Harley Weir


Young elfin photographer, Harley Weir, has gone from self-taught photo enthusiast to successful fashion and music photographer in a matter of months. Currently studying fine art at St Martin’s and focusing on all things 4D, Harley has shot fashion stories for Vice Magazine and Spanish magazine METAL and worked on projects for Levi’s. Her art photography has also been published in Australian Vogue, Flux Magazine, Pig Magazine, Another Man Magazine and Urban Outfitter’s catalogue. She is currently working on her first photo book.






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Frédéric Fontenoy

Frédéric Fontenoy (1963) lives and works as profesional photographer in Paris, France.Since 1987 Frédérec Fontenoy's work has been shown on different expositions around the world.
With a great eye for detail in his storytelling black and white photographs Frédéric Fontenoy belongs at the top of erotic artists.
Frédéric Fontenoy’s chambre noire is his ‘place of freedom’, not just the photographer’s darkroom but the black wallpapered room within his home in Paris where he has been creating these seductive scenes since 2006. A battered brass bed… Grandfather’s rugs… A stool from a charity shop on which the charcoal paint is never quite dry… With the curtains closed on his neighbours, Fontenoy’s world evokes the pre-Marthe Richard Law brothel. Fashions in pubic hair aside, his models resemble the sporting-house girls of E.J. Bellocq, whose overt – and marketable – sexuality is not the only focus of the images that capture them.  








Jon Estwards

Eerie, great aesthetic photos from Canadian photographer Jon Estwards. The faceless, masked characters leave a feeling of unease, but also wanting more, and wanting to know the story behind each photo. They have a cinematic element to them. High eerie alert! High goodness alert! ALERT! More after the jump.

Jon Estwards is a photographer based out of Montreal, Canada. Estwards’ work is very different,  very abstract, but intriguing as hell. 

Jon Estwards (though his real name may in fact be Jon Edwards),  has taken the lo-fi aesthetic and achieved something genuinely arresting and magical. Sort of like Ryan Mcginley on mushrooms, Estwards’ images are veiled with layers of ambiguous double-exposure or other obfuscations, and his subjects are often lit by psychedelic slide projections or covered in a strange, felted ectoplasm.  It’s a consistently elusive and beguiling body of work that refers back to the early days of surrealist photography, but yet has the appearance of having arisen from no single decade.