Digitalfoto meiner Autorschaft. Minimalistisches Kunstfoto in SchwarzWeiß, ideale Ergänzung moderner Innenräume. Hochqualitativer Ausdruck auf besten Papieren Ilford Prestige oder Solution Fine Art. Die Abzüge werden mit dem Drucker Canon iPF 8400 und Originaltinten gefertigt. Jeder Abzug ist vom Autor unterzeichnet. Format des Papiers 30 x 30 cm, Format des Aufdrucks 20 x 20 cm. Rahmen und Passe-partout sind nicht Gegenstände des Verkaufs. Wollen Sie andere Formate der Fotos bestellen – kontaktieren Sie mich bitte ) Die Urheberrechte werden nicht auf den Käufer des Ausdrucks übertragen. Der Käufer ist nicht zur Vervielfältigung und Reproduktion des Fotos berechtigt. Die Sendung erfolgt binnen 3-5 Arbeitstagen. Myk Studio.
This whimsical and in-depth behind-the-scenes study leads the reader into the world of Steidl Publishers in Göttingen. With his inimitable and patient eye, Koto Bolofo takes us through the labyrinthine corridors and stairways of the publishing house, documenting the myriad processes and people at work, and giving us an insider´s glance into how Steidl´s books come to life.
Japanese Horror and the Transnational Cinema of Sensations undertakes a critical reassessment of Japanese horror cinema by attending to its intermediality and transnational hybridity in relation to world horror cinema. Neither a conventional film history nor a thematic survey of Japanese horror cinema, this study offers a transnational analysis of selected films from new angles that shed light on previously ignored aspects of the genre, including sound design, framing techniques, and lighting, as well as the slow attack and long release times of J-horror´s slow-burn style, which have contributed significantly to the development of its dread-filled cinema of sensations.
Koto Bolofo creases book spines and gently fl icks through pages to explore what has happened behind the scenes in the world of bookbinding-an ancient craft that has protected our most valuable manuscripts since the infancy of art and literature, keeping safe the wisdom of the past. As the processes of binding have now increasingly moved from man to machine, Bolofo´s Binding is a meticulous study of bookbinding today that embraces the new and laments the loss of the old. The human touch is still evident, but is gradually disappearing. Trying to hold back the tides of time, Bolofo playfully begs the question: has this cherished practice lost its soul and are we now slaves to the machine?
This study traces the history of how images taken during the Nazi Holocaust have been subjected to a perplexing variety of treatments: variously ignored, suppressed, distorted and exploited for propaganda purposes. It asks whether the images can ever be true representations of the events.
In early ´79 I was already engaged in what eventually turned out to be a lengthy photographic study of the New Romantics (though back then they were not known as such). I´d been documenting this nascent scene in the Soho nightclub ´Billy´s´ and, one evening, a group of about half-a-dozen skinheads turned up. They saw me taking photographs and one of them, a guy called Wally, asked me if I´d like to take some photos of them too. They seemed pretty friendly and not at all camera shy. I took a few snaps, we got talking and Wally suggested I go with the whole gang on one of their Bank Holiday jaunts to the seaside. That was what led, eventually, to five years of photographing skinheads. In those five years I got to know some of the skinheads quite well and liked many of them.´´ Derek Ridgers All the photos were taken between 1979 - 1984 in either London or nearby coastal towns. Over 100 photos including 32 pages of colour.
How have digital technologies affected the truth claim of photography? What has been the artistic response to the technological and societal transformations the digital revolution has brought about? Claus Gunti explores the widespread implications of the digital in the work of renowned photographers of the Düsseldorf School, Thomas Ruff, Andreas Gursky and Jörg Sasse, stretching from ties to conceptual art to the development of a globalized visual culture. The study provides a model for understanding the digital revolution in photography and shows that it ought to be understood beyond a strictly technological perspective.
Microsculpture is a unique photographic study of insects in mind-blowing magnification that celebrates the wonders of nature and science. Levon Biss´s photographs capture in breathtaking detail the beauty of the insect world and are printed in large-scale format to provide an unforgettable viewing experience. Each picture in Microsculpture is created from approximately 8,000 individual photographs. Segments of the specimen are lit and photographed separately, ´´stacked´´ to maintain sharp focus throughout, then combined into a single high-resolution file. The project has captured the attention of the world with features in WIRED and New Scientist . Microsculpture exhibited at the Oxford University Museum of Natural History and Xposure 2016 International Photography Festival in Sharjah, United Arab Emirates. It has been viewed by over half a million people, and more exhibition plans are in the works.
Excerpt from Birds of Our Bush: Or Photography for Nature-Lovers, Illustrated From Photographs by the Authors In the early days of the Gould League of Bird Lovers, the executive secretary, Mr. H, W. Wilson, B.Sc. (now Major Wilson, O.B.E., M.C.), drew my attention to the fine work being done with a cheap camera by two young bird-lovers. Great things were then predicted of the youthful nature photographers. The pictures published in this volume enable readers to judge how well those predictions have been fulfilled. Fortunately, the two authors have grown up in the best traditions of the League, and have fully kept their pledge not to destroy our native birds and to do all possible to influence others in the same direction. Doubtless their published work for years to come will further assist in bird protection, for this volume promises to be but the first of an important series. Later, when the young enthusiasts, feeling themselves cramped by the narrow limits of the area available to them, and regretting that they had not the chance of doing work of value or importance, asked the writer for advice, they were assured that their own locality was the proper place for work, and were advised to know their own district first. Thus they would lay the foundation of a knowledge of birds generally, and acquire sufficient information and experience to attack, at a later date, the study of the birds of any other locality. The distribution of birds is remarkably uniform, owing to their powers of rapid and easy locomotion; so the knowledge of the birds of one locality is a good starting-point for the study of the birds of any other region. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Fed by thrilling recent discoveries from Saul Leiter´s vast archive, ´´In My Room´´ provides an in-depth study of the nude, through intimate photographs of the women Leiter knew. Showing deeply personal interior spaces, often illuminated by the lush natural light of the artist´s studio in New York City´s East Village, these black-and-white images reveal the unique collaboration between Leiter and his subjects. In the 1970s, Leiter planned to make a book of his nudes, but never realized the project in his lifetime. Now we are granted a first-time look at this body of work, which Leiter began on his arrival in New York in 1946 and chipped away at over the next two decades. Leiter, who was also a painter, incorporates abstract elements into these photographs and often shows the influence of his favorite artists, including Bonnard, Vuillard and Matisse. The prolific Leiter, who painted and took pictures fervently up to his death, worked in relative obscurity well into his eighties. Leiter preferred solitude in life, and resisted any type of explanation or analysis of his work. With ´´In My Room´´, Leiter ushers viewers into his private world while retaining his strong sense of mystery.