French model Marine Deleeuw is photographed by Sharif Hamza and styled by Julia Von Boehm for the November 2013 issue of Interview Germany, with hair by Akki Shirakawa and makeup by Frankie Boyd. Taken from Fashiontography
All images © Sharif Hamza
Archives for posts with tag: Germany
Young Swiss photographer Cyril Porchet’s final year show included this awesome series of the most opulent Baroque church altars he could find in Spain, Austria and Germany. His intention was to explore the seductive power of display. What is extraordinary is how much you lose all sense of perspective and depth, such is the overabundance of detail. I like how the odd feature confuses all the more; like the red rope of the ornamental light in the image below for instance which neatly splices the image in half. I could pore over these for hours and hours. Taken from Feature Shoot
All images © Cyril Porchet
I’m reluctant to call his work photography as I abandon the methods that have defined the medium in the art world: Instead of using a camera to create a picture out of a deliberately chosen frame of reality, capturing the composition in that notorious “decisive moment”, I use a form of robotic image acquisition. I usually set up a camera very much like a scientific experiment, to obtain technically optimized input, triggering the shutter automatically whenever suitable subjects enter the field of view. Those images, typically recorded by the thousands during the first stage of a project, are the building blocks for a different kind of creation.—J. Scriba
J. Scriba is a media artist, physicist, fine art photographer based in Elmshorn, Germany. This work is from his series, Stairs, which he photographed at Berlin Central Station. Taken from Feature Shoot
All images © J. Scriba
Beyond the stereotypes and cliches, little is known to most of the world of the customs and traditions of the Gypsies. Traditionally perceived as strangers, surrounded by distrust, they have always existed in isolated groups on the margins of developing European communities. But their contribution to the general cultural heritage, especially in music, dance and various handicrafts, is unquestionable. I have tried to make a plea for tolerance towards those whose lifestyles, religion, and rituals differ from our own. My journeys, tracing the lives of present-day Gypsies in ten countries, have confirmed my earlier belief that little has changed for the Romany. It seems that we have not yet learned the lesson of tolerance toward people who live differently from ourselves.—Tomasz Tomaszewski
Tomasz Tomaszewski is a press photographer whose work has appeared in Stern, Paris Match, GEO, New York Times, Time, Fortune, Vogue, Die Zeit and Elle. He’s been contributing to National Geographic for over twenty years and has published 18 photographic essays for the magazine. Tomaszewski currently teaches photography in the United States, Germany, Italy, and Poland, where he is based. Taken from Feature Shoot
All images © Tomasz Tomaszewski
Achim Lippoth is a renown photographer and filmmaker currently living and working in Cologne, Germany. After finishing his college degree in Manchester, he studied art and sports in Cologne. Since 1992 he has worked as a freelance photographer specializing exclusively in images of children. In 1995 he began publishing the children’s fashion magazine, Kids Wear, which features work by photographers such as Shelby Lee Adams, Jessica Craig-Martin, Richard Kern, Martin Parr, Manuela Pavesi and Lise Sarfati among others. In this new fine art series, The Deserted House, Lippoth is inspired by the rock and roll side of teenage life and portrays a gang of young rebels who find a place to live by their own rules. Taken from Feature Shoot
All images © Achim Lippoth
Mustafah Abdulaziz is a documentary photographer based in Berlin, Germany. He has been a member of the international photography collective MJR since 2008. This work is from his series, Patagonian Cowboys. Taken from Feature Shoot
All images © Mustafah Abdulaziz
When did you work on this project about Patagonian Cowboys? Was it over the course of multiple trips?
‘I didn’t set off to make this project. A good friend of mine gave me a book called “In Patagonia” by Bruce Chatwin sometime in 2006. Instantly I was enamored. Chatwin’s blend of mythos and history had already painted a vivid picture in my mind and I wanted to go down there and see for myself. I set off at the end of 2007 for Buenos Aires with a backpack and two cameras and decided to train, bus and hitch-hike my way through Argentina and Chile for 3 months.’
You seem to have access to several different aspects of the cowboys’ life. How did you manage this?
‘I came across the cowboys by chance, having met a German girl who had dated a guy who ran an estancia on a peninsula off the bottom of Chile. I then began to come across them more and more, at rodeos and on my travels to the point I found myself spending more and more time with different cowboys. Each time was different. Some I met in backs of trucks I hitched with. Others I met outside a train station one early morning near the Rio Negro river. They showed me how to get on the passing train for free. Each meeting led to another and in Patagonia this is quite normal. I rode with them, ate with them, slept in tents and floors. In my country I think the American cowboy is a relic of a bygone era. We still maintain some facets of the culture and promote an identity relating to our understanding of their lifestyle but for the most part it’s not a present feeling.
‘I found them to be some of the warmest, hardest working individuals I’d ever come across. It was’t so unusual to meet a cowboy and spend three or four days riding with them, sharing our life stories through my broken Spanish and hand gestures. In Patagonia I felt such a genuine human connection and I think that played a large role in how I photographed them. Stanley Greene once told me photography is about psychology and memory and I think there’s a truth in that. I’m very critical of this work for this reason: it was an adventure and experimentation for me and not meant to encapsulate anything more than that.’
You have an interesting mix of the romanticized view of the cowboys along with more modern details like a bottle of Sprite and a camcorder, Can you comment on your viewpoint and what was happening in the camcorder photo?
‘They lived a life I only had memories of from movies. The aspect of them adopting more and more modernity is for me the most interesting thing about these photographs. I wish I would’ve gone deeper down this path and it still bothers me to this day that I didn’t. Their way of life is so far removed from the modern world in a lot of ways but in others it’s not. Like people everywhere they want to remember moments in their lives and so the camcorder isn’t so unusual after all. In this image the cowboy is watching a replay of him and his friends lassoing a horse. He wanted to see his performance. It reminds me of coaches in locker rooms after a game.’
Your work for the Wall Street Journal on fashion week is so interesting with the lack of glamour in its viewpoint. How did this project compare?
‘The work I did on fashion week was a similar stage in my development. I’m a self-taught photographer so with each project or assignment I try to learn as much as I can from it and make something for myself. I’m not particularly interested in fashion but I’m interested in how people live. I like a lot of fashion photography and some of my favorites photographers are in fashion. But my personal interest is how you can make someone feel a part of the world around them. So I approached fashion week from an outsider’s perspective. People looked at me and saw a guy with holes in his shirt and a camera and so assigned me their assumptions of what I was doing. I found this incredibly useful. They had an idea of themselves, saw me and tried to use me to promote their idea of how they wanted to appear. But instead of a glossy photograph of their clothes, I looked for when they forgot themselves in the moment, when they didn’t understand their own context. They saw their own world in one way and I saw it in another.
‘After fashion week it got me thinking about the possibilities of applying this method on a larger area. Now my work is what time and circumstance has made me. It feels more in tune with what I want to achieve with photography than anything else I’ve done. But understanding where you come from is useful to understand where you’re going.’
Cafe Lehmitz – Anders Petersen
‘In 1967, Anders Petersen started to photograph the late-night regulars (prostitutes, transvestites, drunks, lovers, drug addicts) in a bar in Hamburg, Germany, named Café Lehmitz, and continued that project for three years. His photobook of the same name, published in 1978, has since become regarded as a seminal book in the history of European photography.
‘The people at the Café Lehmitz had a presence and a sincerity that I myself lacked. It was okay to be desperate, to be tender, to sit all alone or share the company of others. There was a great warmth and tolerance in this destitute setting.’ – Anders Petersen’. Taken from How to be a retronaut.
All images © Anders Petersen
This might be one of the best advertising campaigns I have seen in long time. I love it, they guy rolling cigarettes is just brilliant. Well done German Jobsintown. Taken from the blog Zo they say.
Claes Gellerbrink's Blog 