Diana Markozashvili

I found these really deep images by Diana Markozashvili on lens culture. https://www.lensculture.com/editors_pick?modal=true&modal_type=project&modal_project_id=20868

Helen Sear

Throughout her career Helen Sear has worked on ideas and notions of obscuring the view, her series 'beyond the view' is a good example http://klompching.com/helensear/beyondtheview/btvthumb.htm , deconstructing images and re configuring them into new forms of images. It seems to me that she works within the same kind of practice as a fine artist does making, viewing, changing, adapting etc an image is 'made' rather than being there in the first place. This is from a 2011 series entitled Sightlines and you can see more at http://helensear.com/Sightlines-2011

Odette England

Odette England made this series of images in 2012 this one is entitled Dad #4 (left foot) from a series called Thrice upon a time . The title might give you and indication as to how they were made. Odette grew upon a diary farm in Australia which her parents were forced to sell in 1989. In 2005 she revised the farm and took photographs of places her parents had photographed her and places which were significant to her. In 2010 her parents visited the farm every month, on each occation they wore the negatives from 2005 on there feet, the results can be seen at http://www.odetteengland.com/category/image-galleries/projects/thrice-upon-time The passage of time and feeling that evokes are not always easily expressed; especially in photography which can appear to be very immediate. I know we all look at images of ourselves and our history but somehow this is more nostalgic rather than thoughtful. Odette Englands photographs remind us that our history is not always easily explained or understood by ourselves or others and that sometimes the only way of expressing this is in a physical way.

Finn Thrane

This comes from an Image by a photographer called Finn Thrane. I really like the idea of splitting imagery over two frame and printing them as one. I think this example is particularly good but you can see other examples some more engineered than others at https://www.lensculture.com/finn-thrane 

Lorena Guillén Vaschetti

These images all come from a series entitled Historia, memoria y silencios (unopened). They are photographs of Lorena's own family history, images taken by members of her Italian family on holiday's and trips. It's an interesting concept about how we save memorabilia, in particular imagery, there is often something slightly sacred about the image itself, even the ones we don't like. The necessity to hold on to these images seems to go beyond the facts of them. In the case of these images in brings into question what it is we want to see and what we don't, are we better remembering our rosy view of the past or having a 'warts and all' view of our family history. As images it also asks us to look beyond what is there and try and understand the sub text of what we are seeing, the two notions, our personal history and what we want to preserve, and the nature of imagery and looking beyond the actuality of the image  make the photographs more powerful. You can see more of the images at https://www.lensculture.com/articles/lorena-guillen-vaschetti-historia-memoria-y-silencios-unopened#slide-12 

Cristina de Middel

I came across these images by a photographer called Cristina de Middel on the Conscientious website. The work is based on images taken in China and the 'little red book' or Quotations From Chairman Mao Tse-Tung. The combination of the two elements as well as the interventions makes the work visually interesting and conceptually strong.