KONSTANTIN MAKARCHIKOV 2018

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THE MECHANICAL BULL

There are plenty of mechanical bull videos. Too many. If you start looking, you can spend hours watching people climb on, last a few seconds, get thrown off, and repeat the same scene again and again until everything starts to feel the same.
But every now and then, one stands out.

You don’t really know why, but this time you don’t scroll past. It doesn’t feel like just another video. It doesn’t drag. You don’t check how much time is left. You just stay.
There’s something about the scene that works. Something that hooks you. It could be the rhythm, the atmosphere, the way the camera moves, or that feeling that this time the show has a little extra spark compared to the usual.
And suddenly you find yourself doing what you don’t usually do with these videos: watching it all the way through.

Because sometimes nothing extraordinary needs to happen. All it takes is something — a detail, a presence, an attitude — that turns a scene you’ve seen a thousand times into something you just can’t look away from.



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Come along on this exciting story with a happy ending.

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THE EROTICISM OF PAUL GIGGLE

Paul Giggle, born in Surrey, United Kingdom, is a renowned photographer and film director. His work stands out for a deeply developed artistic sensitivity and a remarkable ability to create images that reflect a constant pursuit of perfection.

He began his career as a creative director in London and, in 1996, shifted his focus to fashion photography. Since 2005, he has been working in advertising direction, producing commercials and lifestyle films.
His ability to blend art, elegance, and sophistication has established him as a reference within the luxury world, defined by a refined and visually striking aesthetic.



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I Love You.

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HYDRAULIC PRESS

I’m sure you’ve seen some of those videos circulating on social media where a hydraulic press crushes all kinds of objects. It’s a very simple format, yet incredibly hypnotic: place something under the machine and let the tons of pressure do the rest. Figures made of plasticine, bowling balls, tennis balls, metal pieces, or pretty much anything that can offer a little resistance before finally giving in to the force of the press.

Part of the appeal of those videos lies in the curiosity. Watching how different materials react, how they deform, how they hold on for a few seconds before collapsing. There’s something almost addictive about seeing that exact moment when the pressure wins and the object finally gives up. It’s a mix of expectation, tension, and that small visual satisfaction of watching something transform under a force it simply can’t resist.

Well, today I bring you a variation of that same idea. A version that keeps the concept of putting different objects up against a crushing force, but with an approach that’s quite a bit more entertaining than a standard industrial machine. Because sometimes you don’t need steel structures or tons of pressure to get the same effect… sometimes it’s enough to do it with a little more style, a hint of mischief, and a result that’s definitely a lot more fun to watch.



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Very hungry.

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THE INSTAGRAM OF THE DAY: REBECCAMCLEOD

Rebecca McLeod
Full time beach gal
Australia



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The next round is on the house.

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RANDOM AI-GENERATED IMAGES VOL31

There was a time, not that long ago, when images generated by artificial intelligence had something unsettling about them. Not because of what they showed, but because of how they did it. Faces that looked fine until you stared a second longer, hands that didn’t quite fit, skin that felt too smooth, empty gazes, expressions frozen somewhere between human and artificial. They were interesting, sure, but it was obvious you were looking at tests, experiments, attempts at something that was still under construction.

If you go back through the early entries of this series, you’ll see exactly that. It’s not just a collection of images; it’s almost a small timeline of how the technology has evolved right in front of us. Without really meaning to, these galleries have ended up working as a pretty clear record of how far AI has jumped in a short time.




Because what we have now is something different. The lighting no longer looks painted on, bodies feel coherent, gestures look natural, and scenes are starting to carry a real photographic feel that would have been hard to imagine just a couple of years ago. Where there used to be experimentation, now there’s intention. Where you used to see the trick, now you have to look for it.

In that sense, this series has become something more than just a compilation of suggestive images. It has turned, almost by accident, into a way of measuring technological time. If someone wants to see how much AI image generation has changed, there’s no need to look up reports or comparisons — just check the first entries and compare them with today’s.

And the interesting part is that this doesn’t seem to have hit a ceiling yet. If the jump over the last two years has been like this, what comes next could reshape how we understand photography, visual creation, and everything that used to depend on a camera and someone standing in front of it.
For now, the only certain thing is that the evolution keeps moving forward, entry by entry. And this one is simply number 31.



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That’s why it’s always important to wear a helmet on site.

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THE TELEMARKETER

One of the things most of us hate the most are those phone calls where someone tries to sell you something. It doesn’t matter if it’s insurance, switching your phone provider, moving you to another electric company, or any other service that, somehow, always arrives “right now” with a supposedly unbeatable offer.

The problem isn’t just the call itself — it’s the timing. They always seem to catch you working, cooking, driving, or simply trying to enjoy a bit of peace and quiet. You see an unknown number, hesitate for a second… and the moment you answer, you already know you’ve walked into it.

Some people have it clear and hang up instantly. Zero guilt. But then there’s the other group: the ones who stay. The ones who, out of politeness, habit, or because they feel bad cutting someone off, remain on the line trying to dodge the conversation however they can. One-word replies, saying they’re not interested, that they already have service, that they’ll look into it later… anything just to escape without sounding rude.

And that’s when the small absurd duel begins: the operator following the script, and you trying to find a way out without making it obvious you’re fleeing. A conversation nobody enjoys, that neither side really wants, yet somehow it always lasts longer than it should.

Next time it happens, think about this post, about these photos, and maybe the conversation suddenly feels a bit more entertaining.



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Now I get why they take so long to show up when you call them.

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