Image of the day: ‘Borderlands’

Chris Linder’s photograph of a sagauro cactus, icon of the Sonoran desert, is part of the 13-person show “Borderlands,” which opens tomorrow at the G2 Gallery in Venice, California.

Sponsored by the International League of Conservation Photographers, the exhibit documents life along the fence dividing Mexico and the United States.

“Borderlands” runs until February 7, 2010. Click on the image to be taken to the gallery.

Image of the Day: ‘Southwest’

“Southwest,” a show with photographs by Kate Dennis, Sandra Lee, David Pettit and Lynne Pomeranz, opens tomorrow at the G2 Gallery in Venice and runs through January 3rd.

Image of the day: Beautiful Blighty

IT’S not surprising that more than half of the winning images in the Guardian newspaper’s UK-wide landscape photography competition involved water. Another name for the place is the British Isles. What is striking is a creeping urban edge in a normally pastoral style of photography. While the winner featuring sunrise over the Isle of Skye was a lyrical ideal, this image by John Parminter, “Food for thought,” finds beauty and horror in its image of an abandoned shopping cart in the harbor of Aberdeen in northeastern Scotland.

For the full series, click here. The images will be on exhibit at London’s National Theatre after December 5th.

Western eye

"Storm over the Green River" taken in Canyonlands National Park, Utah. Photograph: Robert Turner. Image courtesy of the artist. All rights reserved.

ONE of the first things that people ask photographer Robert Turner on seeing “Storm over the Green River” is if it’s a painting or if it’s been photo-shopped to look like a painting.

“It’s absolutely a straight photograph,” he laughs. “I think there are several reasons it looks like a classic 19th century Thomas Moran landscape,” he says. “It was taken just before sunset during a storm.  That clouding effect in the background is caused by rain. And it’s a five-second exposure, so it has a gauzy look to it.”

The composition also has much to do with the painterly quality, he thinks. “It has a very strong diagonal and a sort of implied diagonal going the other way, so it leads your eye way, way back in