donderdag 31 juli 2008

Why Photojournalism must Get Modern by Martin Parr Magnum Photography

Martin Parr: Why Photojournalism Must "Get Modern"
July 31, 2008

British photographer Martin Parr, whose work straddles documentary and fine art photography, argues that photojournalism “has to get modern” to regain the attention and support of mainstream magazines. In this month's "State of the Art Report: Photojournalism Survival" (PDN August), Parr asserts, “You have to disguise things as entertainment, but still leave a message and some poignancy." In a recent interview, we asked him to elaborate on his theory.

PDN: How do you disguise documentary photography as entertainment?
Martin Parr:
I went recently to the Beijing car show. It struck me as being a very interesting place to look at [the new world order]. Obviously the explosion of cars in China is a big issue. The best way to illustrate that is to go to the car show where you see people and cars together in huge quantities. I’m unlikely to get that commissioned. I just decided to go anyway, and got Magnum Photos [Parr's agency] to help me fund it.

PDN: How did your approach to that project differ from a more traditional photojournalistic approach?
M.P.:
I’m not waiting to be assigned. I go to places I want to go and see how they fit in. If I wait for the phone to ring, for me to go to the places I want to go, it’s not going to happen. So I determine where I want to go, and then try to get the magazines to help. If I do something about the Chinese car show, I can mention that there are 9 million new cars on the road in China this year alone. You can bring in your agenda with weird pictures of the car girls, or with images of people photographing cars. To me, dealing with the issues of the new world order is absolutely fascinating. Potentially magazines and newspapers will run those pictures, not in the traditional sense that I’m a campaigning photojournalist. I’m not going out doing campaigning photojournalism, because nobody wants that anymore. You have a few people that commission that—Newsweek and Time, for example—but there are very few opportunities there unless you’re at the top end.

PDN: What do you mean by campaigning photojournalism?
M.P.:
The more traditional humanistic approach as personified in the older Magnum, for example. We still have within magnum photographers who take that approach, but even they give it a new spin, like Paolo Pellegrin for example. They make eloquent poetic pictures that people want to run. I shoot interesting subject matter but disguise it as entertainment. That’s what people want in magazines. I like to play the game where you can get interesting ideas in, but almost in disguise.

PDN: So what’s the message you disguise in the Beijing car show images?
M.P.:
The message is ambiguous and open ended. I’m not preaching. I’m not saying the phenomenal growth of cars is entirely right or wrong. Like everything in the world, there’s a good side and a bad side. There is the old approach, whereby you try to change the world. Nobody is going to obliterate war, famine, AIDS, and all the other things that are the usual subject matter that more campaigning photojournalists would be attracted to. I’m not pretending that my going to the Beijing car show will influence whether more people buy cars, but it gives me chance to bring onto the agenda a place and situation that I think is interesting.

PDN: Has Magnum found venues for these pictures?
M.P.:
I’m bound to in the end get a good folio of these images published.
Another story I did last October was about millionaires in Moscow. I did the Gulf art fair. All these things in the end have been quite beneficial to me in terms of sales. And they’re constantly adding to my portfolio of work. It’s a big jigsaw puzzle I’m trying to work out as we go along about my relationship to the world we live in.

PDN: So global capitalism is the central theme?
M.P.:
It’s one of the things I’m interested in. I’ve been doing a set of pictures called Luxury. Wealth to me is as much to me the front line as poverty traditionally was.

PDN: You’ve never taken a traditional approach to photojournalism, have you?
M.P.:
I don’t regard myself particularly as a photojournalist. I’m a documentary photographer. The idea of my work is to try put my finger on the zeitgeist of what’s happening. That’s constantly changing and shifting. I’m not interested in photographing things that are disappearing, although I’ve engaged in a slight bit of nostalgia. I’m interested in things as they are now.

PDN: Are you seeing other photographers taking an entertainment approach?
M.P.:
I don’t really know. I see degrees of some overlap with some of my colleagues at Magnum and other photographers. Despite the fact that everyone says photography in newspapers and magazines is dead, I think if you’re ingenious&hellipyou have got to be a lot more ingenious these days to get commissioned and to get editors and photo editors excited. Simon Norfolk does a very good job of dealing with wars and war zones in a different way. He has a very good relationship with The New York Times Magazine. Within Magnum, Alec Soth is very successful as you know. He can get work on his own terms. That’s the idea: you have a voice, style, and approach and you get commissions to fulfill that.
I’m currently working on the biggest assignment I’ve ever had. I’m doing ten 16-page supplements about different British cities. It’s expanding the idea of an editorial assignment into something much bigger, with all genres: editorial, cultural, books, exhibitions. All the boundaries are blurring if you play the game well. It’s new to everyone involved, and it gives me a fantastic platform to publish pictures I want to.

PDN: So we can talk about all these alternative channels, but if you don’t have a distinctive point of view, you aren’t going to get access to them, are you?
M.P.:
It’s a highly competitive market. Clearly one of the things that potentially distinguishes you is that you have a known voice in photography.

PDN: Which is easier said than done&hellip
M.P.:
I agree. But nonetheless picture editors like to commission new, exciting photographers. They’ll take that risk. Of course, it’s not easy. If it was easy then everybody would be at it. There are more magazines now than ever before. But they have to be filled with something. I agree that I’m in a better position than most. I’m in is a very privileged position, and it has taken years to get there.

PDN: How do you get there?
M.P.:
A lot of times photographers don’t have enough imagination in terms of what subject matter is going to appeal to editors. A good idea and good story, well executed, is going to have a much better chance than a tired old story. Most photographers don’t really think about what they’re shooting. There are certain expectations about what photographers should shoot, and they stick to that.

PDN: What advice would you give them to get out of that rut?
M.P.:
It’s very difficult. You have to be more ingenious, you have to think carefully about the appeal that your subject will have and how it will fit into a modern magazine that’s going to shy away from a more traditional humanistic approach. How to make it look interesting, and entertaining, and at same time have a level of poignancy and zeitgeist: I can’t tell people how to do it, can I? In the end, it comes down to the personality and individuality of photographer to express that. But when people say to me the magazine market is dead, I just don’t believe it.

--interview by David Walker Read more about Martin Parr ...

woensdag 30 juli 2008

Dick Elffers Holland and the Canadians Graphic Design Photography

PHILLIPS, MAJOR NORMAN ET AL. - Holland and the Canadians . With 150 photographs. Amsterdam / Antwerpen, Contact (1945), Illus. boards with spiral binding, 34 x 24,3 cm., 32 pp. text in Dutch and 72 plates with 150 b/w photographic illustrations. Photographs by Emmy Andriesse, Eva Besnyö, Carel Blazer, Cas Oorthuys, Hans Sibbelee, Krijn Taconis, Ad Windig and many others. Lay-out and design of boards by Dick Elffers. See for the slideshow ...

dinsdag 29 juli 2008

Sex in the Park & Sneaky spectators Kohei Yoshiyuki Photography

Sex in the Park, and Its Sneaky Spectators by PHILIP GEFTER

WHY are the Japanese couples in Kohei Yoshiyuki’s photographs having sex outdoors? Was 1970s Tokyo so crowded, its apartments so small, that they were forced to seek privacy in public parks at night? And what about those peeping toms? Are the couples as oblivious as they seem to the gawkers trespassing on their nocturnal intimacy?

If the social phenomena captured in these photographs seem distinctly linked to Japanese culture, Mr. Yoshiyuki’s images of voyeurs reverberate well beyond it. Viewing his pictures means that you too are looking at activities not meant to be seen. We line up right behind the photographer, surreptitiously watching the peeping toms who are secretly watching the couples. Voyeurism is us.
The series, titled “The Park,” is on view at Yossi Milo Gallery in Chelsea, the first time the photographs have been exhibited since 1979, when they were introduced at Komai Gallery in Tokyo. For that show the pictures were blown up to life size, the gallery lights were turned off, and each visitor was given a flashlight. Mr. Yoshiyuki wanted to reconstruct the darkness of the park. “I wanted people to look at the bodies an inch at a time,” he has said.

The oversize prints were destroyed after the show, and the series was published in 1980 as a book, one now difficult to find. Last year Mr. Yoshiyuki made new editions of the prints in several sizes, which have brought renewed interest in his work. Since April images from the series have been acquired by the Museum of Modern Art in New York, the Museum of Contemporary Photography in Chicago, the Museum of Fine Arts in Houston and the San Francisco Museum of Modern Art.

Mr. Yoshiyuki was a young commercial photographer in Tokyo in the early 1970s when he and a colleague walked through Chuo Park in Shinjuku one night. He noticed a couple on the ground, and then one man creeping toward them, followed by another.

“I had my camera, but it was dark,” he told the photographer Nobuyoshi Araki in a 1979 interview for a Japanese publication. Researching the technology in the era before infrared flash units, he found that Kodak made infrared flashbulbs. Mr. Yoshiyuki returned to the park, and to two others in Tokyo, through the ’70s. He photographed heterosexual and homosexual couples engaged in sexual activity and the peeping toms who stalked them.

“Before taking those pictures, I visited the parks for about six months without shooting them,” Mr. Yoshiyuki wrote recently by e-mail, through an interpreter. “I just went there to become a friend of the voyeurs. To photograph the voyeurs, I needed to be considered one of them. I behaved like I had the same interest as the voyeurs, but I was equipped with a small camera. My intention was to capture what happened in the parks, so I was not a real ‘voyeur’ like them. But I think, in a way, the act of taking photographs itself is voyeuristic somehow. So I may be a voyeur, because I am a photographer.”

Mr. Yoshiyuki’s photographic activity was undetected because of the darkness; the flash of the infrared bulbs has been likened to the lights of a passing car.

“The couples were not aware of the voyeurs in most cases,” he wrote. “The voyeurs try to look at the couple from a distance in the beginning, then slowly approach toward the couple behind the bushes, and from the blind spots of the couple they try to come as close as possible, and finally peep from a very close distance. But sometimes there are the voyeurs who try to touch the woman, and gradually escalating — then trouble would happen.”

Mr. Yoshiyuki’s pictures do not incite desire so much as document the act of lusting. The peeping toms are caught in the process of gawking, focused on their visual prey. Alexandra Munroe, senior curator of Asian art at the Guggenheim Museum, suggested in a telephone interview that this phenomenon was not uncommon in Japan. She cited the voyeurism depicted in Ukiyo-e woodblock erotic prints from 18th- and 19th-century Japan, in which a viewer watches a couple engage in sexual activity. “It’s a consistent erotic motif in Japanese sexual imagery and in Japanese films like ‘In the Realm of the Senses,’ ” she said.

Karen Irvine, curator of the Museum of Contemporary Photography in Chicago, said Mr. Yoshiyuki’s work is important because “it addresses photography’s unique capacity for observation and implication.” She locates his work in the tradition of artists who modified their cameras with decoy lenses and right-angle viewfinders to gain access to private moments. Weegee, for example, rigged his camera to capture couples kissing in darkened New York movie theaters. Walker Evans covertly photographed fellow passengers on New York subways.

“Like the work of these artists,” Ms. Irvine said, “Yoshiyuki’s photographs explore the boundaries of privacy, an increasingly rare commodity. Ironically, we may reluctantly accommodate ourselves to being watched at the A.T.M., the airport, in stores, but our appetite for observing people in extremely personal circumstances doesn’t seem to wane.”

Mr. Milo also noted a connection between Mr. Yoshiyuki’s work and surveillance photography. “The photographs are specifically of their time and place and reflect the social and economic spirit of the 1970s in Japan,” he wrote in an e-mail message. “Yet the work is also very contemporary. With new technologies providing the means to spy on each other, a political atmosphere that raises issues about the right to privacy and a cultural climate obsessed with the personal lives of everyday people, themes of voyeurism and surveillance are extremely topical and important in the U.S. right now.”

Yet earlier artists also went to great lengths to capture transgressive behavior. In the 1920s Brassai photographed the prostitutes of Paris at night; his camera was conspicuously large, but his subjects were willing participants. More recently, in the early 1990s, Merry Alpern set up a camera in the window of one New York apartment and photographed the assignations of prostitutes through the window of another.

Susan Kismaric, curator of photography at the Museum of Modern Art, agrees that Mr. Yoshiyuki’s work falls into a photographic tradition. “The impulse is the same,” she said. “To bring forth activity, especially of a sexual nature, that ‘we’ don’t normally see. It’s one of the primary impulses in making photographs — to make visible what is normally invisible.”
“The predatory, animalistic aspect of the people in Yoshiyuki’s work is particularly striking,” she continued. “The pictures are bizarre and shocking, not only because of the subject itself but also because of the way that they challenge our clichéd view of Japanese society as permeated by authority, propriety and discipline.”

Sandra S. Phillips is organizing an exhibition on surveillance imagery for the San Francisco Museum of Modern Art next year. “A huge element of voyeuristic looking has informed photography and hasn’t been studied as it should be,” she said. “Voyeurism and surveillance are strangely and often uncomfortably allied. I think Yoshiyuki’s work is amazing, vital and very distinctive.

“It is also, I feel, strangely unerotic, which I find very interesting since that is the subject of the pictures. I would compare him to Weegee, one of the great photographers who was also interested in looking at socially unacceptable subjects, mainly the bloody and violent deaths of criminals.”

The raw graininess in Mr. Yoshiyuki’s pictures is similar to the look of surveillance images, but there is an immediacy suggesting something more personal: that here is a person making choices, not a stationary camera recording what passes before it. As Vince Aletti writes in the publication accompanying the current show, Mr. Yoshiyuki’s pictures “recall cinéma vérité, vintage porn, frontline photojournalism and the hectic spontaneity of paparazzi shots stripped of all their glamour.”


Surveillance images, so far, do not have that signature.

See also The ultimate list of Japanese photography books. Not! ...

In The Photobook, A History, Vol. II, Parr and Badger write that Document Park “is a brilliant piece of social documentation, catching perfectly the loneliness, sadness and desperation that so often accompany sexual or human relationships in a big, hard metropolis like Tokyo.”

See the reviews by 5B4 .... & Alec Soth ...

zondag 27 juli 2008

Theo Baart Tales from Suburbia Photography

Eiland 7 – Tales from suburbia adds a new chapter to Theo Baart’s continuing inquiry into the rapid transformation of the Netherlands and its effect onto the social and physical landscape. Eiland 7 is the name of a neighbourhood designed and built in 2004 on the farmland surrounding the village Hoofddorp which was the subject of his award-winning book Bouwlust (1999). Theo Baart moved there with his family and from day one photographed this new suburbia. He reflects on the ambitions of the architect and the developer and shows what his fellow house-owners have done with their new environment. See the slideshow ... Lees meer ...

See for more Theo Baart ...


zaterdag 26 juli 2008

Martien Coppens Betwixt land and sea Subjective Photography

Coppens, Martien. ; Snoek, Paul. - Martien Coppens. Op de grens van land en zee. Venlo, Chemische fabriek L.van der Grinten, 1966 (?). Linnen. 46o. Met illustraties in z/w. Oplage 1500 genummerde exemplaren

Martien Coppens was born in 1908, son of a clog maker from Lieshout, a village a stone's throw from the town of Eindhoven. Very soon he developed a remarkable interest for photography (on one of his school reports it is mentioned that the photography could actually use a bit less attention) and follows, exceptionally, an education abroad, in Munich. After some wandering, he establishes himself as independent photographer in Eindhoven. He works on request, but has a preference for free work and for what he callls artistic photography. His photos are authentic and realistic, although the quality of his work was not appreciated by all people at that time. Martien Coppens focused his camera quite often at Brabant farmers and workers, at church buildings, and at landscapes, such as De Peel, but he was also interested in the dynamics of a city such as Eindhoven and her industrial activity. He was an enterprising man who published about seventy photo books, of which some were well accepted by the public.


Martin Parr and Gerry Badger : The Photobook: A History volume 1/ Memory and Reconstruction : The Postwar European Photobook
Martien Coppens was responsible for a number of topographical photobooks during the 1930s and 1940s, documenting the architecture, landscape and art of his native Brabant. These were in a similar vein to the Publishing house Contact's De Schoonheid van ons Land (Our beatiful Country), showing a comparable focus on the cultural heritage of Holland. As the title of Contact's series implies, the kind of photography employed was traditional, large-format, topographically precise, with an emphasis on the picturesque, on heritage and continuity rather than change.It was this kind of rhetoric that was employed by Coppens for his 1947 book Impressies 1945 (Impressions 1945), but his subject was radically different. He still concentrated on the Dutch landscape and architectural heritage, and photographed it in his usual romantic style, but now his theme was the Dutch heritage interrupted by the discontinuities and disruption of war. He chose the lighting carefully, often a combination of sun and cloud that would allow him to set a ruin picked out by sunlight against a glowering, cloudy sky. Add luscious gravure printing, and Coppens's ruins look less like real buildings than stage sets. In all of his work, and in this book in particular, Coppens opposed the prevailing trend in Dutch photography of the time, which was progressing towards a gritty, Existensial realism, and he was criticized for it by other photographers.Coppens, who habitually dealt in nostalgia, photographed this devastated landscape in the only way he knew, even exaggerating the romantic rhetoric of the ruin. But like Jean Cocteau and Pierre Jahan in La Mort et la statues, Coppens demonstrated that there were many different ways in which artists and photographers could come to terms with what had happened to Europe.

donderdag 24 juli 2008

Catwalks on the street Streetstyle Fashionblogs Photography

Lees meer (NRC) ...

See for the slideshow ...
See for a selection of streetstyle fashionblogs:

The Sartorialist: best gelezen streetstyle blog. Scott Schuman bericht vanuit New York en wordt door de glossy’s nauwlettend gevolgd.
Facehunter: beruchte weblogger die vanuit verschillende steden blogt.
Linlee Loves: zonnig weblog van Linlee Allen uit Los Angeles.
Playlust: fotokunstenaar blogt vanuit Zürich. Streetstyle foto’s vullen slechts een gedeelte van haar kunstzinnige website.
Dirtydirtydancing: streetstyle site met foto’s van mensen in het uitgaansleven.
Streetclash: competitie van streetstyle blogs uit verschillende steden.
Ook Amsterdam heeft zijn eigen modebloggers. Kijk op sites als Damstyle en FadTony.

See for Dutch Fashion photography ..., Steven Meisel ... & for the catwalks William Klein ...



& Max Heymans ...

woensdag 23 juli 2008

Heimat Hotel Breda Photo Festival 2008 Martin Parr Photography

BREDA PHOTO 2008 HEIMAT HOTEL

The time in which we live today is characterised by an increasing intolerance towards “the other”. The fear for the unknown is growing due to political developments worldwide and a failing integration policy in some European countries. More and more people seek refuge in their own norms and values and nationalistic feelings become predominant. With an almost spasmodic attitude people are looking for their own identity.
The country the Netherlands was almost in a state of panic when some time ago her Royal Highness princess Maxima stated that she could not find “the Dutch identity”. As a relative outsider she showed her enjoyment about the diversity in the Netherlands.

In the edition 2008 Breda Photo wants to put emphasis on this diversity, not only in the Netherlands, but also far beyond that. And it would also want to stress the beauty of it. During Breda Photo 2008 an open view on other cultures will be combined with a critical look on our own western world under the title of “Heimat Hotel”. The title “Heimat Hotel” is chosen because “Heimat” carries the idea of yearning and beauty through words like home and homesickness, while “Hotel” strengthens the feeling of eradication and double nationality. The addition “Hotel” puts the title literally on the move.

“Heimat Hotel” can be subdivided into a number of sub themes:
- “Heimat Hotel” represents an anthropological view on the other and on us. It is a challenge to look for characteristics and the extraordinary aspects of different cultures. In cooperation with the Breda’s Museum we look for various photographers who can each document the recent history of their own country and culture.
- Many people struggle with the double identity and search for new images that show connection between different cultures. People who left and view back are by excellence able to show the bridge between different cultures. The photographer Ahmet Polat, who portrays the jet set with the street life in Istanbul, a city where various worlds meet, is an excellent example.
- The contrast between the various ideas of the concept “home”. How does home look like in a country like Brazil? What kind of a poor home does a fugitive or illegal immigrant have? And how does this compare to our idea of home? We think here about an exposition in the open air, containing big blow-ups, in the park Valkenberg or on the place of the Chassé Theatre.
- “The beauty of the other”. Contemplating the other but also the own culture from a distance generates the most fascinating contributions to the contemporary melting pot. Martin Parr plays a decisive role in this, because he explores the lifestyle of the middle-class already for years and he shows a sometimes-confronting mirror to the western society of today. This mirror can never better be situated than in the public space. The photos will therefore be presented in the open-air exposition.

Breda Photo continues to create a tradition of photographic festivals reacting on social developments. With “Heimat Hotel” we hope to deliver a positive contribution to the multicultural society. That is why Breda Photo should characterise melancholy and loneliness, the critical view on the other and ourselves, but particularly the innovation and beauty that emerges when two worlds meet.

www.bredaphoto.nl

Download de brochure (32 pagina’s pdf - 1,8 MB)

dinsdag 22 juli 2008

Landscape canon captures Netherlands now Photography

by Eelco Walraven and Iain Macintyre 15-07-2008

Landscape architect Henk van Blerck is in full agreement that the pictures of Dutch landscapes in the Verkade* albums are wonderful:

"But the canon had to change, to have a completely different look. It not only had to contain the beauty of the old landscapes, but also the more structured landscapes of today."

So the 60 photographs in the Nettenfabriek in Apeldoorn include shots of Schiphol Airport and the Betuwe rail link. The exhibition is part of the International Triennial, a celebration of culture, gardening and landscape. It continues through the summer until 28 September. See for more Nature as Artifice ...

"The idea for a landscape canon only emerged at the last moment, but that turned out not to be an obstacle."

In fact, the plan received support from all quarters. The Dutch provinces were immediately positive and the then State Advisor for Landscape, Dirk Sijmons, lent a hand. Van Blerck says that "He was actually too busy, but he thought it was so important that he agreed to help out straight away."



Friendly


Together with photographer Michiel Pothoff, Van Blerck got in a van and drove all round the Netherlands.

"It was great fun. You get to see once again how beautiful our country is and how friendly the people are. Once we told them what we were doing, everyone wanted to help. A farmer got out his tractor and dragged a liquid manure tank out of the way so we could get a better picture."

He is enthusiastic not just about taking the photographs and about the canon, but about the Dutch landscape. He defends the Betuwe Line photograph with a fierce passion.

"A lot of people think it's ugly! A ribbon of steel through the beautiful Betuwe region. But how do people in Rotterdam regard it? The rail link is part of the industrial infrastructure there."

Contrast


For van Blerck, the Betuwe Line and Schiphol Airport are part of our modern landscape. They were conceived by people and stand in stark contrast to the Geul valley in Limburg or the Dommel valley in Brabant - areas which are much more reminiscent of the Verkade books.

But those books lack the very thing that appeals to van Blerck in landscapes: they are not static. See also for the Changing Dutch landscape ...

"Put a fence round it and it becomes trite! A landscape has to remain in motion. We are currently in a pioneering phase in which new areas are being created. A new infrastructure with old rivers and familiar dyke around it. New landscapes we may be proud of in ten years time."

And that is not only thanks to human beings.

"The formation of the landscape through the centuries is the joint effort of man and nature. The Netherlands is a good example of how culture and nature combine to produce something new."

A time-consuming process, Van Blerck acknowledges:

"Harmony has to develop and that takes time."

* In the 1950s the Dutch food company Verkade gave away sets of pictures with its products for children to collect and stick in albums.

maandag 21 juli 2008

Wendingen Radio Kootwijk Luthmann Art Deco Graphic Design Photography

Architectural portrait of 'Radio Kootwijk', a radio station built in the 20s, built with the purpose to maintain radio communication with the former Ducth East Indies.



With its first issue in January of 1918 Wendingen set a new standard in arts publishing. The pioneering journal sought out the newest ideas by the most creative practitioners in all of the visual arts--architecture, graphics, typography, sculpture, ceramics, glass, and theatrical design--and then reproduced them in sumptuous, hand-bound editions of unparalleled beauty.

Over its fourteen-year history, Wendingen, which translates roughly as "upheaval," featured the work of such diverse artists as Gustav Klimt, Josef Hoffmann, Eileen Gray, and Erich Mendelsohn.

It introduced the work of Frank Lloyd Wright to European audiences in a series of seven issues published in 1925 and 1926.

But it is best known for its covers, ranging in style from the art nouveau to the constructivist to the art deco, all of which are reproduced here in color. In this first comprehensive study of this extraordinary magazine, Le Coultre gives students, scholars, and collectors access to this now scarce magazine. He also calls long-overdue attention to the role of Wendingen's founding editor, Hendricus Theodorus Wijedveld, in shaping the course of modern design.




zondag 20 juli 2008

Hoenderloo Paul Huf Charles Jongejans Graphic Design Company Photography

Huf in Hoenderloo CODA MUSEUM 07 juni - 24 augustus
In 1951 reisde de jonge fotograaf Paul Huf regelmatig heen en weer tussen Amsterdam en Hoenderloo. In opdracht van de Hoenderloo Stichting fotografeerde hij het wel en wee op het Jongenshuis. Hij maakte meer dan 200 foto’s waarvan er uiteindelijk 53 een plaats kregen in het boek ‘Een Eeuw Hoenderloo 1851-1951’. Dankzij Hufs foto’s en de baanbrekende vormgeving door Charles Jongejans werd dit boek alom bejubeld. CODA biedt een blik op de totstandkoming van dit unieke boek en toont vanzelfsprekend de foto's, een aantal is nooit eerder gepubliceerd.7 juni t/m 24 augustus, op De Verdieping in CODA, Vosselmanstraat
Een eeuw Hoenderloo. [Text M. B. van de Werk (Intro duction); O.G. Heldring (firm's history). Photography Paul Huf. Layout Charles Jongejans].
Hoenderloo / 1951 / 168 p. / pb. (sewn) / 22x25cm / 52 b&w photographs, in opdracht en uit bedrijfsarchief / documentaire en geënsceneerde foto's / aspecten van opvoeding, onderwijs en vrije tijd. - Ill. 4 b&w photographs / Koninklijk wapen, plattegrond en bloemenkrans. / NN / Firmenschrift / Wirtschaft, Firmengeschichte - Photographie Anthology - Auftragsphotographie, commissioned photography - Nederland, Niederlande - 20. Jahrh. / Printed by N.V. Meijer's Boek- en Handelsdrukkerij, Wormerveer en Drukkerij Hoenderloo, Hoenderloo (boekdruk). - Opdrachtgever: Stichting Hoenderloo (100-jarig bestaan). - Beeldverhaal. Het fotoboek toont een optimistisch beeld van jongens die vakonderwijs stapleden. Het dagelijks leven in het instituut is in beeld gebracht. Tekstkaternen, gezet in de Bodoni cursief op andersoortig papier, zijn gescheiden van de fotokaternen.

vrijdag 18 juli 2008

First Person Impressions National competition Memoir and Documentary Writers Filmmakers Photographers

First Person Impressions

A National competition for Memoir and Documentary Writers, Filmmakers and Photographers.

Each day countless stories unfold. Take a real life experience of yourown and tell it in a way that only you can. Craft your story with words, photos or video. Make the ordinary magical, or the exotic familiar. Shock us, amaze us or make us pause to reflect. The only rule is thatit's real.

All entries must be new works that have not previously been published, exhibited or screened in the US.

Categories Film - up to 5 minutes Essay - 1500 words or less Photography - up to 5 images. Single images are welcome; multiple images must be related, as in a photo essay.

Prizes The top three winning entries in each category will be presented at the First Person Festival of Memoir and Documentary Art at the Painted Bride Art Center in Philadelphia, November 12-16, 2008.

$500 - 1st place category winners
$100 - 2nd place category winners
$50 - 3rd place category winners

The 1st place writing and photography winners will have their work published in various publications including the Philadelphia City Paper. For a complete listing of publications go to impressions.firstpersonarts.org. The top five entries in each category will be featured on firstpersonarts.org

Judges Documentary Video Steven Rea, Film Critic, Philadelphia Inquirer Samuel Adams, Contributing Editor, Philadelphia City Paper Ron Kanter, Emmy Award-winning director of New Cops, Acting Out, Life andDeath - Dawson, Georgia

Photography Katherine Ware, curator of Photography, Philadelphia Museum of Art

Short Memoir Daniel Jones, editor of the Modern Love column in the New York Times Laurence Kirshbaum, Founder and agent, LJK Literary, former CEO TimeWarner Book Group Amy Salit, Producer, Fresh Air, WHYY FM

Enter at impressions.firstpersonarts.orgVideo: http://www.viddler.com/explore/FirstPersonArts/videos/33/

donderdag 17 juli 2008

Black and White Photography Aart Klein Delta Currents to future

Klein, Aart & Graftdijk, KlaasDelta. Stromenland in beweging. Land im Fluß. Currents to future. Desafio al mar. Foto?s, Bilder, photographs, fotografia Aart Klein. Tekst, texto Klaas Graftdijk. Inleiding, Einführung, introduction, introducción Prof. Dr. Sj. Groenman. Amersfoort / Roelofs van Goor / s. a. (ca. 1970?) / 184 p. / OLw. / 30.8x27cm / Tiefdruckabb. / - / HCA mono* / Buch / Photographie - Monographie - Niederlande - 20. Jahrh. - Groenman, Sj. / Text nederl./dt./engl./span. - A picture essay on the flood regulation project in the Dutch Maas-Lek-Schelde river delta.

Aart Klein's career as a photographer began in 1930 at the Polygoon press photo agency. He had a desk job at first but was soon taking photographs. In his nine years at Polygoon Klein became one the agency's most important photographers.

During the German occupation he had various jobs as a photographer. In 1943 he was sent to do forced labour in Germany, where he also took photographs. On leave a year later, he went into hiding in the Netherlands. During the last year of the occupation he took photographs for the resistance movement which were sent to England. After the liberation he and Maria Austria, Henk Jonker and Wim Zilver Rupe founded the Particam photographers' collective, specialising in ballet, theatre and cabaret. Particam owed its monopoly position partly to a method developed by Klein for making slow films more sensitive, avoiding the use of flash photography during performances.


In 1956 Klein left Particam and set up on his own. Henceforth he did regular work for the broadsheet Algemeen Handelsblad and produced a large number of photo-books. Most of his subjects were typically Dutch - ports, industry, water and the Delta engineering project. The last of these was documented in Klein's Delta. Stromenland in beweging, published in 1967. The photographs in this book are characteristic of his work, with pronounced black-and-white contrasts and a predominance of lines and planes. People do not feature prominently in Aart Klein's work, unlike that of many photographers of his generation. His conception of landscape photography is entirely personal.

Klein often knew exactly what he was looking for, and would spend hours waiting for the right picture. 'I am infinitely patient. I can lie in the grass for hours on end, waiting to take that one photo. I often know precisely what I want to photograph, the photo is already in my mind, but it needs a little something. The picture is too empty. I wait for that one glint of sunlight, that one bird flying overhead. ...' (Haagse Post, May 5 1990). The frequently recurring bird in his photographs once prompted a former assistant to remark that Klein always had a seagull in his bag when he went out to take pictures (Het Parool, July 29 1989).

After taking his pictures, a major part of the artistic process took place in the darkroom. By introducing strong contrasts while developing and printing his films, Klein gave his photos a pronounced graphic character. As he himself once said: 'My photography is classified as black-and-white, but it's really the other way round: white on black. That's because if you don't do anything you get a black image. Things only happen when you open the shutter: that's when you make a drawing in white.'

In 1986 De Beyerd gallery in Breda staged a Klein retrospective; a box with two portfolios of his work was published to mark the occasion. In 1982 he received the Capi-Lux Alblas Prize; in 1996 the Fund for the Visual Arts, Design and Architecture awarded him the photography oeuvre prize.

Looking at Aart Klein's oeuvre we see more than fifty years of postwar photography pass by. Landscape and industry in the Netherlands are frequently recurring themes. Other themes encountered in his oeuvre are typically Dutch too. Klein's photos of the Delta works, his photos of scaffolding, a barn in Yerseke or the war cemetery at Margraten have become part of our collective memory.

woensdag 16 juli 2008

Paris Mortel Sardegna Portraits Wij zijn 17 Beppie by Joan van der Keuken Photography





Keuken, Joan van der Wij zijn 17. [Text S. Carmiggelt]. Bussum / 1955 / First edition / 64 p. / in wrappers / 24x16cm / 29 pl. of ill. / - / NN / Buch / Photographie - Monographie - 20. Jahrh. - Carmiggelt, S. / Text nederl. See for more Joan van der Keuken ...

Martin Parr and Gerry Badger : The Photobook: A History volume 1/ The Indecisive Moment: The 'Stream-of-Consciousness' Photobook

In 1955, the 17-year-old Joan van der Keuken caused a stir in Dutch publishing with his book Wij zijn 17 (We are 17), prefiguring the even greater furore that would greet the publication of Ed van der Elsken's Een Liefedesgeschiedenis in Saint Germain des Pres (Love on the Left Bank) a year later. Van der Keuken's book was as innovative as Van der Elsken's in its treatment of a section of society - not a class exactly, but a societal group - that was beginning to be regarded as a class apart.

It is sometimes forgotten in these days of 'youth culture' that it was only from around the 1950s onwards that the young were first talked about in this way. Previously they had been regarded - give a modicum of wild oats sowing and youthful high spirits - largely as replicas of their parents. In the 1950s, however, with its anxious air of repressed rebellion, such attitudes were overturned. The Beat Generation, the Beatnik movement, James Dean - the original rebel without a cause - and a pouting, gyrating phenomenon called Elvis Presley, drew the world's attention to the fact that, since the war, a new alien seemed to have been dropped on the planet - the teenager.

Van der Keuken's two books, Wij zijn 17 and his followup, Achter Glas (Behind Glass, 1957), caught this mood perfectly. Whilst perhaps not stream-of-consciousness in style, they certainly are in terms of attitude, capturing a moment's experience in which nothing much happens except for the moment itself. The 30 pictures in Wij zijn 17 are tellingly simple. Students lounge around in their rooms, doing nothing very much, as if waiting for their adult lives to begin. The mood is uncertain, capturing that moment when childhood ends and youth must take a deep breath and step out into the world.

This was also the theme of Achter Glas, Van der Keuken's second foray into the new form of the 'photonovel'. Two sisters, Georgette and Yvonne, do little more than sit by a window, day-dreaming. And it was this youthful lassitude, this apparent aimlessness, perfectly expressed by Van der Keuken, that caused a degree of controversy. But this view of teenage rebellion at the sulky rather than more active stage rings painfully true. It became a model for other books examining the same phenomenon, not he least of which is the recent work of Van der Keuken's compatriot, Helen van Meene, whose similar view od Dutch adolescents - now in colour - has also proved controversial.