Oranje Nassau Mijnen Nico Jesse Bart Sorgedrager's Choice of an Iconic Company Photobook Photography

Oranje Nassau Mijnen. [With introductory text. Photography, layout Nico Jesse. Illustrations Gerard Douwe].

Heerlen / 1953 / 146 p. / spiral bound in cassette / 26x28cm / 163 b&w photographs / bedrijfsreportage / beeldverhaal over 'een-dag-uit-het-leven-van' een mijnwerker parallel aan een bedrijfsreportage. - Ill. ( color / vignet en initialen). / NN / Firmenschrift, Festschrift / Photographie - Monographie - Auftragsphotographie, commissioned photography - Nederland, Niederlande - 20. Jahrh. / Printed by Th. van Rossum, Utrecht (boekdruk). - Opdrachtgever: NV Maatschappij tot Exploitatie van Limburgsche Steenkolenmijnen genaamd Oranje Nassau Mijnen (60-jarig bestaan). - Beeldverhaal. In een als vroom te typeren beeldtaal staat de gemeenschapszin centraal. De oplage bedroeg 3535 exemplaren, uitgebracht in verschillende buitenlandse edities. Een 'werkalbum' van Oranje Nassau Mijnen berust in de bibliofiele collectie van het Nederlands Fotoarchief (nfa) in Rotterdam. De band is gevat in een kartonnen cassette. De tekst is gezet uit De Roos Romein. Lees verder over Nico Jesse ...

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in the Beginning there was Black Smoke : Industry & Photography by Gerry Badger & Bart Sorgedrager

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Gerry Badger

Gerry Badger is a photographer, architect, and photographic critic. He has written extensively for the photographic press, and has curated a number of exhibitions, including 'The Photographer as Printmaker' (1980) for the Arts Council of Great Britain, and 'Through the Looking Glass: Post-war British Photography' (1989) for the Barbican Arts Centre, London.

His own work is in a number of public and private collections, including The Museum of Modern Art, New York, The Victoria and Albert Museum, The Arts Council Collection, and The Bibliothèque Nationale, Paris.

He has written introductory essays to many photographic monographs, including those of such photographers as Stephen Shore, John Gossage, Martin Parr and Chris Killip. Among his books are 'Collecting Photography' (2002), 'The Genius of Photography' (2007), and (with Martin Parr), 'The Photobook: A History' (2 vols., 2004 and 2006), winner of the Kraszna Krausz Prize in 2007.

Bart Sorgedrager

Documentary photographer. Studied at the Rietveld Academy in Amsterdam. In his photographs he tries to interpret current developments against their historical background.

He made a series on the lives of Dutch immigrants in Brazil, photographed remnants of the Cold War infrastructure, made a book on the iron foundries along the river Oude IJssel, and captured the decay and the renovation of the Olympic Stadium in Amsterdam. He has published photo books Mensenstroom - herinnering aan de Kernenergiecentrale Dodewaard,  The Unilever Factories at Delft, Loosdrecht, and Vlaardingen (Unilever)... 

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Reader Fotografie & Industrie
Samenstelling: Bart Sorgedrager en Flip Bool

‘Je hebt maar één lezer, en dat is je volgende opdrachtgever (…) Voor de opdrachtgever is het een groot spel van ijdelheden, zo’n gedenkboek. Hij wil een schitterend boek. Want het is zíjn boek. Hij is het boek. Zijn ijdelheid is boek geworden. Hij ligt daarin vast voor de eeuwen …’
Max Dendermonde, 1988

Inhoud:

Bart Sorgedrager
De schoorsteen moe(s)t roken
Tekst geschreven in opdracht van het lectoraat fotografie
van akv | St. Joost, Avans Hogeschool.
Breda 2010

Urs Stahel
Industrial photography: the theater of objectivity
pagina 15-19 uit:
Well, what is photography?
A lecture on photography on the occasion of
the 10th anniversary of Fotomuseum Winterthur
Winterthur / Zürich Berlijn New York:
Fotomuseum Winterthur / Scalo 2003

Michael Collins
Record pictures: photography and realism
ongepagineerd uit:
Record pictures. Photographs from the archives
of the Institution of Civil Engineers
Göttingen: SteidlMACK 2004

Anneke van Veen
‘met de erkende photographische getrouwheid.’ 
het werk van pieter oosterhuis (1816-1885)
pagina 33-35, 38-40 en 42-43 uit:
c Oosterhuis [1816-1885]
Amsterdam: Fragment Uitgeverij 1993

Steven W. Plattner
The standard oil photography
project 1943-1950
pagina 11-25 uit:
Roy Stryker: U.S.A., 1943-1950. The Standard Oil (New Jersey) photography project
Austin: University of Texas Press 1983

Hans Scheurer
Expedities in niemandsland: fotografen zien het ruhrgebied. chronologie aan de hand van 
een keuze van voorbeelden
pagina 96-98 vertaald uit:
Endlich so wie überall? Bilder und Texte aus dem Ruhrgebiet
Band 3 aus der Schriftenreihe der Kulturstiftung Ruhr 1987

Gerry Badger
Point of sale.  the company photobook
pagina 174-179 uit:
The photobook: a history vol. 2
London / New York: Phaidon 2006

Mirelle Thijsen
The corporate photobook: 1945-1965
pagina 168-177 uit:
Changing faces: work, i(p+r)/n commissions year # 2
Rotterdam: Veenman Publishers 2007

Flip Bool
Vrijheid in gebondenheid
pagina 9-14 uit:
50 jaar fotografie. GKf 1945-1995
Amsterdam: De Verbeelding 1995

Wibo Bakker
De toekomst van de  documentaire bedrijfsfotografie:  overvloed en onbehagen?
Tekst geschreven in opdracht van de intendant
documentaire fotografie van het Fonds voor Beeldende
Kunsten, Vormgeving en Bouwkunst, Amsterdam.
Breda 2010

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L'éléctricité à la maison André Kertész Gerry Badger's Choice of Company Photobooks Photography

1934: Seltene kommerzielle Arbeit von André Kertész

L'éléctricité à la maison. / Baudry de Saunier. Toutes les photographies reproduites dans cette plaquette sont de A[ndré] KERTÉSZ. – Paris: Georges Lang Imp. o.J. [1934]. – Gr.8°. [49] S. mit Tdr.-Abb., 1 loses Bl. Erratum. Krt.

Ausserordentlich seltene kommerzielle Arbeit von André Kertész. Die 19 Photographien zeigen die  neuesten Errungenschaften der Elektrizitätswirtschaft: Hausfrauen bedienen abenteuerliche Staubsauger, Waschmaschinen usw. Typisch Kertész: ein Ventilator auf einem Fenstersims vor dem Panorame der Dächer von Paris. Interessante rot-schwarze Typographie, sogar das Erratum-Blatt ist typogrphisch durchgestylt.

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L'éléctricité à la maison André Kertész Gerry Badger's Choice of Company Photobooks Photography

1934: Seltene kommerzielle Arbeit von André Kertész

L'éléctricité à la maison. / Baudry de Saunier. Toutes les photographies reproduites dans cette plaquette sont de A[ndré] KERTÉSZ. – Paris: Georges Lang Imp. o.J. [1934]. – Gr.8°. [49] S. mit Tdr.-Abb., 1 loses Bl. Erratum. Krt.

Ausserordentlich seltene kommerzielle Arbeit von André Kertész. Die 19 Photographien zeigen die  neuesten Errungenschaften der Elektrizitätswirtschaft: Hausfrauen bedienen abenteuerliche Staubsauger, Waschmaschinen usw. Typisch Kertész: ein Ventilator auf einem Fenstersims vor dem Panorame der Dächer von Paris. Interessante rot-schwarze Typographie, sogar das Erratum-Blatt ist typogrphisch durchgestylt.

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Robert Heinecken: ...wore khakis Gerry Badger's Choice of Company Photobooks Photography

Robert Heinecken: ...wore khakis, Limited Edition 
HEINECKEN, Robert, PAGEL, David

Publisher: Los Angeles, California: Robert Heinecken (self-published), and Nazraeli Press, Portland, Oregon, 1999 

Edition: 1st Edition
Binding: Hardcover
Condition: New/No dust jacket as issued

First edition, first printing. Limited edition of 20 individually hand-made copies, numbered and signed in black ink on the title page by Heinecken, and stamped "FIRST PROOF" in black ink on the title page. Hardcover. White archival matt boards with title printed in black on matt white paper pasted to the front and back boards; white spiral binding; contained in a fine khaki cloth-covered clamshell box with the title stamped in black on the front and back. Includes an essay by David Pagel and a bibliography of works. Unpaginated (60 pp.), with 56 black and white printer's proofs (black and white "plates"), each meticulously hand-cut by the artist revealing multiple layers of selected sections of Gap ads in subsequent sheets. The resulting numerous "collages" that result, in some cases 4 or 5 pages deep, are nothing short of brilliant. The book is 10-1/2 x 8-5/8 inches; the clamshell box measures 11-5/8 x 9-1/4 inches. Out of print. One of the most rare, and very best, artist's books ever produced! 

This extraordinary artist's book is a meticulously constructed succession of altered GAP clothing print advertisements from the 1990s that featured vintage, mostly 1940s-50s photographs of celebrities wearing khaki pants. One of Heinecken's most brilliant working methods--cutting out images from mass-media publications in order to reveal the complex layering and disintegration of meaning that occurs when the reader turns each page and can literally see beyond the surface--returns here in what amounts to a virtuoso artistic performance. As critic David Pagel writes in his essay The Gaps in the Ads: Robert Heinecken's Sabotaged GAP Ads, "Armed with only an X-Acto knife and stacks of GAP ads torn from everyday magazines, Heinecken hunkered down in a cramped little studio over a two-car garage in the Hollywood Hills and single-handedly turned a multi-million dollar advertising campaign on its ear... 

Using nothing but his wits and a blade he got the GAP ads to tell stories that were radically different from the ones they were supposed to tell. Working with what was available to any citizen with open eyes and a sharp mind, Heinecken twisted the corporate images so that they'd send mixed messages and implicate viewers by getting us actively involved in ways that were neither intended by the originals nor anticipated by us... 

Heinecken [creates] a sequence of images in which one celebrity always intrudes into another's ad. On each subsequent page, the previous page's intruder is likewise intruded upon by another celebrity... 

In Heinecken's hands, barbed, do-it-yourself humor displaces the bland, homogenized illusions served up by the advertising industry. It's frankly hilarious to see Steve McQueen looking us in the eye and holding up his hand as if to say, 'Don't pay attention to Sammy Davis Jr. dancing behind me, I've got something really important to tell you.' [The book's final plate], the picture of Heinecken wearing his United States Marine Corps fighter pilot khaki flight suit, quietly links the GAP advertising campaign to military campaigns... 

Combining advertising's seductive attractions with an unsettling edginess that's all the more potent because you don't know what it's selling, Heinecken's GAP project embodies the confidence that ordinary ads can be used against their own purposes--for ends that are liberating precisely because they are neither prescribed no clearly defines, but disruptive, optimistic, and unanticipated."

See for Heinecken in Retrospect ...

Robert Heinecken: ...wore khakis Gerry Badger's Choice of Company Photobooks Photography

Robert Heinecken: ...wore khakis, Limited Edition 
HEINECKEN, Robert, PAGEL, David

Publisher: Los Angeles, California: Robert Heinecken (self-published), and Nazraeli Press, Portland, Oregon, 1999 

Edition: 1st Edition
Binding: Hardcover
Condition: New/No dust jacket as issued

First edition, first printing. Limited edition of 20 individually hand-made copies, numbered and signed in black ink on the title page by Heinecken, and stamped "FIRST PROOF" in black ink on the title page. Hardcover. White archival matt boards with title printed in black on matt white paper pasted to the front and back boards; white spiral binding; contained in a fine khaki cloth-covered clamshell box with the title stamped in black on the front and back. Includes an essay by David Pagel and a bibliography of works. Unpaginated (60 pp.), with 56 black and white printer's proofs (black and white "plates"), each meticulously hand-cut by the artist revealing multiple layers of selected sections of Gap ads in subsequent sheets. The resulting numerous "collages" that result, in some cases 4 or 5 pages deep, are nothing short of brilliant. The book is 10-1/2 x 8-5/8 inches; the clamshell box measures 11-5/8 x 9-1/4 inches. Out of print. One of the most rare, and very best, artist's books ever produced! 

This extraordinary artist's book is a meticulously constructed succession of altered GAP clothing print advertisements from the 1990s that featured vintage, mostly 1940s-50s photographs of celebrities wearing khaki pants. One of Heinecken's most brilliant working methods--cutting out images from mass-media publications in order to reveal the complex layering and disintegration of meaning that occurs when the reader turns each page and can literally see beyond the surface--returns here in what amounts to a virtuoso artistic performance. As critic David Pagel writes in his essay The Gaps in the Ads: Robert Heinecken's Sabotaged GAP Ads, "Armed with only an X-Acto knife and stacks of GAP ads torn from everyday magazines, Heinecken hunkered down in a cramped little studio over a two-car garage in the Hollywood Hills and single-handedly turned a multi-million dollar advertising campaign on its ear... 

Using nothing but his wits and a blade he got the GAP ads to tell stories that were radically different from the ones they were supposed to tell. Working with what was available to any citizen with open eyes and a sharp mind, Heinecken twisted the corporate images so that they'd send mixed messages and implicate viewers by getting us actively involved in ways that were neither intended by the originals nor anticipated by us... 

Heinecken [creates] a sequence of images in which one celebrity always intrudes into another's ad. On each subsequent page, the previous page's intruder is likewise intruded upon by another celebrity... 

In Heinecken's hands, barbed, do-it-yourself humor displaces the bland, homogenized illusions served up by the advertising industry. It's frankly hilarious to see Steve McQueen looking us in the eye and holding up his hand as if to say, 'Don't pay attention to Sammy Davis Jr. dancing behind me, I've got something really important to tell you.' [The book's final plate], the picture of Heinecken wearing his United States Marine Corps fighter pilot khaki flight suit, quietly links the GAP advertising campaign to military campaigns... 

Combining advertising's seductive attractions with an unsettling edginess that's all the more potent because you don't know what it's selling, Heinecken's GAP project embodies the confidence that ordinary ads can be used against their own purposes--for ends that are liberating precisely because they are neither prescribed no clearly defines, but disruptive, optimistic, and unanticipated."

See for Heinecken in Retrospect ...

Lee Friedlander Cray at Chippewa Falls Gerry Badger´s Choice of Company Photobooks Photography

Lee Friedlander  Cray at Chippewa Falls
Hardcover. Fine dark orange linen cloth, with printed label affixed to front cover, no dust jacket as issued. Photographs by Lee Friedlander. 96 pp. with 79 full-page black and white reproductions. Includes a New copy of the four-page "Preview" publication, with 2 black and white plates, in matching stiff wrappers with self-closing flap. 12 3/8 x 11 5/8 inches. This book was commissioned as an in house publication by the president of Cray Research, on the occasion of the company's fifteenth anniversary. The book was never commercially available and was presented to company employees as a gift. This edition was limited to 5000 hardbound copies (the total number of signed at the time of publication as limited to 500, which comprise the limited edition). [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006). ] Signed by Author.


In 1976, Cray Research, Inc. delivered its first supercomputer to the Los Alamos National Laboratory, birthplace of the atomic bomb. The Cray-1, as it was known, was the fastest computer in the world and was a blend of Cray’s unique engineering style and an urgency for high performance computing borne of cold war competition between the United States and the Soviet Union.

For the next 30 years, Cray defined the limits of the possible for supercomputers by building the fastest machines in the world. In spite of the enormous influence on science and engineering of his machines, Seymour Cray himself worked in small groups in rural America and shunned publicity.

How could this one man and his hand-picked team of people build the fastest computers in the world? What does the Cray-1 tell us about the engineering, social and economic factors that coalesce into creating a stable technological artifact? Why did much larger computer companies abandon the field of supercomputing to this small but powerful foe? What, exactly, were these incredible machines used for?

These and other themes of the life and machines of Seymour Cray will be explored at the Computer History Museum in a panel lecture celebrating the Cray-1’s 30th anniversary. Panelists include: Bill Buzbee (Los Alamos, NCAR), Bo Ewald (Los Alamos, Cray) and Jack Worlton (Los Alamos). Burton Smith (Tera, Cray) will be the evening’s panel moderator.

A special gala photography exhibit of Cray Research by renowned American photographer Lee Friedlander will also be featured this night.

In 1975, as part of a special commission, American master photographer Lee Friedlander took these photographs at Cray Research, Inc., Chippewa Falls, Wisconsin, birthplace of the Cray-1 supercomputer—then the fastest computer in the world.

The result was a landmark visual record documenting the assembly of this awe-inspiring machine and the people who made it. These photos formed part of a commemorative book given to Cray employees and a limited-edition set of photographs, part of which form this photo exhibit. See for a review ...

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