The New Yorkerのインスタグラム(newyorkermag) - 4月9日 22時00分

The photographer Simen Johan gained notoriety in the 1990s for his creepy images of adolescents—doll-faced children and child-faced adults whose likenesses he stitched together using an unusual combination of darkroom techniques and early digital manipulation. For the images in his project “Until the Kingdom Comes,” he again made use of subtle digital manipulations, this time to push familiar wildlife imagery into the realm of the not quite real. Pictured here: “Untitled #181,” from 2015. Click the link in our bio to see more.

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