objectness is what sets photobooks apart from the small paperback novels that are now easily adapted to the Kindle and Nook. It is the tangible and the tactile that give the photobook its elevated status as an object to hold (and behold). In postwar Japanese photobooks, this objectness, with its highly attuned attention to every design, image and typographic detail, is the result of a well-regarded collaborative process between photographer and designer. During the 1960s, with the emergence of a distinctive Japanese visual style in design, theater, photography and film, collaborations with inventive designers such as Kohei Sugiura flourished. In both Martin Parr and Gerry Badger’s The Photobook: A History (Vol. I) and Ryuchi Kaneko and Ivan Vartanian’s Japanese Photobooks of the 1960s and ‘70s, significant space is allocated to discussions on the important role of the photographer / designer collaboration.’
source: http://icplibrary.wordpress.com/2012/01/30/kohei-sugiura-the-japanese-photobook-as-object/#
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Black Mirror, 2011. Barge performance view, Hydra, Greece.
Altered Earth
Doug Aitken was born in California in 1968. He lives and works in Los Angeles and New York. Widely known for his innovative fine art installations, Doug Aitken is at the forefront of 21st century communication. Utilizing a wide array of media and artistic approaches, his eye leads us into a world where time, space, and memory are fluid concepts.
Return of the Sun on Nowness.com.
Return of the Sun
Filmmakers Glen Milner and Ben Hilton Witness the Greenland’s First Dawn of the Year
Set against the expansively beautiful and iridescent landscape of Northern Greenland, Glen Milner and Ben Hilton’s subtle and touching short visits the annual sun-welcoming ritual of the country’s Inuit population, which celebrates the dawn after more than 40 days of complete winter darkness. Following the daily routine of an Inuit ice fisherman and his son, Return of the Sun examines the affects of the changing climate on their livelihood and community, and pays tribute to the locals’ innate adaptability. “While we were there our fisherman lost hundreds of pounds of fish due to ice breaking away and lines being lost, rare for this time of year,” explains Milner. “The fishermen were already thinking of new ways to hunt and the Inuit attitude in such a harsh environment proved inspiring.” Although the pair had previously worked together on diverse projects including Rwandan genocide prisoners and a short on experimental rock band Rolo Tomassi, filming in Greenland’s harsh environment offered unique new challenges. “Filming in such low temperatures with high winds is grueling. Keeping the camera out of the battering snow, keeping it warm and getting sound away from the winds was really tough, and it’s so dark,” says Hilton. “But emotionally, you see nature at its most inspiring and its most intense.”
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The Lams of Ludlow Street (series excerpt)
Thomas Holton is a documentary photographer out of New York City.
I am a life long New York City resident and currently live in Brooklyn. I have a MFA in Photography from The School of Visual Arts and am very involved with photo education throughout the city. I teach introductory B & W classes for The International Center of Photography’s Community Programs Department as well as at The Dwight School in Manhattan. I am also in the process of establishing a photo education program in collaboration with The School of Visual Arts and The Children’s Aid Society. I have always been curious about my half-Chinese heritage and have been investigating life in NYC’s Chinatown neighborhood the past few years.
DEEP EPIC Unveiled
Shrouded in development for some time now, I’m pleased to officially announce the DEEP EPIC housing.
On the successful heels of DEEP RED, Gates’ design team carries forward several key features that professional underwater cameramen have admired, and current DEEP RED owners will appreciate. DEEP EPIC incorporates the REDMOTE for direct, complete and readily accessible camera control. DEEP EPIC is 25% smaller than DEEP RED, yet retains full buoyancy and trim control. And DEEP EPIC is a Gates through-and-through – ‘bulletproof’, 450 foot depth rating, 2 year warranty and backed by legendary service.
Key Features
Smaller by 25% over DEEP RED.
REDMOTE fully integrated for complete camera control. Top location is readily seen and accessed by the cameraman.
Ports, Port Extenders, Lens Gear Drives, 5.6” External Monitor and Seal Check are carried forward from DEEP RED.
Mechanical or motorized Zoom Control option
Support for all lenses tested and verified on DEEP RED including Angeniuex, Arri, RED and Nikon. Any PL/Nikon glass can be qualified by Gates for DEEP EPIC.
Optional HD-SDI surface or 2nd monitor feed, Comm / Hydrophone audio inputs.
Port options SP80 Dome (glass and acrylic) and FP80 Flat.
Available high output LED lighting by SubAqua/Gates.
Price: under $20K for DEEP EPIC housing, external monitor shell, Seal Check, REDMOTE support, Travel Case. As usual, Ports and Port Extenders are ala carte – choose for your lens(es) and application.
http://www.gateshousings.com/news/gates-announces-deep-epic-housing/
Dortmund
2009
C-print mounted on plexiglas in artist’s frame
120 7/8 x 87 7/8 inches; 307 x 223 cm
Rhein II
1999
C-print
81 1/2 x 140 1/2 inches; 207 x 357 cm
Swimming Pool, Ratingen
1987
C-print in artist’s frame
42 x 51 inches; 106.5 x 129.5 cm
Krefeld
1989
C-print mounted on Plexiglas in artist’s frame
58 1/2 x 49 inches; 148.5 x 124.5 cm
Bahrain I
2005
C-print mounted on plexiglas in artist’s frame
118 7/8 x 86 1/2 inches; 302 x 220 cm
Andreas Gursky
Andreas Gursky’s large-scale color photographs of landscapes, buildings, and masses of people have been likened to paintings. Gursky studied with Bernd and Hilla Becher at the Kunstakademie Düsseldorf in the 1980s, where he honed his fascination with the ways people live in the world and how their existence impacts their surroundings. In the early 1990s he began using digital tools to heighten formal elements and circumvent the limits of perspective in his pictures.
Gursky (born 1955) first exhibited his work at Matthew Marks Gallery in 1997. The exhibition included 12 large-scale photographs, among them Rhein, a signature work. He has exhibited throughout Europe and the United States, and his work was the subject of a retrospective organized by The Museum of Modern Art, New York, in 2001, which toured extensively. The Kunstmuseum Basel mounted a major Gursky exhibition, and the Haus der Kunst Munich organized a traveling exhibition of works made by the artist between 1987 and 2007. The Vancouver Art Gallery, the Moderna Museet Stockholm, and the Kunstmuseen Krefeld jointly organized an exhibition of Gursky’s work made between 1980 to 2008. Gursky lives and works in Düsseldorf.
http://www.matthewmarks.com/artists/andreas-gursky/selected-works/
Martin Schoeller grew up in Germany and was deeply influenced by August Sander’s countless portraits of the poor, the working class and the bourgeoise as well as by Bernd and Hilla Becher, who spawned a school known as the Becher-Schüler.Schoeller worked as an assistant to Annie Leibovitz from 1993 to 1996. He advanced as a freelance photographer producing portraits of people he met on the street. The work gained recognition for its strong visual impact and, from 1998 on, his work has appeared in Rolling Stone, Esquire, GQ, Entertainment Weekly, Vouge, Vanity Fair, and W among others. Schoeller joined Richard Avedon as a contributing portrait photographer at The New Yorker in 1999, where he continues to produce his award-winning images.
His portraits are exhibited and collected internationally, including several solo exhibitions in Europe and the US and are included in the permanent collection of the National Portrait Gallery, Smithsonian Institution, Washington, DC.