Fotografering og fotografier

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The approximately 240 photographs within this monograph were made between 1979 and 1989 in the Lancashire town of Blackburn. They capture the essence of the town during this turbulent period, showing Blackburn's industrial heritage, its diverse population and its resilience in the face of change. The photographs also explore themes such as ethnicity, the local economy, labour relations, privatisation, unemployment, recreation, entertainment, politics, landscape and urban regeneration. The book is enriched with personal stories and anecdotes from many of the subjects of the photographs, providing a unique and intimate glimpse into life in Blackburn in the 1980s. As a disabled photographer, Christopher's identity and work are inseparable. His photographs reflect his unique perspective on Blackburn and its people. From the outset, he intended to create an intimate and personal interpretation, as a disabled artist, rather than a sanitised tourist guide. It would be a chronicle of the effects of the political and social climate of the time on Blackburn and Christopher's journey through it.The first phase of the project, from 1979 to 1985, produced a series of photographs that formed a touring exhibition funded by the North West Arts Council and Blackburn Borough Council. The exhibition, titled "Blackburn: A Town and Its People," opened at the Lewis Textile Museum in Blackburn in 1985. It was opened by Jack Straw, a former government minister and Blackburn's constituency MP, and toured various venues throughout the UK.Christopher continued to photograph Blackburn until 1989, when he left town to attend university. This work, spanning a decade, formed a consistent study of Blackburn. Christopher stored the negatives for the next few decades, but always longed to return to them. In 2015, he embarked on a mission to digitise, restore and archive the original negatives. Over the years, he had lost the names of some of the subjects in the photographs, and he was determined to rectify that. Christopher took to social media to do just that. The response was overwhelming. Many people had never seen the photographs before, and Christopher was able to give them digital copies as keepsakes. In some cases, the photograph was the only one they had of a deceased loved one. Some people were kind enough to contribute a short paragraph of text to accompany their image in the book. This adds a deeply personal touch to the finished work.

The Journey Continues... BECOMING UNTIL is Marjorie J. Levine's latest collection of poetry and is a bookend to her critically acclaimed debut poetry book, ROAD TRIPS. The bends in the road as life advances become mercurial passages and the moment comes when a life lived as one young with limitless possibilities becomes, just like that, an existence that settles into an almost tapered old age with many decades that recede into a personal past. In this collection of poems, the author creates a vision of her autumn years as defined by a time when she has been left behind but is slowly evolving and becoming until the time she joins again all the many in her journey who have fallen away. The anthology is structured into three distinct sections: HAIKUS, STREET POEMS, and MAGICAL THINKING, and culminates with her concluding piece, THE BEND IN THE HIGHWAY. A SIDE GLANCE Yesterday is still Inside me like a new view I hold on tightly.

Are you ready to take your iPhone photography skills to the next level and impress your friends and family with incredible photos? Are you thinking about selling your photos online, or becoming an Instagram influencer, and earning money with your images? Look no further! My book is designed to teach you how to master the art of taking amazing photos using just your iPhone camera. Your iPhone camera is more than just a camera. It's a tool to create digital memories! I will guide you through the various features and settings of the iPhone camera, and teach you how to capture beautiful and professional-looking photos. From composition and lighting to editing and post-processing, using built-in apps and iPhone camera tools, you'll learn everything you need to know to take your iPhone photography to the next level. This book is for everyone who wants to improve their photography skills, whether you're a complete beginner or an experienced photographer. Don't miss this unique opportunity to master the art of iPhone photography:Learn how to shoot stunning portraits!Understand the various features and settings of your iPhone camera and how to use them to capture breathtaking photos!Learn how composition, lighting, editing, and post-processing techniques can take your photography to the next level.Get access to a selection of the best videos that will explain the hidden features of your iPhone camera!Find out where to sell your photos and create a professional portfolio.Detailed and easy-to-understand instructions and explanations..Discover how to create incredible videos with your iPhone camera!And much much more!This is your ultimate guide to mastering the art of capturing stunning and professional-looking photos using just your iPhone camera.My book covers everything you need to know, from understanding the various features of the iPhone camera to learning about composition, lighting, editing, and post-processing techniques.Don't miss this opportunity to become an iPhone artist, and get your copy today!

Die Fotografin Dagmar Morath wurde 1962 in Südbaden geboren. Nach ihrer Ausbildung zog es sie nach Berlin. Von stillen Reiseberichten über verspielte Serien bis hin zu ausdruckstarken Porträts von Journalistinnen, Künstlerinnen und Wissenschaftlern - Dagmar Moraths Portfolio zeichnet sich durch eine sehr persönliche Bildsprache und Ausdrucksweise aus. Gekonnt spielt sie mit Schärfen und Unschärfen und schafft so einen Raum, in dem die Gedanken der Betrachter wandern können. Mit ihren Bildern, denen oft etwas Geheimnisvolles und nicht Greifbares anhaftet, erzählt sie Geschichten über Menschen, Dinge und Beziehungen. Dabei hat sie stets das Schöne im Blick und trägt mit ihren Arbeiten die Poesie in die Welt.Die Publikation erscheint in der dreisprachigen Taschenbuchreihe "Fotografin/Photographer/Photographe", die das vielseitige Werk unterschiedlicher Frauen hinter der Kamera vorstellt.

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Das Buch, das zugleich als Dokumentation der gleichnamigen Ausstellungspräsentation im Haus Mödrath dient, präsentiert frühe Arbeiten aus der Privatsammlung Wilhelm Otto Nachf. Gezeigt werden vor allem Werke solcher Künstlerinnen und Künstler, die in den späten 1980er- und frühen 1990er-Jahren im Rheinland arbeiteten, als Köln neben New York das weltweite Zentrum der zeitgenössischen Kunst war.Über die Jahre formte sich bis heute eine Sammlung, die einen subjektiven Einblick in die damalige Kölner Kunstlandschaft liefert und erstmalig in dieser Form in Haus Mödrath zu sehen ist.Ergänzt werden Ausstellung und Katalog um Künstler und Kunstwerke, die sich diesem Kölner Zeitabschnitt unmittelbar anschlossen und einen wichtigen Schwerpunkt der heutigen Sammlung bilden.Mit Arbeiten von: Albert Oehlen, Andreas Schulze, Anna und Bernhard Blume, Antony Gormley, Blalla W. Hallmann, Christopher Wool, Fischli/Weiss, Georg Herold, Gregor Schneider, Günther Förg, Hiroshi Sugimoto, Isa Genzken, Jochen Lempert, John Bock, Joseph Beuys, Jürgen Klauke, Kai Althoff, Katharina Sieverding, Marcel Odenbach, Peter Duka, Rob Scholte, Roman Signer, Rosemarie Trockel, Siegfried Anzinger, Sigmar Polke, Thomas Zipp, Walter Dahn

Marc Hom zeigt seine Werke im Fenimore Museum in Copperstown (New York) fernab von Galerie-Gewohnheiten: im Innenraum und in der Natur, erst intim und kleinformatiger, dann überlebensgroß draußen in beweglichen Rahmen, dem Wind, Sonne und Schatten unterworfenDas Buch begleitet diese neue Art der Fotopräsentation von Beginn bis zur FertigstellungAusführung und Wirkung dieses im Buch dokumentierten Ausstellungskonzept erweitern die Sehgewohnheiten des Betrachters von Fotografie

This book by Swiss artist Séverin Guelpa presents a decade of innovative artistic engagement on several continents. Structured around three- to four-weeks immersions and exhibitions, the MATZA artistic manifesto he founded in 2014 transcends borders, exploring extreme natural and urban territories around the world. Founded on the conviction that artists are crucial players in understanding contemporary challenges, MATZA tackles environmental, social and political issues in equal measure, stimulating the idea of a collective intelligence built up over the course of projects, between artists, scientists and local residents.In almost 10 years, MATZA has taken on nine sites on 4 continents, from the Mojave desert (USA) to the Swiss glaciers, each time bringing together communities of artists and scientists. Projects such as MATZA Amboy, MATZA Aletsch and MATZA Kerkennah have explored crucial issues such as drought, melting glaciers and the depletion of marine resources. MATZA never simply observes; it immerses itself physically and collectively, seeking to radically rethink our relationship with nature, with each other and with the world around us. The matze, taken from a vernacular tradition in the Upper THE DESERT, THE GLACIER AND THE SUPERSTRUCTURE MATZA, 10 years of field research, experimentation and collective art investigation.Valais (Switzerland), symbolizes communal and democratic commitment. Echoing this tradition, MATZA emerges as a contemporary response to urgent social change. Séverin Guelpa's artistic exploration is rooted in a desire to rethink ways of living together, reflecting the aspirations of a society in the throes of change. The project began in Amboy, California, where Guelpa is carrying out the initial stages of the project. After several stages on glaciers, MATZA expanded its scope to urban contexts such as Meyrin and Lausanne in Switzerland, as well as international metropolises like Medellín and Cúcuta in Colombia. In partnership with the Edgelands Institute, MATZA has been looking at the complex dynamics of urban centers since 2022, now exploring the implications of digitization and security on the social contract between city dwellers.The book THE DESERT, THE GLACIER AND THE SUPERSTRUCTURE retraces in images the three major stages of the project carried out between the Mojave Desert in the USA, the Aletsch Glacier in the Swiss Alps and three urban construction sites between 2014 and 2021. The book places great emphasis on the images, whose graphic treatment and choice of paper on which they are printed are adapted to each stage. The three parts of the book are each accompanied by a text by Guelpa and punctuated by contributions from curators, experts and critics who have accompanied the artist throughout his work. They include artist and researcher Mathilde Chenin (FR), curators Bill Fox (USA), Olivier Kaeser (CH), Simon Lamunière (CH) and Dorothea Strauss (CH), art historian and architectural critic Marc Frochaux and university professor and sustainability specialist Marco Janssen (USA).

Die Vujicic-Sammlung stellt einen kontinuierlichen Prozess der Entdeckung visueller Kunstpraktiken in Kroatien und anderen Ländern der Region von den 1950er Jahren bis heute dar mit dem Ziel, einen dauerhaften Dialog zwischen Künstlern, Kuratoren, Institutionen und Privatsammlern herzustellen. Dieses Buch "To Live a Quiet Life" kann als Diskussion über eine Kunstsammlung mit Sitz in Zagreb verstanden werden, die sich weitgehend auf Werke, Praktiken und Bewegungen konzentriert, die ihren Ursprung in Kroatien und anderen Ländern der Welt haben ehemaliges Jugoslawien in der Zeit nach dem Zweiten Weltkrieg. Darüber hinaus muss es aber auch als der persönliche, aber dennoch bemerkenswert präzise Blick eines Einzelnen auf die Entwicklung künstlerischer Ideen verstanden werden, die auf internationaler Ebene längst einen Raum für kritische Reflexion von Kunst, Gesellschaft und Alltag geschaffen haben.

Anfang 2014 schenkte mir mein Vater eine Polaroid-Kamera, die schon seit Jahren ungenutzt in seinem Büro herumlag und eigentlich weggeworfen werden sollte. Die Polaroid Macro 5 war ursprünglich für die Zahn- und Tatortfotografie gedacht, aber meine eigene Verwendung für das klobige Gerät war zunächst unklar. Im Laufe der nächsten Monate kristallisierte sich durch Experimentieren und Ausprobieren nach und nach eine mögliche Verwendung heraus. Die Kamera erwies sich schnell als fähig, ein Gefühl einzufangen, das in einigen meiner (damals) früheren Bilder vorhanden war, die ich am meisten mochte, die ich aber nicht ohne weiteres nachstellen konnte. Die früheren Bilder hielten gewöhnliche Materialien oder Motive fest, aber die Bilder wirkten schwer fassbar und abstrakt - verwandelt durch die Inszenierung, den Rahmen und den Prozess des Fotografierens.

Matthias Leupold erinnert sich in seinen szenischen Fotografien an seine Ost-Berliner Kindheit und Jugend in den sechziger bis achtziger Jahren unter den Bedingungen der Diktatur in der DDR und stellt die Kamera »in den toten Winkel jener Epoche«, wie Karl Corino seine Arbeitsweise 1995 treffend beschrieb.Das Tragen von Uniformen - die der Pioniere, der Freien Deutschen Jugend, der paramili­tärischen Gesellschaft für Sport und Technik und schließlich der Nationalen Volksarmee - war für Leupolds Generation eine Selbstverständlichkeit. Die DDR-Nomenklatura versuchte durch die Kinder- und Jugendorganisationen sowie durch ständige Propaganda von Beginn an das Denken und Handeln ihrer jungen Bürger zu prägen.Der »Titel Aus dem Gruppenbuch der Christiane P.« spielt u.a. auf das Aufgehen des Indi­viduums in der Gruppe an. Wer sich nicht unterordnete, wurde vom System ausgespien: sei es die fallengelassene Goldmedaillengewinnerin oder sei es Matthias Leupold selbst, der 1982 wegen Nichtanzeige der Republikflucht eines Freundes in der Zentralen Untersuchungshaftanstalt des Ministeriums für Staatssicherheit der DDR in Hohenschönhausen einsaß. Hier erlebte er die Entpersonalisierung als systematisches Mittel der Unterdrückung Andersdenkender.Mit einem Text von Matthias Flügge.

Mittels komplexer fotografischer Experimente in der Dunkelkammer untersucht Marta Djourina (geb. 1991 in Sofia, Bulgarien; lebt und arbeitet in Berlin) das Wesen des Lichts und die Wechselwirkungen zwischen Sinneswahrnehmungen, Naturphänomenen, Körper und Information. So hat sie ein hybrides Genre entwickelt, das sie als "Filtergramm" oder auch "Blindmalerei" bezeichnet. Ihre performativen und zugleich poetischen Gesten beim Ausloten der Möglichkeiten analoger Fotografie lassen leuchtende, farbintensive Kompositionen entstehen. Djourina bearbeitet das lichtempfindliche Fotopapier auf mannigfaltige Weisen und setzt es äußeren Gegebenheiten aus. So verschickte sie zum Beispiel Lochkameras per Post, im Koffer oder mit einer Brieftaube. Ob mit der Kraft der Sonne, punktuellen Lichtkörpern, biolumineszierenden Organismen wie Algen und Pilzen oder historischen Techniken wie der Kirlianfotografie - Djourinas Suche nach außergewöhnlichen Lichtphänomenen ist unerschöpflich. Dies spiegelt sich auch in der Materialität der Publikation wider, deren Cover mit nachleuchtender Farbe gestaltet ist. Foxfire bietet erstmals einen umfassenden Überblick über Marta Djourinas Schaffen. Essays von Dr. Sarah Frost, Miriam Jesske, Gregory Volk und Babette Werner führen in die Werkserien ein und zeichnen die zahlreichen Arbeitsprozesse nach.    Languages of Light Marta Djourina (b. Sofia, Bulgaria, 1991; lives and works in Berlin) conducts complex photographic experiments in the darkroom to investigate the nature of light and the interactions between sense perceptions, natural phenomena, the body, and visual information. She has developed a hybrid genre she calls "filtergram" or "blind painting." Both performative and poetic, the gestures with which she probes the potentials of analog photography engender luminous and intensely colorful compositions. Djourina manipulates the light-sensitive photographic paper in manifold ways and exposes it to external factors. For example, she has shipped pinhole cameras in the mail, in a suitcase, or pinned to a carrier pigeon. Whether she harnesses the power of the sun, point-shaped light sources, bioluminescent organisms like algae and fungi, or historic techniques like Kirlian photography-Djourina is indefatigable in her quest for extraordinary light phenomena. The book reflects her way of working in its physical facture; the cover was designed with phosphorescent pigments. Foxfire is the first publication to offer a comprehensive overview of Marta Djourina's art. Essays by Dr. Sarah Frost, Miriam Jesske, Gregory Volk, and Babette Werner provide introductions to the series and analyze the artist's creative processes.

Inuuteq Storch har de seneste år markeret sig som en lysende stjerne på den internationale fotoscene. Ikke mindst med hans udtagelse som repræsentant for Danmark til Venedig Biennalen, 2024. Storchs personlige, rørende og til tider syrede billeder dokumenterer den hverdag der eksisterer omkring ham og de mennesker der bevæger sig i den. Uanset om det er i New York, som i hans fotobog Flesh eller i hans hjemby Sisimiut, der er omdrejningspunktet for hans bog Keepers of the Ocean. En rød tråd i Storchs arbejde er hans ophav. Han arbejder for at skabe fortællinger fra et grønlandsk perspektiv og dermed bidrage til en større international forståelse for både fortidens og nutidens Grønland. Necromancer handler netop om det grønlandske samfund under corona-pandemien. Her giver Storch sit blik på de følgevirkninger og effekter en pandemi har på et samfund som det grønlandske. Billederne er ikke klassisk dokumentariske (og ikke nødvendigvis kun fra Grønland), men nærmere arbitrære nedslag i følelser og stemninger, der med en fortættethed og melankoli i høj grad synes forbundet med det spirituelle. Under bogens tilblivelse voksede Storchs interesse for åndemanere –deraf også titlen Necromancer (åndemaner) – og forbindelsen mellem den fysiske og de åndelige verdener. Samtidig tager billederne udgangspunkt i det post-apokalyptiske aspekt af en verdensomspændende pandemi, de uoverskuelige personlige konsekvenser heraf, samt følelsen af at være helt alene i verden. Bogen har – som alt Storchs arbejde – en klar poetisk åre, der inviterer læseren til at leve sig ind i Storchs rastløshed eller skabe egne fortolkninger ud fra billederne. Bogen cementerer Storch som en af sin generations vigtigste stemmer inden for kunstfotografiet og åbner op for en verden af mystik, relationer, isolation, savn, kærlighed og kompleksitet. Storchs unikke blik på sig selv og sine omgivelser gør bogen til en væsentlig fysisk manifestering af hans virke og skal medvirke til at sprede kendskabet om både Storch og den grønlandske kultur – set med grønlandske øjne.

Taken in winter and summer and with a text explaining the context and location, these photographs show the breathtaking Scottish landscapes in their true colours.

In Self-Portrait of a Painter, a Triptych Memoirs, journey through the fascinating life of a remarkable woman, born to an Irish mother and Jewish father in the vibrant, working-class neighbourhood of The Rocks in Sydney. From her roots in a Socialist household committed to social justice, she defies convention to become a celebrated portrait artist. This compelling biography traces her life's arc, from her formative years to her education at Art School, from marriage and motherhood to the realization of her artistic ambitions. She paints the faces of diverse subjects - some at odds with her own ideals - yet each becomes a fascinating character study etched onto canvas. As she finds love a second time, her world expands further through international travels, taking her to the esteemed art galleries of Europe. Immerse yourself in a story rich in art, social activism, and personal growth, a tribute to a woman who never wavers in her values while capturing the essence of others. Self-Portrait of a Painter, a Triptych Memoirs is not just an interesting read; it is an exploration of a life passionately lived.

"Through photography and creative nonfiction, we see Brooklyn, NY and Oakland, CA through new eyes-alongside the critical importance of everyday places"--

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Jim Wyman is the last full-time resident on a one-lane, dirt, dead-end road at the tip of a long peninsula in the middle of a very large lake in northern Vermont. He was born and raised in the foothills of the Longfellow Range of the Appalachian Mountains in western Maine. Never having lived more than 50 miles away from 45 degrees north latitude, he has grown to appreciate the texture of the woods, fields, and hills of Northern New England, and the myriad of colors-ranging from the cold black and white of winter to the light-filled prism of a hardwood forest in fall.In an effort to capture and share his mind's eye view of this beauty, Jim studied film photography and quickly realized he was allergic to darkroom chemicals. Then came digital photography. As a published poet, Jim admired the work of Ann Atwood and her gift for combining poetry with photography. It was then he began to experiment with the possibility of blending his poetry with his photography using digital photographic applications and techniques. His intention was to meld the visual impact of New England landscape photography with the mind's eye view-the poem. This book is the result of his efforts.

A deeply moving and brilliantly idiosyncratic visual book of days by the National Book Award-winning author of Just Kids and M Train. More than 365 images chart Smith's singular aesthetic - inspired by her wildly popular InstagramIn 2018, without any plan or agenda for what might happen next, Patti Smith posted her first Instagram photo: her hand with the simple message "Hello Everybody!" Known for shooting with her beloved Land Camera 250, Smith started posting images from her phone including portraits of her kids, her radiator, her boots, and her Abyssinian cat, Cairo. Followers felt an immediate affinity with these miniature windows into Smith's world, photographs of her daily coffee, the books she's reading, the graves of beloved heroes - William Blake, Dylan Thomas, Sylvia Plath, Simone Weil, Albert Camus. Over time, a coherent story of a life devoted to art took shape, and more than a million followers responded to Smith's unique aesthetic in images that chart her passions, devotions, obsessions, and whims. Original to this book are vintage photographs: anniversary pearls, a mother's keychain, and a husband's Mosrite guitar. Here, too, are never-before-seen photos of life on and off the road, train stations, obscure cafés, a notebook always nearby. In wide-ranging yet intimate daily notations, Smith shares dispatches from her travels around the world.With 365 photographs, taking you through a single year, A Book of Days is a new way to experience the expansive mind of the visionary poet, writer, and performer. Hopeful, elegiac, playful - and complete with an introduction by Smith that explores her documentary process - A Book of Days is a timeless offering for deeply uncertain times, an inspirational map of an artist's life.

The taste of Studio Jeppe Hein des Künstlerpaars Silke und Jeppe Hein ist kein typisches Kochbuch, ebenso wenig wie ein reines Kunstbuch. Neben Rezepten aus der Studio-Küche, gibt es einen exklusiven Einblick in das Atelier und die Kunst, die dort entsteht. Fotos von Kunstwerken, dem Studioleben und von Ausstellungsprojekten mischen sich mit Fotos von Zutaten, dem Dachgarten, der Küche und dem gemeinsamen Mittagessen. Die KünstlerInnen Sophie Kitching, Jose Dávila, Lilibeth Cuenca Rasmussen und Anselm Reyle realisierten jeweils ein eigenes Künstleressen. Der Autor und Philosoph Finn Janning trägt mit The Philosophy of the Saucepan bei. Das Buch illustriert Silke und Jeppe Heins große Leidenschaft für Kunst und Kochen und zeigt, welche wichtige Rolle das gemeinsame Essen in ihrem Leben und ihrer Arbeit spielt. Text: Siobhan Dammert, Jose Dávila & Santiago Moro, Catharina Förster, Silke & Jeppe Hein, Finn Janning, Sophie Kitching, Wiebke Petersen, Lilibeth Cuenca Rasmussen, Anselm Reyle, Ingo Tolkmitt, Selina Welke.

Starting from found thermal camera recordings, the filmmaker and artist Stefan Kruse (b. 1987) made his experimental, essayistic documentary film A Lack of Clarity (2020). This book, titled after the film, transposes Kruse's dream-like documentary from screen to page. The resequencing of film stills and subtitles presents an alternate view into the social control mechanisms and evolving digital technologies that face an expanding field of what is visible (and controllable) in the contemporary city. A Lack of Clarity, designed and edited in close collaboration with Kruse, includes 200+ stills from the film, as well as essays by Volker Pantenburg and Rémi Lauvin.

Between 1977 and 1990, Gundula Schulze Eldowy roamed East Berlin with her camera: her powerful,direct images capture the long post-war period in the socialist part of the city, the deep scars ofthe inferno that had engulfed Germany, and the old Berlin milieu with its one-of-a-kind individualsand people living on the fringes, who soon vanished from the face of the city after the fall of thewall. Schulze Eldowy trains her gaze on the existential aspects of life. She looks at the world witha rare combination of sensitivity and a lack of inhibition that is both touching and painful.The series of images that are being shown in Berlin on a Dog's Night constitute Schulze Eldowy'searly work. These are the pictures that brought her international recognition and now feature inimportant photographic collections. The book, which has long been out of print, is now beingreprinted in a new layout with over thirty additional photographs.Gundula Schulze Eldowy, b. 1954 in Erfurt, studied at the Academy of Fine Arts Leipzig (HGB) andbegan working as a freelance photographer in Berlin in 1984. In the period up until 1990, sheproduced the black-and-white works Berlin in einer Hundenacht, Arbeit, Aktporträts, Tamerlan,and the two colour cycles Der große und der kleine Schritt and Den letzten beißen die Hunde. In1990 she embarked on a series of journeys that took her to Egypt (1993-2000), Japan (1996 -97),and, from 2001 on, to Peru, Bolivia, and Ecuador. She lives in Berlin and Peru.