O. Winston Link is America´s most celebrated railroad photographer. Link began photographing the Norfolk and Western, the last major steam railroad in the United States, in the mid-1950s, when the N&W was converting its operations from steam to diesel. Link´s N&W project captured the railroad industry at a moment of transition, before the triumph of the automobile and the airplane that ended passenger service on the line and before the corresponding dramatic reduction in the workforce. And, just as importantly, Link´s work reveals a small-town way of life that was about to experience seismic shifts and in many cases vanish completely. The images in O. Winston Link: Life Along the Line focus on the people and communities surrounding the railroad, in particular recording life in the Appalachian portion of the Norfolk & Western´s service area. The book is published in cooperation with the O. Winston Link Museum in Roanoke, Virginia, which holds the complete archive of Link´s N&W project. It replaces two previous Abrams books on Link, Steam, Steel & Stars and The Last Steam Railroad in America. O. Winston Link: Life Along the Line offers a broad view of the entire range of Link´s portfolio of the last years of the Norfolk and Western in steam, including excellent examples of both the keystone work and of the photographs, such as modernist images, that have not been previously published.
Ausgezeichnet mit dem Deutschen Fotobuchpreis 2008. -------------------- ´´German Photo Book Award,´´ 2008 Atemberaubende Ansichten unberührter Landschaft eines entlegenen Teils unserer Erde, im Licht der Nacht fotografiert, ohne Schatten: Olaf Otto Becker ( 1959 in Travemünde) bringt von abenteuerlichen Fahrten im Schlauchboot über die Eismeere Grönlands Bilder überwältigender Schönheit. Wie sein erster Zyklus aus Island Under the Nordic Light haben sie in ihrer Ikonografie der Melancholie und Stille etwas von der Erhabenheit romantischer Landschaftsmalerei. Und zugleich sind sie durch den unbestechlichen Blick des Forschers und ihre exakte geografische Lokalisierung Zeugnis einer Zeit, in der Gletscher im erwärmten Klima verschwinden. So bewahren diese Fotografien das Erstaunen des Künstlers über die Schönheit der Schöpfung und dokumentieren zugleich ihre Gefährdung. Ausstellung: Galerie f 5;6, München 4.4. 14.6.2008
Billy Monk worked as a bouncer in the notorious Catacombs club in the dock area of Cape Town, South Africa during the 1960s. He originally began taking pictures in the club with the intention of selling the photographs to the customers.
Noch mal von vorn Die neuen Bilder ´´Land-Sea: Horizon´´ zeichnet die unmittelbare, einfache Konstruktion einer Concept-Arbeit aus. Zwei Fotografien, einmal eine grüne Dünenlandschaft, die an den Horizont stößt, dann eine Meereslandschaft, die ebenfalls an den Horizont stößt, werden stets so aneinandergesetzt, dass sie sich den Horizont teilen. Was mit diesem Doppelbild dann geschieht, könnte man eine serielle Verschiebung nennen, da beide weiterhin dieselbe Horizontlinie haben, nur die äußere Form der Fotos sich ständig ändert. Aus zwei aneinandergesetzten Rechtecken werden Rauten, Quadrate usw., sie werden gekippt, gespiegelt usw.; so entsteht eine verwirrende Poetik, der man nie auf den Grund kommt, wie Rudi Fuchs in seinem instruktiven Katalogbeitrag hervorhebt. Do it again The new photographs ´´Land-Sea: Horizon´´ are characterised by the immediate, simple construction of a conceptual work. Two photographs, one a green dune landscape touching the horizon, followed by a seascape, which likewise touches the horizon, are repeatedly juxtaposed in a way that divides the horizon. One might call this event a serial shift or displacement, as both have the same horizon line, but the external form of the photograph is continually changing. Rhombuses, squares, etc. are derived from the two juxtaposed rectangles; they are tilted, reflected, etc., engendering a confusing poetry that one can never quite fathom, as Rudi Fuchs eloquently highlights in his instructive analysis.
The Meridian project is a series of large format black and white photographs taken in England on the line of zero degrees longitude. Using GPS technology to establish accurate locations, Johnston took photographs on this line from coast to coast, with the camera facing either due north or due south. A vertical fluorescent orange line was then superimposed in the center of the photographs to represent the line of zero degrees longitude. The addition of the line transgresses the conventional purity of the photographic picture plane and makes visible that which is invisible/theoretical/conceptual. This graphic intervention mirrors the way we superimpose a rational grid over the globe, mapping and regulating space and time to better coordinate and facilitate international trade and navigation. Although a prime meridian was established in the Greenwich Observatory in London in the late 18th century, many other countries used their own prime meridians, causing much confusion, and it was not until an International Meridian Conference in 1884 that it was agreed that Greenwich would become the global Prime Meridian. This cross-section portrait of a country also deals with the way in which time is measured, the Prime Meridian being the international dateline from which all other time zones are calculated. Thus time and navigation are also subjects of the series. The photographs depict the span of history, from ancient churches to industrial buildings, as well as various forms of transportation, by road, rail and air and from barges to ocean vessels.
This collection of aerial photography was taken over a period of six years, flying over California, Utah´s salt lakes, Gran Canaria and other locations, with Clarke achieving a progression in style toeing the line between documentary travel photography and abstract art.
Aerial photographer George Steinmetz captures New York City´s vast, dramatic, manmade landscapes. Included are photographs of iconic places such as Central Park and Times Square, new landmarks like the High Line, and historic buildings, streets, beaches,and rooftops.
Providing a rare glimpse into his world, the NBA superstar turned style icon?who believes that fashion should push boundaries, blur lines and drive culture?reveals how he uses style as a psychological weapon on and off the court and how he has redefined the role of a contemporary athlete turned cultural figure.
A beautifully designed monograph surveying the works of the highly acclaimed contemporary photographer. Kenna´s photographs captivate viewers through their silent drama and magnetism: rather than being accurate descriptions of a place, the photographer seems interested in capturing the invisible lines which enclose space, and in so doing arousing a viewer´s imagination and reverie. Michael Kenna is an artist for whom the subject is above all the opportunity for a tremendous but constant variation in his view of the world.
This book is not about parades and mass events of official DPRK propaganda, neither does it pretend to show ´´secret North Korea´´. Glimpses of Daily Life presents ´´unofficial´´ North Korea. It shows how people live their daily lives against the backdrop of totalitarian ideology - lives of a bizarre otherworldliness within the 21st century. This selection of photographs, made by DPRK watchers over the past decade, not only has a documentary value; the lines and colours of architecture, landscape and the calligraphy of the ubiquitous slogans and announcements are often strangely aesthetic. An important and disturbing book. Photographs by Martin Tutsch, Eric Lafforgue, Raymond K. Cunningham Jr. and others.