South Korean photographer Myoung Ho Lee does something rather simple—and
rather similar to the working process of the late legend Richard Avedon: He
separates his subjects from their environments by way of a simple yet formal
backdrop. Difference here, of course, is that Lee's subjects are full-blown, fullgrown
trees, and his 60-by-45-foot canvases form merely part of the photographs
rather than filling up the frames. (The backdrops are erected with cranes, ropes,
and bars by a production crew—Lee edits out the extraneous supports with
digital retouching, creating a floating canvas at the center of each image.) The
result is a rather surprising redefinition of the nature of a portrait, the nature of a
landscape, and the nature of, well, nature itself
South Korean photographer Myoung Ho Lee does something rather simple—andrather similar to the working process of the late legend Richard Avedon: Heseparates his subjects from their environments by way of a simple yet formalbackdrop. Difference here, of course, is that Lee's subjects are full-blown, fullgrowntrees, and his 60-by-45-foot canvases form merely part of the photographsrather than filling up the frames. (The backdrops are erected with cranes, ropes,and bars by a production crew—Lee edits out the extraneous supports withdigital retouching, creating a floating canvas at the center of each image.) Theresult is a rather surprising redefinition of the nature of a portrait, the nature of alandscape, and the nature of, well, nature itself
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