters portrayed by Nitsch were interrupted in their daily chores and they seem to be looking at themselves in a mirror. And mankind needs a mirror! The mirror, as a symbol, is a proverbial representation of consciousness, imagination and thought, whose character has temporal and existential variability…In Tango in the Big Mango the portraits are an important part of the scaffold constructed for this photo book. The approach given by Nitsch, through the interconnections established with his senses, means that we are actually our mirror, which represents us in our condition of continous expectancy, thus remaining bound to crude materiality.” – JM Ramirez-Suassi

View the collection at https://opensea.io/collection/tango-in-the-big-mango

“Occasionally the kids of Russell Heights gather in fantastic ballet-like displays of play. The choreography is all their own, but in this case, the direction is mine, performed for my camera and a small audience of on-lookers goading them on.”

Assembly and Sasha Wolf Projects present “My Last Day at Seventeen,” the genesis NFT collection by an American photographer Doug DuBois. Combining portraits, spontaneous encounters and collaborative performances, the images in "My Last Day at Seventeen" hover between documentary and fiction. Doug DuBois was first introduced to a group of teenagers from the Russell Heights housing estate while he was an artist-in-residence in Cobh, on the southwest coast of Ireland. He was fascinated by the insular neighborhood, in which "everyone seems to be someone's cousin, former girlfriend, or spouse." DuBois gained entry when two participants of a workshop he taught took him to a local hangout spot, opening his eyes to a world of not-quite-adults, struggling through the last days of their childhood. Over the course of five years, DuBois returned to Russell Heights examining the uncertainties of growing up in Ireland today while highlighting the unique relationship between artist and subject.

View the collection at https://nft.assembly.art/collections/my-last-day-at-seventeen

Valeriia and Valeriia Unfurling by JR

This image and video were taken in March 2022 in Lviv, Ukraine. It represents Valeriia, a 5-year-old refugee fleeing the war and it was featured on Time.com.

View more about the project at https://www.jr-art.io/

Sequels, a partnership between Fellowship and photographer Joel Meyerowitz, is a new way of developing photographic stories using blockchain technologies. It is also an opportunity to socialise a photographic archive of one of the leading voices of the medium that has helped shift different stages of the medium in the past; black and white to color, 35mm to large format and analogue to digital.
The project is made up of Meyerowitz’s deep archive of unpublished photos that date back as far as 60 years from the projects inception. Every day over the course of ten years Fellowship/Meyerowitz will release one image available to be collected over a 24-hour period via auction. Leveraging Meyerowitz’s uniquely keen eye for seeing often unseen moments and being able to capture them with unique and playful compositions, each subsequent photo is carefully placed in context with its predecessor, weaving together an enormous body of work that is further woven together through the network effects of its community of collectors.
Each photograph includes a brief description from Meyerowitz as well as variation information about its capture baked into the metadata, such as location, date, etc. For Sequels #88, that reads: “Aspen Colorado, seen through a window. The curtain is slightly transparent and you can see the mountains through the shadow on the curtain.”

View the ongoing collection at https://sequels.fellowship.xyz/works/92

Contrary to taking a single photograph at a given moment in time, I record several over the course of a few minutes on a single sheet of film, reframing the concept of “the moment”. While photography is historically perceived for the recording of information “truthfully”, I deconstruct and overturn that truth by creating an altered or intervened space. Time is fickle and a large part of my process is considering its elastic properties.

In her project Now Now, Yael brilliantly weaves together multiple views taken from the same location all into a single piece of film. To do this, she devised a series of cutouts which she places over the film plate of her camera for individual shutter actuations. The resulting images giving a unique sense of the place in which they were made while also giving them a bold graphic sensibility. The anticipation of seeing how the negatives develop must be exhilarating!
-pixelpete

View the collection at https://foundation.app/collection/nownow

This series explores banal suburban landscapes of New Mexico. I am using symbols, shapes, line and shadow to present psychological metaphors. Closed and open doors, shadows and monolithic walls draw me to a scene as they invite conjecture. For me, the symbols and spaces speak to a part of the self that is just below the conscious mind, asking to be understood, even integrated. It's a reminder that there is always something below the surface of awareness, threatening to reveal something new.

View the collection at https://foundation.app/collection/deconstructedself

Assembly Curated and Bruce Silverstein Gallery present Frank Paulin’s “Masterworks,” a collection of some of the most iconic early work from the artist’s archive. “Masterworks” features photographs predominantly captured in the 1950s on the streets of New York City. Many of these early images by Paulin were featured in a 1957 solo exhibition at Helen Gee’s pioneering gallery and café, Limelight. Paulin’s work earned him great praise despite photography’s then uninitiated position in the fine art world. Prominent publications including The New York Times and The Village Voice praised Paulin’s ‘humor and compassion’ as well as his uncanny ability to perceive irony and record what they referred to as ‘poetic accidents.’ Paulin was a freelance fashion illustrator by day, but took to the streets in his free time to document subjects from all walks of life set against the stunning visual framework of advertisements, neon signs, and reflective store windows. This collection of well-known work recalls a distinct moment in American history, a moment captured with a passionate vision that keeps us looking.

View the collection at https://nft.assembly.art/collections/masterworks

Shot in July 2021 in Cambridge during the few days this window display backdrop had nothing else cluttering the frame during a re-fit and during the small window of light each day.

View the collection at https://foundation.app/collection/home

Dost Mohammad, father of five, has been selling birds at the bazaar of Kabul for the past 10 years. Swallows, nightingales, canaries- any bird that sings... At the time of the Taliban, this commerce was forbidden because “living creatures should not be locked up in cages”. At that time, Dost closed up his shop and decided to return to his village to till the soil. Today, he has returned to his shop, his birds and his customers.

View the collection at https://opensea.io/collection/kabul-portraits

Many photographers and journalists of my generation, interested in war and conflict, would at one point read Richard Kapusciznsky's all-time classic "The Soccer War" and watch Oliver Stone's "Salvador. » The latternow feels insanely cheesy. With the country's troubled history in mind and never having been to Central America, I found "Bitcoin Nation - El Salvador" a challenging theme to explore for this NFT project.

I set out to straightforwardly document this alien and invisible world of bitcoin, and being 'in the realm of crypto,' I hoped it would give me access to President Nayib Bukele's surprise project. Last year he had suddenly declared Bitcoin the official currency of El Salvador - which until now was only the US dollar. The 40-year-old president of Palestinian origin started out as an anti-establishment candidate, describing himself as "the world's coolest dictator," but soon took an authoritarian turn. Yet he continues drumming the bitcoin beat, and bitcoin celebrities from all around the world keep flocking to El Salvador. The Pacific beach town of El Zonte became "Bitcoin Beach," and "Volcano Bonds" and "Bitcoin City" are meant to be the future.

When official doors remained closed for me, I started digging for clues in the county's troubled past and present or anything, even remotely, related to the bitcoin world. Vignettes of the bloody civil war regularly popped up, and I came across a few "bitcoin events." The sudden spike of almost a hundred homicides in the course of one weekend in late March, due to what seemed a breakdown of a secret deal between the government and the two main gangs, had President Bukele declare a state of emergency, martial law and intensify the war on the gangs. I could see fringes of it. But nothing compared to the brutality of the spectacularly filmed daily government propaganda videos of mass arrests and more-than-rough prisoner handlings I watched on TV, Twitter, and Instagram.

It was at a small bitcoin event that I found a hint why I may have been shunned and didn't get any access to show the "shiny world of Bitcoin Nation," as I had hoped. My NFT ticket was definitely the "wrong church" in the Bitcoin world. To paraphrase one of the speakers: "If I want to gamble, I go to Vegas and party with beautiful hookers, instead of being a loser, sitting around in my basement, frustrated, minting NFTs. Shitcoins."

El Salvador and the President were meant to be guests of honor at the Bitcoin 2022 conference in Miami. But due to the internal tension, he canceled the visit, and the 30+ thousand delegates had to discuss the future of bitcoin without him.

View the collection at https://obscura.io/collections/thomas-dworzak

"By Way of Water" is a collection of images shot aboard various ferries around the Seattle, WA area. Exploring the greater Seattle area, and the many surrounding islands, involves time spent on the ferries. I always enjoy my time in transit because it offers me the opportunity to wander and capture moments on film. This collection is dedicated to my Family. I take the ferry a ton to see them.

View the collection at https://opensea.io/collection/bywayofwater

Big Wheel Car, Ford Scout II, Murray Hill, 1974

Assembly and Jackson Fine Art present "Cars: New York City, 1974-1976” by Mississippi-­based visual artist Langdon Clay. This NFT collection explores an imprint of the former streets of New York City and New Jersey. When Clay came to the realization that the bold colors of the world around him did not match the black & white film he was shooting, he shifted to color. Clay developed “Cars” with a big tripod, a Leica, a 40mm lens, Kodachrome film and two years of roaming. The night developed its inherent color, with one car, and one background. Moved by painters such as Edward Hopper, Clay keeps these images, much like their subjects, classic. “Cars” showcases now vintage cars simplistically lit and shot straightforward, while still encapsulating the New York City and New Jersey streets as its backgrounds. Yet, against their directness there is much detail for the eyes to wander over and take in, just as Langdon Clay once did on the very streets he captured.

View the collection at https://nft.assembly.art/collections/cars

Subject Studies is an anthropological project on the perception of the subject inside contextualized imagery. Repeatedly creating the same context for a scene to happen, the gaze is now turned into how each spectator constructs their perception of the scene and the characters on it from their own cultural gaze and personal history.

The various subjects recreate a similar character in the scenes they inhabit. A scene which maintains the same essence in terms of visual qualities, framing , lighting, editing.

In a wider and general manner the way of describing one of the sequences could be for example a person in a green bathroom. After that, it just gets complicated and complex as vocabulary and perception change the atmosphere in which each person perceives the mood of the scene differently depending on the subject in front of them.

“We don’t see things as they are, we see them as we are” attributed to the writer ANAÏS NIN

View the collection at https://obscura.io/collections/tania-franco-klein

Alternatives Landscapes is a long term project exploring the concept of vernacular landscape through incorporating a light installation, a man-made element.

I wanted to create something that wasn’t really a landscape but rather something engineered, so as to move the viewer in a different way.
The luminous square I built: 1m x 1m x 0.5m hang with a fishing wire. The whole thing is done in an empirical way, and is guided by a formal research both obsessive and demanding.

I Try to offer a new reading of the potential nature of landscape, of its conventional forms and its given beauty, simplicity or magnificence.

At the heart of this project was also the desire to be highly respectful of the original physical landscape, disturbing it as little as possible with the installation.

As there is minimal post production in these images, I was careful not to leave any footprints around the square, so as to maximize the relationship between the artifact and the night space.

View the collection at https://foundation.app/collection/altland

The Meadow Fire burned in Yosemite National Park behind Half Dome after being ignited by lightning. Hikers on trail had to be evacuated by helicopter, and I drove 8 hours straight to photograph the fire, spent the night on the mountain photographing, and made this image just before sunrise at 5am.

I noticed smoke on the Yosemite Park webcams, and took a chance to drive up to the blaze, - en route it was rainy and cloudy, and I thought the journey was for naught. After spending the night perched with a tripod in the wind and chilly summer mountain weather, this scene materialized for just a few minutes as the sun rose far behind the valley in the east.

This image defines the Terra Flamma project for me personally, - a national treasure and gem threatened by climate change and drought, challenged by the duality and nuance of a naturally ignited fire that is ultimately necessary for the health of the ecosystem in the Sierra Nevada range.

View the collection at https://foundation.app/collection/tf

Assembly presents Moving/Still by Daniel Gordon, his first collection of still lifes made specifically as NFT’s. Gordon is well-known for his figurative tableaus, which are created by assembling sculptures made from found imagery and photographed using a large-format camera. Movement is often implied in the objects, as the viewer experiences them from multiple perspectives. Moving/Still pushes this conceptual strategy to its limits as the objects vibrate back and forth. The sculptures, their shadows and backgrounds are unsettled through light, color or placement shifts, which suggest multiple possibilities for image construction and reveal technological as well as creative openness involved in the process. Moving/Still reflects on the age-old musings on passing of time, mortality and our relationship to interiors, nature and inanimate objects. Daniel Gordon is based in Brooklyn, New York. His work has been exhibited and collected internationally.

View the collection at https://nft.assembly.art/collections/moving-still

Recently, The Metropolitan Museum of Art developed a digital archive of their entire collection and made it available to the general public. Despite the extensive exhibition history there’s an equal amount of material that has never been shown: anonymous works, old post cards, textiles, and ancient jewelry.

The viewing of artwork this way has its trade-offs though. Broad searches by date/era, object/material, geographic location, and keyword engage the archive. But unexpected results are common in a place where curation and the canon of discourse is no longer a priority. Objects that have never lived together, make new meaning outside of time and tradition simply by how they’re filtered.

That’s where “If Not Here, Then Where” begins. I scrape the database of 406,000 public domain images, selecting and printing only artifacts that intrigue me. My personal preferences on composition, color, and aesthetics are what drives what’s printed and what’s left behind, applying another layer of bias into the search results.

The artifacts cluster together and form delicate mobiles that exist again in tangible form, but they are not what they once were. As constructions they're fragile and easily disturbed. The artifacts are forever altered: flattened, downsampled, and all relative in size to one another. They’re reliant on the quality of their documentation to survive in their new bodies. Sometimes names, histories, and provenances have been erased for ease. What they lack in context and historical grounding they are charged by the newness of proximity to one another. I grapple with how post-colonialism extends past the historical art object, the collection, presentation and archiving of artifacts; and as representations of those objects proliferate and evolve virtually not merely existing in neutral virtual platforms, but also engaging with the infrastructure of those spaces and their own set of bias.

View the full collection at https://opensea.io/collection/if-not-here-then-where

Unforgiving and dramatic winters have often been regarded as one of Russia’s most defining characteristics. A Russian winter is redolent both of great hardship, extreme temperatures, physical privation, an atmosphere of isolation and desolation, but also of great beauty. Photographed in the perpetual twilight of the Kola Peninsula, in the far north-western reaches of Russia, Polyarnye Nochi captures the ethereal meteorological phenomenon affecting this swathe of land that lies between the White Sea and the Barents Sea. Meaning “polar nights”, Polyarnye Nochi represents the naturally occurring period from December to mid-January, when the sun remains below the horizon, allowing for only limited light each day. These photographs explore the uneasy co-existence of man and nature, but also capture the indefinable and elusive beauty that emerges as a result of this precarious alliance.

View the collection at https://foundation.app/@simoncroberts/srpn/11

Using her unique ability to capture the textural and tonal richness of the oceanside environments that surround her, artist Jessica Cardelucci writes of this piece, “This photograph compels me to peer beneath the surface of the mundane, revealing the extraordinary within the ordinary. Upon the sandy canvas, kelp blades emerge in a striking, almost otherworldly manner. These sinuous forms rise from the earth as if they hold the secrets of the abyss. They echo the mysterious depths of existence.”

View more from the ongoing Plates series at cardelucci.com/collections/cardelucci/2021

These images are from a series of 43 hand-sewn photographs taken along the entire path of the Berlin Wall. Sections of the photographs have been obscured by cross-stitch embroidery sewn directly into the photograph. The embroidery is made to resemble pixels and often represents the exact scale & location of the former Wall offering a pixelated view of what lies behind. In this way, the embroidery appears as a translucent trace in the landscape.

View the collection at https://foundation.app/collection/berlin

TOGETHER/APART is a continuation of a long-time overseas collaboration between Jim Eyre and me. Photomontages embody the disquieting experience of how our lives have been transformed by a global pandemic. These are visual conversations that occurred between us about our shared experiences of everyday existence. Architectural fragments & elements of the landscape are entwined to present intentional chaos as a way of grasping for order, healing & catharsis in an increasingly unsettled world.

This photo montage consists of over 30 individual photographs from Natalie Christensen and Jim Eyre. This work is created through a painstaking process of deconstructing and decontextualizing photos from each of our archives in a response to COVID-19. New compositions were made in rough collages that were passed back and forth, edited and re-edited until the new artwork was barely recognizable from the originals. VARIANT(S) responds to the evolving crisis and the rise of variants during the global pandemic. This work is exhibited at Turner Carroll Gallery in Santa Fe, New Mexico. The physical art piece measures 96" x 63".

View the collection at https://foundation.app/collection/together-apart

I began the year 2020 with a plan to live on the road and chase the long shadow of the U.S. election. I wanted to document the country in a way that went beyond caricature. By the end of the year, I had travelled to 35 states, sleeping in my tent, in half-empty motels, and in the homes of strangers I befriended.

Rescue Sketches has been featured in The New York Times, Vogue, The New Yorker and TIME. And in 2021, the work was exhibited in my solo show at Matte Gallery in NYC.

When Sinna told me the story of this image, he describes pulling into the mountain town of Hiouchi, California during his road trip covering the pandemic, social movements and natural disasters. When he turned the corner on to the small mountain road, he found this haunting scene of a single cat in the middle of the street amidst an empty town surrounded by wildfires. With his headlights still pointed at the cat, he stepped out of the car and clicked the shutter.
-pixelpete

View the collection at https://foundation.app/collection/sketches

A photographic exploration of the ever-evolving notion of what it means to be British. The Happy Couple, Margate, England, 2019.

View the collection at https://foundation.app/collection/blighty

This collection is driven and defined by happy coincidence, awkward social interaction, and straight-up absurdity. It was created by strolling the beach and summoning the courage to approach total strangers and asking them to willingly create weird art with us. This collection addresses many questions that touch on the core of human interaction- Why are we so uncomfortable approaching strangers in the first place? What is motivating them to say yes? Under what circumstances are they saying no?

View the collection at https://foundation.app/collection/adayatthebeach

This series was made in various cities across the Spanish territory in collaboration with young people involved in the emerging Trap and Drill music scene.

Both genres originated in the United States as an evolution of rap music and have transcended their initial context to become globally influential movements with local scenes emerging across the world (Spain, France, Italy, Australia, Ghana, Sweden, (.))

The music is often recognized for the nihilistic lyrical content and portraying a duality between a precarious life and one of luxury and fame that becomes tangible within the global-digital-online arena. It is the hedonism versus nihilism, the darkness versus joy, the glorification of wealth and banalization of violence that resonate as a response to the values, markets and structures within contemporary society in late capitalism.

In Spain -a country with the highest youth unemployment rate in Europe- drill has become the first cultural boom that is not predominantly white. It is in cities like Madrid, Almeria or Granada where younger generations are exploring the music and the aesthetic of trap and drill and making it their own.

Often represented as apolitical, performative, or superficial, my aim with the work is to read between the lines, to reflect on the emancipatory potential of a mainstream expression of our time and how it relates to the present context of a precarious job market, institutional violence, migratory, financial and environmental crisis.

Embracing a performative collaboration that is integral to my work, I focussed on a series of gestures and landscapes to try and capture an atmosphere, hoping to transcend the idea of subculture and consider its value from a more enrooted perspective.

View the collection at https://obscura.io/magnum/lua-ribeira

In Central Anatolia, the land of sun and history, the farmers call the wheat "gold." This is not only due to its color but also it's worth—the same as gold for them. When I saw the light shining on the “gold,” I took this photo of a farmer on the hills made of grain. At that moment the grain was shaped like a fish, which is also a symbol of fertility for Turkish people. Awarded in IPA International Photography Awards.

View the collection at https://opensea.io/collection/winter-prepations-in-anatolia

57 year-old man named Emil Jan Wale came to the island of Hormuz in southern Iran. He was a French- Lebanese man who worked at the Red Soil Mine on this island, and after a while, he married a girl named Fatima. After two years, Emil had a son in the name of Akbar, but after Akbar's birth, he left Fatima and Akbar and went to an unknown destination. When Akbar was 13 years old, Fatima died due to illness, left Akbar with no parents and family. Ali Mohasen Torab, one of the inhabitants of the Island, took him and kept him with himself for seven years. At 18, Akbar went to military service and after the end of his military service, Akbar ,following his father's job, became the security of the Red Soil Processing Plant on the Island. He suffers from mental disorders, and almost all of his words are "mercy" or "thanks". Akbar has been lonely for many years. He is a kind person. His likes cats more than people because the presence of people hurts him emotionally; he is an anti-social man.

View the collection at https://opensea.io/collection/akbar-son-of-emil

Spawned from Oakland CA’s colorful car culture, the Scraper Bike Movement gained worldwide popularity through a viral 2007 YouTube music video by local rap group, Trunk Boiz.

A symbol of youthful resourcefulness and creativity, the DIY customized bikes became a ubiquitous sight in Oakland, with dozens of riders taking up lanes and intersections to the delight of all except a few impatient drivers.

These photos, made between 2008-2010 have been featured in numerous publications and exhibitions worldwide and were selected winners in the 27th annual juried American Photography competition.

The movement has since matured into a non-profit organization with whom 50% of all collection sales will be split.

View more from the collection at https://foundation.app/collection/scraper

Assembly presents misha de ridder’s “high up close by” in which the artist was entrusted with the key to the Oude Kerk (Old Church) in Amsterdam allowing him day and night access to all areas of the church. The Oude Kerk is located in the centre of Amsterdam's Red Light District and is the oldest building in the city, consecrated in 1306. The iconoclasm raged here in 1566, and the church slowly gained a serene, austere appearance as a result of the new religious ideas. When de ridder spent time alone with the building, the walls came alive in front of his lens. Every day he came closer to the hands that constructed and transformed the building, elusive as the ghost images created by his camera. At those moments, the tension between realism and abstraction became beautiful and tense, the transforming effect of the light was decisive. Together, the 21 photographs build a magical house of cards of the church, tokenized on the blockchain for eternity.

View more from the collection at https://foundation.app/@mishaderidder-highupcloseby

Assembly presents /CLOUD/ by Barry Stone, a project inspired by Alfred Steiglitz’s, “Equivalents,” a series of iconic cloud studies made from 1922-30. Stieglitz’s pictures were not intended to describe the material nature of clouds, but rather express the artist’s inner emotional state. 100 years after Steiglitz, Stone’s photographs were taken with a digital camera and manipulated by rearranging their code with a hexadecimal editor used by programmers. The resulting chance operations create a new version of each cloud, altered with its own digital “material.” Clouds seen in nature are highly variable ephemeral structures that are shaped and animated by our imaginations. Each photograph presented here continues this cycle of endless possibility, open to the meaning that each viewer brings to the subject.

View more of Amy’s work at https://opensea.io/collection/cloud-by-barry-stone

A fleeting moment during a lockdown walk; passing clouds suspended in a pane of glass in the late afternoon.

View more of Amy’s work at https://foundation.app/@AmyWoodward

It is my honor to bring fashion's most important red carpet walk to the blockchain. These images are detail photos from the 2021 Met Gala, for which the theme was "In America: A Lexicon of Fashion."

View more from the collection at https://foundation.app/collection/met

A reflection on habitat, adaptation, duality, escape, hidden forms, the female universe.

A refuge of conceptual plurality in pursuit of the habitat that leads us towards new perspectives from the hidden.

An identity full of metaphors and polarities.

A place to reflect, to show ourselves, to hide, to mimic any living space.

An attempt to listen to our inner voice to know where, when and why.

What we show and what we are expected to show: passion, sexuality, motherhood & belonging.

View more from the collection at https://foundation.app/collection/chamaleon

Three ladies working in a red umbrella workshop. Traditional umbrellas are made of bamboo and the canopy is made of pure cotton. Umbrellas are used to lay out in different ways at the work after fitting and painting have been completed. They leave umbrellas for a few hours to let the paint dry on the handle and canopy. There is a division of labor in making different parts of the umbrella to finish the final one.
This photo is carefully captured by considering primary colors, power of umbrella patterns and creative composition.

View more of Zay’s work at https://foundation.app/@zayyarlin84

In my work, where the subject is predominantly a woman and the place is always nature, I try to understand for myself what freedom is? What does it mean to be free in every sense of the word.
This unconscious merging of two (women and nature) into one full, integral, rough, and honest piece leads to the disappearance of the boundaries between intimacy and vulgarity, between nature and the human body.

View more of Kristina’s work at https://foundation.app/@kristinapodobed

Spring/Summer is a collection of 67 photos inspired by the aesthetics of online catalog photography which explores the relationship between desire and digital consumption. The images feature assemblages that combine hardware store goods, homemade ceramics, organic elements, and various mass-produced detritus, shot on brightly colored solid backgrounds.

View the collection at https://springsummer.xyz/

When she walks, everyone turns to see her.
She knows that wearing those Louboutin red heels say so much to those who speak her same language.

View the collection at https://foundation.app/collection/livingtokyo

'Streets' is a collection of candid photography with a focus on juxtaposition, color & coincidence in public spaces. The urban landscape offers an immense well of poetic possibility and with a camera in hand, it is where I've come to feel most connected to my creative spirit. I have spent the past decade mining the avenues and alleyways for artful moments and snaring unique mixtures of color & light into frame for no other reason than to smile at it later, and forever.

View the collection at https://foundation.app/collection/streets

7:05 AM / 70 °F

Lumberland is an ongoing photographic documentation of a black walnut tree as seen throughout the seasons in Lumberland, NY.

All photographs are made in person, roughly from the same vantage point.

This project began on September 23, 2015.

Fifty photographs from this series were released in 2021, which comprised the project to date.

Four to five new photographs will be released quarterly starting in April of 2022 with a maximum of twenty new photographs per year.

View the collection at https://foundation.app/collection/lmbrlnd

“There are no mistakes, only happy accidents.” - Bob Ross

From the artist, “I forgot to advance my film before taking the next shot, and ended up with yet another accidental double exposure. I really loved the result, though—an accidentally unique take on a commonly photographed icon in Jackson Hole, Wyoming.”

View the collection, Between Places, at foundation.app/collection/betweenplaces

Exploded Views are intimate photographs of fires in controlled situations that focus on the physics behind fire behavior only moments after ignition, looking specifically at how it spreads. Taking its title from technical drawings of objects that show the relationship to the assembly of various parts, this series highlights our fascination with fire and how it influences our relationship with the environment.

This work was minted in collaboration with the Fellowship Trust. All carbon emissions from the minting of these pieces have been offset via several initiatives supported by the Trust.

View the collection at https://foundation.app/collection/evkc

Apiary delves deep into the underbelly of Lewes, a small town in southern England renowned for its frenzied Guy Fawkes Night celebrations. For many, the night is an expression of anti-establishment values. But looking at this collection it’s not entirely clear whose side we are on. Are we celebrating a failed act of political terrorism that happened over four-hundred years ago or witnessing contemporary ideas of democracy, identity and cohesion stretched to breaking point?

“We have it in our power to begin the world over again” - Thomas Paine, 1737-1809

View the collection at https://foundation.app/collection/rfa

Assembly and Sasha Wolf present One Star and a Dark Voyage, the genesis collection from acclaimed photographer Barbara Bosworth. This project, made with Bosworth’s customary 8x10 camera, speaks to our connections with nature: bear paws hauntingly human, roses cut to bring beauty indoors, a swan hunted for Christmas dinner. The visceral and the ethereal intermingle here to build a sense of the delicate and fragile nature of life, at a place where the edges of heaven and earth blur. In One Star and a Dark Voyage, we are brought into intimate communion with such things as a wound on a sun-freckled shin, a worm as stigmata in a child’s hand, a bird lying in a cupped hand, a body hovering in the darkness—all evoking the ephemeral nature of life. The result: a collection of photographs that functions as a journey, where weight becomes light. The beautiful and the terrible, all interconnected, all the same. Always seeking home.

View the collection at https://nft.assembly.art/collections/one-star-and-a-dark-voyage

Assembly presents Centralia by Poulomi Basu, an award-winning series of photographs that exposes hidden crimes of war as an indigenous people fight for their survival. In war, truth is the first casualty; this work explores the unsteady relationship between reality and fiction and how our perceptions of truth are manipulated. Centralia has been called a hallucinatory reflection where an invisible conflict between a guerilla army, an indigenous people and the Indian state reveals wider issues of environmental degradation. Such exploitation comes at a price: the transmogrification of violence into the de-facto language of politics. Basu is an internationally-exhibited Indian transmedia artist and activist, a National Geographic Explorer, Sundance Fellow, Magnum Fellow, winner of Arles Discovery Award 2020, and nominee for the Deutsche Börse Prize 2021. A portion of proceeds from the sale will go to PARI Network to fund grassroots efforts to help Dalit women tell their own stories.

View the collection at https://opensea.io/collection/poulomibasu-centralia

​From an erupting volcano to a sweeping tornado to the lunar landing, nothing is what it appears to be. Welcome to Matthew Albanese's extraordinary world, where "icy" glaciers are made of sugar, salt, egg whites, food coloring, flour, and light. There is more than what meets the eye in Albanese’s captivating photographs.

View the collection at https://quantum.art/collection/strange-worlds

I'm nowhere some days, and everywhere on others. Hiding in nature I find the most beautiful personal experiences. Sleeping on suburban streets, I find thought provoking scenes. Most places, I feel completely out of place.

I am compelled to keep seeing the US this way, photographing and writing. These memories forever living as visions from the road.

View the collection at https://foundation.app/collection/atwl

Eons is an ongoing project exploring the entanglement of observer and observed during long periods of solitude in the wilderness of the American West. Through isolation and exhaustion, an altered state of consciousness emerges and the illusion of structure appears from the chaos of nature.

In these moments, I feel the outside staring back.

View the collection at https://foundation.app/collection/eons

Aeroglyph Variations is a collection evolved from my Aeroglyphs body of work, created exclusively for Obscura Curated.

Aeroglyphs explores my method of intervention in landscape photography. By using light carrying drones and long exposure, I’m able to play a larger role in artistic expression all without leaving a trace on the scene.

This series was captured over the course of 20 hours in New Mexico, USA on Dec 12-13 2021. It shows the iterative processes and decisions I typically encounter during the creation of a final image, presented as a collection of 55 images. Compositionally, every image is the same, yet in attributes, every image is different. Time of day, light formations (glyphs) and other traits vary within the series to result in a spectrum of unique possibilities.

Taking inspiration from generative art and groundbreaking photo projects such as Carpoolers (Alejandro Cartagena), this project examines the notion of the photographer as algorithm; the code that creates and which ultimately derives from our unique programming of life experiences.

View the collection at https://obscura.io/curated/reuben-wu

154ever is a collection of 30 images by artist Mariah Robertson. Using a large roll of photographic paper, and deploying a myriad of analogue techniques, Robertson created a single tapestry over the course of several days in the darkroom. She then photographed the tapestry, and divided it into 30 discrete images, now available as NFTs.The images will be revealed as they are collected, and will also be stitched together and displayed here: https://art.zome.art/robertson/154ever/. Once all 30 images are collected, the tapestry will be complete, and an NFT of the final piece will be airdropped to each primary collector. Each primary collector will own both a piece of the tapestry, as well as an edition of the completed tapestry. This is a unique opportunity to own both a part and a whole of a large scale unique work by the artist, previously unavailable, and now archived on the blockchain.

An ongoing series of beaten, battered, lost (and found,) ignored, worn, distressed and otherwise maligned baseballs -- collected by me, carefully studied in my studio, and photographed using only natural light.

Works from this series have been widely published in print and on the web by ESPN, Time Magazine, NPR and many others. Prints reside in corporate and private collections, as well as the permanent collection of The Museum of Fine Arts Houston.

View the collection at https://foundation.app/collection/found

Radome housing NASA debris radar on Merritt Island, Florida 2014.

This project looks at the landscape of the “Space Coast” of Florida in the wake of the closing of the Space Shuttle program. With the writing of JG Ballard as inspiration, these photos inhabit the realm between dream and reality depicting a nostalgia for the future as the promise of the Space Age slowly fades away.

Published in 2019, Myths of the Near Future is in the collections of the MoMA Library and the Amon Carter museum. The work was been widely exhibited and featured in WIRED magazine.

View the collection at https://foundation.app/collection/mythsofthenearfuture

A child playing in a village near the Jask, Hormozgan Province, Iran. Many areas in the villages are still without electricity.
The following pictures are a narration of the daily life of ordinary people in Jask city and surrounding villages in Hormozgan in southern Iran. People who are considered normal in everyday events, and this being normal is neither a virtue nor a flaw. People who are obviously involved in their daily lives, just like any other human being. These people do not seem to have long-term aspirations or subconscious that complicate and obscure their daily lives. It is as if they have been emptied of any ambiguity and are now clear and straightforward, with no gaps. The apparent shrinkage resulting from their ordinariness puts them in a state of urgency, not from themselves, but from the point of view which it came upon me. The photographs attempt to be an empirical encounter with the most mundane and ordinary manifestations of everyday life to represent a mental image of the fusion of urgency and everyday life, desires, tensions and dreams that have penetrated into everyday life and enrich it.

View the collection at https://opensea.io/collection/in-the-midst-of-quandary-and-confusion

Heterotopia is a concept posited by philosopher Michel Foucault to describe spaces that are somehow 'other': disorienting, heightened, contradictory or transforming.

Dubai is an extreme example of a new kind of post-industrial urbanism fueled by hyper-consumerism, transient populations of tourists and foreign workers and the inexorable desire to create an appetite for consumption. It's both everywhere and nowhere, a place and a non-place.

View the collection at https://foundation.app/collection/nahtp

In the midst of a land still bearing the scars of a devastating earthquake that had shaken the very foundations of Central Italy in 2016, this scene, nestled within the ruins, ignited my curiosity and imagination. I found myself sitting, pondering, and eventually capturing it on 6x6 film.

View more of Francesco’s work at foundation.app/@ferragosto

A poetic narrative about the things we do and the places we go to forget ourselves.

Photographs made from 2015 to 2017 in Argentina and Switzerland.

View more of Fernando’s work at https://foundation.app/@a-abyfernandogallegos

While waiting on road side for an order of kebabs, with extra pepper, I hear the laughter of the townsfolk as I catch a blue and yellow streak zoom by from the corner of my eye. As I turn around to see what the source of all the excitement was I spotted A young, handsome, and enthusiastic Coco yam salesmen in love with life, riding down the road on his hand truck. I managed to get him to stop and come back for a photo, which he seemed like he was waiting for all day.

Halted on the side of the road with his hand truck and the last of his product for the opportunity to have his photo taken by an American Big Man.

Photo taken in the Bounty Junction area of Accra, Ghana.

View more of Fernando’s work at https://opensea.io/collection/from-ghana-with-love-installment-1

Shane Lavalette was commissioned by the High Museum in Atlanta to create a series of photographs for the exhibition Picturing the South which would become his monograph, One Sun, One Shadow. It was primarily through traditional music—the sounds of old time, blues, and gospel—that Lavalette had formed a relationship with the region. This history became a natural entry point to explore the connection between music and the landscape of the American South through images.

One Sun One Shadow was named one of the “Best Books” of the year by photo-eye and shortlisted for the Kassel Photobook Award and the Author Book Award at Les Rencontres d'Arles. Lavalette's work has been featured by various publications, including The New York Times, TIME, NPR, CNN, The Telegraph, Aperture, Hotshoe, and Foam Magazine. Lavalette’s photographs have been exhibited widely, in addition to being held in private and public collections around the world.

View the collection at https://foundation.app/collection/osos

Television is something that Americans have welcomed into their homes for decades. The bearer of bad news, good tidings, and a barrage of advertising sandwiched in between. A steadfast centerpiece in the home, of which people depended on for current events and entertainment. Once an intimate friend mirroring our gaze, now out on its ass for all of our neighbors to see.

This series explores the things we throw away. In changing the context by which the object is viewed, we re-examine the television's physical form.

View the collection at https://opensea.io/collection/the-tv-series

This collection is a story of New York City, but it is specifically a story of Blackness.

View the collection at https://quantum.art/collection/enough

This project started in 2002. A year after my mother passed away, a few years after my father passed. What I remember was one day I was thinking about my parents and feeling a little bit lonely, a little empty and decided to go for a drive. So I decided to drive out to my grandmother's house in San Pedro, which is about a 45 minute drive from where I live. I just wanted to reminisce, to re-explore the surroundings where I would go when I was a child. The liquor store I would walk to to get a Lipton Ice Tea and a bag of Frito’s, to the bakery where I swore all the cookies didn’t have sugar in them and then I drove over to Ports O’Call Village. As soon as I started to walk around I came across a stage with some Mariachis playing and it just hit me, I felt like I was home, I was with family. Over the next 5 years, whenever I could, I started going out there on the weekends. Getting reacquainted with the village and the locals. To shoot everything I wanted to remember.

View the collection at https://obscura.io/curated/deanna-templeton

Eye:
June 6, 2014

City:
“You ask too many questions!”

An expression I heard all too often when I was a child. My curiosity and eagerness to absorb the world around me seemed to annoy the adults in my life. Perhaps they were right, and I was indeed annoying. But the thing is that curiosity never left me, and still today I’m left with more questions than answers when I look around.

My camera has become the repository of the questions, riddles, and enigmas of my life. My photographs are an estuary where thoughts meet observations in the quest for answers. The city, the streets, and the people are my richest source of wisdom. Strangers’ stories enter through my lens and jump-start my neural network into overdrive.

Occasionally, I open the valve and release them back into the world to relieve the pressure they build in my mind.

View the collection at https://foundation.app/collection/ozrcity

SK876 is a collection of 55 1/1 black and white images celebrating the small yet ever-growing skateboarding community outside of Kingston, Jamaica. Skateboarding is small in Jamaica. The pioneers of the sport on the island, known collectively as SK876 (a mash-up of "skate" and Jamaica's area code 876) have built it up from scratch, skating primarily in "The Gully" - a now defunct water drainage line leading from the mountains to the ocean. They built transitions, obstacles, and flat bars of concrete and used their DIY skatepark as a training ground for the future skaters of Jamaica. This collection is my attempt to honor what they have built. 50% of primary sales will be donated directly upon sell-out to the Freedom Skatepark Foundation, a non-profit organization operating in Bull Bay, Jamaica to encourage the growth of the sport. 20% of secondary royalties will be donated in perpetuity to ensure continued support for the community.

View the collection at https://opensea.io/collection/sk876

Images from an ongoing series with legendary hip-hop jeweler Johnny Dang. The Cuban link is one of the most iconic and legendary styles of chains. Pictured in this NFT there are 1.5 million dollars in diamonds, gold, and silver.

View more of Robert’s work at https://foundation.app/@robertleblanc

Lowriders and slabs on the northside, Houston, TX.

View more of the collection at https://foundation.app/collection/hou.

In the tropical region of Los Yungas in Bolivia, surrounded by coca plantations, Cristina De Middel has encountered the story of a King. His name is Julio Pinedo. Julio is a descendant of prince Uchicho, the King of the Kikongo tribe that arrived from the Congo in 1820. This collection will document the daily life of a quite unusual king, recognizing his legacy and the oral tradition that remains after 3 generations. The story will show how this legacy plays out within the the current problematic coca industry in the country, which is still one of Bolivia's biggest agricultural productions.

View the collection at https://obscura.io/curated/cristina-de-middel

This work is an ode, a love letter to the often overlooked rural towns south of Buenos Aires.

“These towns look like aerolites, pieces of inhabited stars that have fallen in the field. Upon arrival it could be said that we re-entered the town that we have just left behind, and that the trip was an illusion.”

Ezequiel Martinez Estrada, “X-Ray of the Pampas”, 1933

View the collection at https://obscura.io/magnum/alessandra-sanguinetti

Assembly presents Dog Days, Bogotá, by award-winning Magnum photographer, Alec Soth. Rendered in his iconic style merging a documentary approach with a poetic sensibility, this project, one of his most personal to date, was made in Colombia during the adoption process of his daughter. In a book filled with letters, photos, and poems, he found a note his daughter’s birth mother wrote to her: “I hope that the hardness of the world will not hurt your sensitivity. When I think about you I hope that your life is full of beautiful things." These words became Soth’s mission statement as he set out to make his own book of the city of her birth describing the beauty found in a hard place. One of his earliest projects, it is minted here as his genesis NFT collection. Soth is one of the most celebrated American photographers and his work is in the collections of major museums worldwide including MoMA, The Whitney Museum of American Art, and the LA County Museum of Art.

View the collection at https://opensea.io/collection/dog-days-bogota-by-alec-soth

Future Cities #9: Construction along Ring Road; Maryouteya, Cairo

This photograph is from my Future Cities project about informal urban development in the world's cities. These photographs were made between 2010 and 2015.

The once vibrant and green farmland along the Nile river in Cairo has been rapidly taken over by red brick urban settlements. The unplanned construction boom increased in the power vacuum left behind after the 2011 revolution. In the absence of government support or subsidies, many farmers sold or developed their land, leaving small farming villages transformed into dense urban areas.

View the collection at https://foundation.app/collection/nafc

Santa Catarina, N.L. Mexico, 2005-2010. This image is part of a 5-year project called Suburbia Mexicana. I wanted to document the rapidly changing landscape around my home city of Monterrey. Thousands of these little houses were being built and sold through government subsidies creating a housing bubble that lasted 12 years. In the end entire suburbs were abandoned and many became areas of extreme violence, where the drug war was fought for years. Others flourished and became the dream of homeownership the government forcefully pushed on Mexicans for years. These are the homes of The Carpoolers.

View the collection at https://foundation.app/collection/acfc

Muralla Roja. Calpe (Alicante), Spain.
Designed by Ricardo Bofill.
Photo from December 2016.

View the collection at https://foundation.app/collection/murallaroja

Assembly presents Range: Of Swiss Fort Knox by Penelope Umbrico. Building on her Range series, this collection was made specifically for the blockchain and focuses on Swiss Fort Knox, an underground data center in the Swiss Alps that provides "long-term access to our digital cultural and scientific assets." After sourcing internet images tagged “Swiss Fort Knox,” she photographs the images on the screen with her iPhone, processing them through the camera app filters that simulate “mistakes” of analogue photography. Hallucinogenic colors blend with disorienting effects of the device’s gravity sensor to dislodge any perception of stability in the mountain, the data center, and the photographic medium. The data center (a contemporary cultural repository) melds with the supposed stability of the mountain range (one of the oldest sites of spiritual contemplation) and is destabilized through the generative changes of each iteration, yet now remains fixed in time through the blockchain.

View the collection at https://opensea.io/collection/penelopeumbrico-range

Brooklyn, New York
08.23.2015

Magnification is a photographic series exploring how willing humans are to distort their own image at the spontaneous request of a stranger. The ongoing project began in 2015.

View the collection at https://foundation.app/collection/magnx

The August Sander 10K Collection

In a groundbreaking partnership between Fellowship and the August Sander estate, we are proud to announce the first ever 10k photography project. The August Sander 10k collection marks a milestone in the both the brief histories of NFTs, and the long histories of photographic distribution as being the first NFT collection comprised of the entirety of a photographer’s estate.

Each NFT in this collection represents more than simple ownership of an image. They provide the keys to a century’s worth of knowledge carefully preserved and maintained by the photographer’s family. These are not just photographs, but codexes of information that include annotations and metadata, an accumulated knowledge that infers that pictures are not simply things to look at, but things to know. Over time, additional attributes will be included in the metadata of this collection. These NFTs will function as a living and active archive preserved for continued scholarship, appreciation, and windows into the eyes of a man who sought to preserve the truth about the world he knew.

By becoming a collector of these NFTs, you also become a steward of August Sander’s legacy, and it will be not only his family through which Sander’s work lives on, but through all of us. 

Learn more about the project and the legacy of August Sander: http://10k.fellowship.photo

Philippe Halsman had a wild creative streak that he explored over 37 years with his friend Salvador Dali, which resulted in iconic portraits of the artist, as well as images which have transcended the realm of photography and become recognized world wide. This Dali file is from the 1954 sitting for the book Dali's Mustache -A Photographic Interview, where Halsman asked a question on one page, and Dali answered it on the next page in the photograph. The question “Why do you wear a mustache?” has a two part answer. The first answer is “In order to pass unobserved.” with a photograph of an invisible Dali holding his visible mustache. On the next page Halsman says: “As usual, I don’t follow you. What do you mean?” and the following page shows the photograph of a tightly cropped photo of Dali’s face where his mustache tips cross infant of his eyes, with the caption: “Like two erect sentries, my mustache defends the entrance to my real self.” This iconic photograph of Dali has appeared on and in countless books, and inspired the masks in TV series “Money Heist.” In the file we discover the 4x5 contact sheet with the red china pencil showing Halsman's tight crop marks.

Photographed between 2010 and 2014, The Last Stand reflects the histories and stories of military conflict and the memories held in the landscape. The series is made up of 86 images, documenting some of the physical remnants of the Second World War on the coastlines of the British Isles and Northern Europe. Working with a large format camera, over four years 23,000 miles were travelled to 143 locations along the coastlines of the UK, Northern & Western France, Denmark, Belgium and Norway.

Sainte-Marguerite-sur-Mer, Upper Normandy, France. 2012

On 19 August 1942, on the beach of Sainte-Marguerite-sur-Mer, a group from No 4 Commando under the command of Lord Lovat, landed with a mission to assault and destroy the German Hess battery above Varengeville, which could fire on the beach of Dieppe. After the raid, the German coastal defences were strengthened. The monolith on the shingle beach was part of a blockhouse that originally stood on the cliff.

View the collection at https://foundation.app/collection/tls

Under a temporary guise, swiftly vanishing instants become tangible.

New York City, c. 2021

View the collection at https://foundation.app/collection/temporary

Every Downturn has an upside. The best things in life seem to be that way. This collection is experimentally priced on the downturn, decreasing to a virtual giveaway at 0.001 ETH ($4) - perhaps a reflection on the path of an artist. Please support this collection, it's not about the money, it's personal.

View the collection at https://opensea.io/collection/downturn

I created this body of work in 2015 as Cuba was on the verge of immense change and in an extraordinary spot between old and new. Over the course of two trips and six weeks I was able to capture my own interpretations of a country and its people on the brink of a historical transition. I embedded myself in the Centro Habana area outside of the main tourist spots and established relationships with mostly working class locals and explored their community identity within the greater context of the country as a whole.

View the collection at https://opensea.io/collection/hundocubanos

AFTER HOURS tells the story of a sensation or feeling that comes to a person after regular operating hours, such as peacefulness, heartbreak, serenity, or regret.

On the ground, light has faded now and objects become hard to distinguish from the background or each other. They seem more like silhouettes. Your color-vision gives way to shades of tungsten as there is no longer enough light for your eyes to differ between detailed color schemes. The horizon is still visible while the sun sets 12 degrees below.

Once every 24 hours you are given a short time frame to capture Nautical Twilight and the scene you have pictured in your mind. The imagery is so beautiful yet haunting -- filled with love and devastation.

View the collection at https://opensea.io/collection/afterhourscollection

The bubble is brief and spectacular lasting only seconds. Their magic and mystery slows time. Its a fragile floating luminous nebula that embodies the quintessential impermanence of life. Its bursting is a reminder that the most captivating phenomena are only a blip in the universe. Each title is a timestamp that represents the minute of its entire existence in Pacific Standard Time. The seeming whimsy of each image encapsulates the bubble's enigmatic lifespan, from birth to death.

View this collection and the entirety of ‘The World Today’ at https://twt.obscura.io/

SOURCE | Behold The Ocean Collectibles

4444 unique NFT photography collectibles with rarity traits

Deinstitutionalizing, depoliticizing, and decentralizing how environmental research is being funded, accomplished, and accessed.

This NFT photography project will fund a scientific expedition to Cape Horn to contribute to climate research with local oceanographers from Patagonia.

Collect a piece of blockchain history.

View the project at https://beholdtheocean.com/

GM Sunshine is a generative photography collection. Using procedural editing, these 98 photographs are derived from a single abstract image of the sun.

Drawn to sunrises and sunsets people share a common need to experience and photograph them. These remarkable events are experienced uniquely each day. During the pandemic, the daily cycle of the sun kept repeating as I lost track of time. I became inspired to document the sun and its singularity expressed in multiples. These moments are so fleeting and unique each day, they remind us of something bigger than ourselves. The sunset, a symbol of an end is followed by a new beginning, its sunrise. What started as a personal body of work reflecting on a deeper connection to the sun turned into a project nodding to the NFT community and the early innovators within. GM, the future is bright.

In honor of the beloved GMs and my late grandmother, Sunshine.

View the collection at https://opensea.io/collection/cardelucci-gm-sunshine