January 2016
A word from the Editor Dear Friends and Reader! Here we are, back again and with some minor but maybe mighty changes. We are happy to introduce the new format of our magazine. With 2016 EYE-Photo Magazine will be published once a month. We will feature a composition of several issues in one. The New Year is starting with an interview, conducted with a fantastic and internationally more than successful photographer, Mr. Guido Fua. His award winning photos are a vibrant mixture between different photo genres. We found in particular his Japanese street photographs very captivating and fascinating. This issue will be completed by Tatsuo Suzuki, he is presenting a selection of 25 photos, the best of his photographs of 2015. His fantastic captures of the frenetic atmosphere of Tokyo are an amazing enrichment of this issue.
Stefan Cimer - Founder and Editor in Chief
The January issue will be continued by two outstanding talented photographers whose photographic styles couldn’t be more contrasting to each other. While Dominic Vitaszczyk mystic style takes us into a dreamscape full of ghostly contrasts, Edgaras Vaickevicius style is characterized by clear lines and deep contrasts. A reflection and homage to the spirit of our modern times. A new column, which will be regularly published in German AND English languae, is devoted to photo books. Our editor and columnist, Christian Schirrmacher, will presenting interesting and fascinating books from his bookshelves. The prelude to this new section is the introduction of a fantastic photobook, called “Eyes wide open”. The conclusion of this January issue is the presentation of the selected photographs by our online Editor, Mona Rehmers. The Eye-Catching Moments of the day, are a vivid mixture of photographs, which had been submitted to us by talented and enthusiastic photographers. I wish you a pleasant reading! Yours
Stefan Cimer
InFocus
InDetail
InFrame
InFrame
Interview with Guido Fua
My 25 best photos in 2015 by Tatsuo Suzuki
Photo Review with Dominic Vitaszczyk
Photo Review with Edgaras Vaickevicius
InSide
Book Review „Eyes wide open“, by editor Christian Schirrmacher
EyE Catching Moments selected in December 2015
Interview with international photographer Guido Fua, Rome, Italy Guido Fuà holds an MA in visual anthropology and he’s member of the order of Italian Photojournalists since 1991. Based in Rome, fluent in English and Hispanic language, through all the past years, he has qualified himself in producing images for the editorial and corporate field. Fluency in foreign languages coupled with his interest in different cultures has led him to travel for reportages to Africa, South America, the Caribbean, Asia, the U.S. and Europe. The variety of subjects he has covered, includes social topics such as ethnic realties in their domestic environment as well in their emigration contexts; music and teenage trends; intense portraits activity of show-biz, culture, finance personalities, as well as common people from every cultural context. As a photojournalist and portraits photographer, his work have been commissioned and published since 1988 by various international publications and numerous Italian magazines. As a corporate photographer Guido Fuà has worked for large and small Italian companies, interiors and industrial photography. His teaching career has spanned for the last decade in many photography school and workshop. Actually he’s teaching Fashion photography and Portrait photography at “Officine fotografiche” in Roma (http://www.officinefotografiche.org/). In some snobbish circles it is said that photography teaching is a way of self-celebration. In his words “ I believe teaching is a fantastic way to understand our own limitations and capacities. Sharing the same passion, makes me a better person, more enthusiast and more honest
Guido, you are a very experienced and busy photographer, blogger, and teacher. Considering your various activities, we feel quite honoured to be able to conduct this interview with you!
Please tell us a little bit about yourself to begin with.
I’m a selftaught photographer, who never took a lesson of photography or worked as an assistant. Every thing I know comes out of experience, observation of the great photographers and study of all kinds of tecniques.
But times are different now and photography schools help to reduce long learning experiences. Photography has always been an alibi in the depth of my soul. The special passe par tout that allowed me to get in and out different cultural and social contexts, to get in touch with all kinds of people and personalities, justifying my intrusion or presence where I didn’t belong or I wasn’t supposed to be.
Could you share with us how you first became interested in photography? I can say that I feel to have got hold of a camera ever since. My father was a dentist, who had the hobby of photography and family video, which assembled alone with a mechanical moviola. I was already photographing at the age of thirteen, with an old 6x6 Yaschica with the viewfinder. During the high school, when I was sixteen I assembled the first dark room. There I consumed the raw passion in red light, sometimes until 5 in the morning, and then I went to school late with a selfsigned justification. Today it makes about 42 years playing with images and cameras‌. which I feel like a natural extension of my body.
Your work is a vivid mix between almost every genre of photography from fine art, fashion, portrait up to street photography. I’m wondering is there a specific genre you personally prefer most.
Yes, I feel photography almost as a 360 degrees challenge (except for sport and wildlife photography which I’ve never practiced). But at the end portrait photography always comes back and is somehow my base for everything. Lately I’m also really getting involved in street photography, which has a renewed and modern outburst as a genre.
Your photographs have a real certain twist, where do you get your inspiration? I have to be honest: my photographic heroes are not the great Robert Frank or Henry Cartier Bresson, Robert Doisneau or Rene Burri as it would maybe obvious for a western street photography lover. My first photography book was Jeanloup Sieff, an author between fashion and erotism. Helmut Newton was the second. Then followed Robert Mapplethorpe and Herb Ritts for sensual love of the human body, Irving Penn for the expression and character traits that he was able to set in his portraits, Annie Leibovitz for her selfconfidence in portraying celebrities.Ralph Gibson for his graphic playing with figures, Richard Avedon and Steve Mcurry for a certain kind of anthropological portrait and as precursors of the modern closeup. These models of inspiration given, it’s evident my attraction for portrait, aestethic and sensual photography. On the other hand, early in my mind the incarnation of reportage was Sebastiao Salgado with his strong accent . Lately, when I refined my tastes, I discovered Gordon Parks, Alex Webb, David Alan Harvey, Tomasz Tomaszewski, Randy Olson.
Have you been involved in arts in some other form than photography? My unfullfilled desire: I wish I could paint and mix it artistically with photography, but I’m the worst with pencils and brushes. Recently I’ve snooped in video making and multimedia, expecially a threedimensional use of still images, but maybe for the purists this would be to much. What are the main differences in your opinion between being a professional or ‘just’ an enthusiastic photographer who is taking photos out of passion? The last can have all the fun, nourishing their passion; the former may be be afflicted by aspects of the profession, which could be very far from what passion comes from and is based upon. When one works with photography it’s not always a love affair! Unless having a japanese zen attitude, that is: no matter what, the important is to seek for perfection, even if one is sweeping streets. Also having spent half of my photographic activity both in analogic and digital age, paradoxically I can say that today analogic photography can be a field for serious amateurs, while digital photography is a must for professionals.
I would like to talk a bit about street photography with you. Could you share with us how you first became interested in street photography? When I began to work as a photographer I mainly covered celebrities portraits or reportage about social aspects connected with actual or longlife news. But in daily life, I could see something lighter, silent and anonymous, which was neglected by agencies or press. So during my agenda of specific assignements, I spontaneously started to collect some pictures which I named “Collateral”. As a consequence of a repeated separation between photography as a profession and photography as an instrument of creative expression, these “side glances” were like a sudden jerk of the eye, attracted by an incongruous and irrelevant particular, to the side of the subject focused, out of the field of vision. Their only link was to be born out of a rebellious impulse of vision, who looks away from the scene of the professional routine and formal obligation. Today I wouldn’t even need to name them. They would be part of the well radicated Street photography genre. Where everyone can taste all the needed freedom and depth of expression. Street photography always projects the „truth“ that exists in society, in street, in people‘s life. A „truth“ that I’m not necessessarily able do decribe with words, but I can try to capture with my camera beyond my own values and perspective. I know you’re spending time in Japan and I’ve been told that there are some interesting facts or rather differences about Japanese street photography. What makes Japanese street photography different to street photography in other parts of the world? This question would be worth an entire essay as an answer. As a gaijin , (not very nice word indicating every foreigner as an alien) I lived Tokyo as street photographer‘s paradise! From the red district lanes of Kabukicho to the high end ultra modern streets of the Marunouchi district, there‘s never a dull moment for the shutter. The frenetic atmosphere of Tokyo never ended in an overwhelming experience. My eye was attracted by the thousands of lights, colours, creaziness, attractions, buildings and endeless flow of people, without feeling distressed. I believe my subjects show a fascinating mix of exhaustion and frantic energy with people seemingly unaware of the city humming around them. But I’ve always been as invisible man in this society, whose frame of mind is quite difficult to understand, free to take it or leave it. It is no secret that the japanese society marginalize those who are opposed to a rationalist, obedient and conformist lifestyle . Originality is suppressed for the sake of collective leveling, which also affects the aesthetic as well as behavioral. Japanese photographers live this social context and life every day. Like any selfrespecting artist keep their distance. Since the antiphotographic style of Daido Moriyama, that we can consider the father of japanese street photogaphy, there is a trend of artistic opposition to the aestethic and social mainstream. Influenced by the art of sumie (a monochrome painting style that uses only black ink in various concentrations and traits with contours often blurred), his are, bure, boke – (grainy, blurry and out of focus), starkly contrasted pictures, often unbalanced and even casually framed, were a laugh in the face of what was then traditionally considered a good photograph. Today Japanese photographers translate their existential dissatisfaction or agitation to a visual level. Through a richly toned, high contrast and rigorously black and white street photography they emphasize the silent daily struggle of people navigating in a massive urban environment.
How much does your equipment help you to execute your artistic visions and what kind of equipment are you using? The best gear of a photographer is the eye: without a vision there is no equipment that can help. This said, I must confess that out of curiosity about changing technologies, I’ve always been a sort of addicted buyer of all brands of cameras, lenses and lights. Lately I‘ve fallen in love with Fuji X mirrorless system. For the moment, is my best choice for street photography, because it‘s a light equipment, with wonderful open and sharp lenses, small enough to not attract attention. Can you tell us about your work flow from the point you first step onto the scene (street) until you showcase the developed picture? Maybe it’s more interesting my workflow when I travel abroad, rather than when I go around my city. Call me insane, I‘ve always felt the attraction of big metropolis out of my country. I would say urban street photography has always been an aptitude of my vision. During these stays, photography becomes a discover of another urban context and very seldom I go wandering around without a clue or a goal. I plan a weekly agenda, I look for things going on in different districts, look how to get there. It may be two or three different places in a day dipending on the distances. Then what goes on in the meantime is a big surprise (of course I leave something to chance). When I go back to my base I collect the files in folders and I backup them right away. I know this may sound very rational and organized, but after years of profession for me it’s mandatory. Street is enough freedom of expression compared to the rest of my works, but I need to feel productive and save the work. If I’m not to tired I start to watch them, but generally I leave them quiet in the computer until I will feel ready for postproduction. Which is mainly a work of development in Camera Raw, because I don’t like lightroom very much: although is a complete tool, I hate libraries. For captions I use some open source software. When I reach the final selection I start to work in Adobe Photoshop, where I start to stack levels of advanced objects and masks, with various developments from camera raw. In a way that resemble the zonal way of Ansel Adams, in order to determine the exposure and development process to make the optimal dynamic range of tonal nuances of a given scene. But also in this case there is not a fixed rule, sometimes I might look for silhouettes and high contrasts, leaving details here and there. It was the same in the analogic world when I opted for different films and chemicals and multigrade values in the darkroom.
What is it in your subjects that make you want to capture it? Among the flow of everyday life, I attempt to capture extraordinary moments of excitement, beauty, dignity and humanity, with an approach that I hope sensitive to the subtleties and complexities of people’s life. Do you interact with your subjects on street and if yes, how do they react on you? As I said before photography is also an alibi for me,then a mean to interact, but there are no rules. If I feel bold enough to step into people intimacy, when it’s proper I start talking to some of the subjects. Sometimes after the picture, sometimes before, if I feel that is better to ask. In this case it takes longer to shoot a spontaneous photography, because they need kind of forgetting you are there (maybe in these cases is better to construct something together). Reactions are not predictable, of course there are culture which are less inclined to “have their soul stolen by a photograph”, or sometimes is only a matter of bitter and rude characters. But expecially nowadays, that everybody is going around with a camera, we should be humble and not arrogant, because no one is obliged to be photographed. Have you ever had to face unpleasant or even dangerous situation on street? Many times, but that happened when I was covering subjects more related to social issues, as immigration exploitation in the south of Italy, chinese huge factories in Tuscany, rave parties. Or during reportage in tough places around the world as the garbage city in Cairo, in Mozambique during the civil war, or other muslim country where the culture is not exactly photofriendly. Generally in this occasions problems have aroused when I didn’t have an introduced companion. During my street photography excursions I have faced problems very seldom, either because my attitude is not unsecure, or because in urban contexts I don’t look for trouble going in hazardous and risky area (as I said, it is my opinion that social reportage involves another frame of mind). What would you say characterizes your work in comparison to other street photographers? Really, I feel uneasy in making comparisons: photography is the consequence of a point of view and thanks to God there are infinite visions. About my work: I think it’s characterized by a mixed search of aestethic and reality. In the streets, I try to tell stories with lightness. Otherwise I would go for some war or risky reportage. There must be some hope somewhere! I’m sure this is not an objective outlook (as every vision), but I tend to look for a world with some tenderness, where there is a bearable existence, even if with a necessary resilience.
What can you tell us about the factor „luck“ in street photography? I think a ready and skilled eye is able to catch a lucky score. I also believe that we can push our destiny: if we stay still in a room, it will be hard to have a lucky chance, unless the room has a view on a crossroad or a square that can be regarded as an impending spectacle and an aggregate of figures. What do you think about colour street photography in comparison to B&W? Nature has created our brains assigning color to what we see. Black and white imagery started out that way because of technological limitations in assigning color information. In doing so we discover that from an artistic stand point, things seem more interesting. Seeing things in shades of grey makes us pay more attention to lines, textures and shadows. B&W was the choice during my analogic years as an amateur photographer. At the beginning of the 90’, as a consequence of the market I was dealing with, I was forced into a color vision, and I don‘t regret it. Today I use them both depending on the subject, the destination, the mood. As a matter of fact if there is a convenience in the digital age, for sure is the chance of shifting with a snap from A to Z, (color, B&W, ISO, white balance). And I have no aesthetic convictions that push me to avoid it.
Has your style of shooting changed since you started? Every day. What inspired me yesterday, is ready for a shift today. I’m not a past aficionado, because I’m always extending the eye to the new, either we are speaking of society changes or aesthetic evolution. Let’s say I tend to upgrade continuously. This is a tricky question: Among all your fantastic work, could you name one as your favourite, and if yes, why? Maybe It is, but this time I have a ready answer. There’s the picture of my amateur stage which I named “Without”, which is the first one that made me feel the thrill of creativity while I was shooting it (like the first kiss). The other one is “Swimming inside”:I had the the same sensation, but at a more demanding and professional level fifteen years later. What are some of the most important lessons you have learned from shooting on street? Street photography is very challenging because you can never anticipate the perfect moment. The scene is always so dynamic that you have to keep your eyes wide open, look out for the slightest indicators and be really quick with your camera. There’s an entire world of colour, passion, emotions, feelings, fears, pain, unexpected irony and drama waiting out there. Streets are a theater where is not difficult for an expert eye to discover the intimate self, where it’s possible to catch the soul of unknown people and get closer to human kind.
Based on your experience, what advice would you give people who are just starting out in street photography? I suggest perseverance and humility. Do lots of practice and repeated attempts to obtain the desired results. Assimilate photographic techniques to achieve faster execution; imitate the styles of other photographers to mature your own vision; study composition and if you are not interested in cool composed shots, then forget it and get to know people. Know your own limitations and inclinations. Become rapid in order not to remain behind the flow and capture the speed of the moments. At the end… run an extra mile when you think you’re done and see if happens something else. Are there any special projects or exhibitions you’re currently working on andwhich you like to introduce here? There are a few, but I would like to mention two at this time. One is a work inprogress about Hip Hop Italians rappers portraits which I’ve started mainly because I listen to hip hop music and I like to be updated on what goes on that scene in my country. Many pictures have already been published and there is a chance that may end in a big event next spring. The other is an accomplished project: “Creole World”, a portrait series of multiethnic italians, sons of mixed couple. They have been exhibited at the Umbria World Festival 2014, at the “Fotoleggendo” Festival in Rome the past summer. I had also the honour of having the portraits published on a National Geographic Italia issue, celebrating the 125th year of National geographic society. They were published in place of a similar project by the great photographer Martin Schoeller about New faces in United States, chance that doubled the honor. The goal of this project primarily consisted in the will to step further the issues of massive immigration and integration in Italy and Europe, revealing a growing reality among the italian society components. Secondarily the intention was also to show that Italy was socially upgrading to a more complex level as the rest of the world, while consciousness about this evolution is still poor. As a matter of fact I’ve been one of the few, if not the only one, photographing the subject up to now. Beginning with storytelling, I decided to change the photographic search into collecting a gallery of closeups, where also my italianjapanese children appear.
Contact and visit Guido at: E-Mail: guidofua@gmail.com Phone: +393356053840 Websites: http://www.guidofua.com/ http://www.eikona.eu/ http://www.guidofua.com/category/exhibitions/ http://www.eikona.eu/page/publication.php http://www.guidofua.com/blog/ https://instagram.com/eikonabox/ https://www.facebook.com/guido.fua https://www.facebook.com/GuidoFuaPhotographer
„My best 25 photographs of 2015“ by Tatsuo Suzuki Born in 1965 at Tokyo,living at Tokyo. Starting shooting since 2008. 2011 1x Photo Awards Honorable Mention (Street) 2012 Black and White Spider Awards 2nd Place (Portrait), Honorable Mention (Fashion) PX3 Gold Awards (Press) Israel Harvanism Street Contest 1st Place 2013 Urban Picnic Street Contest Top30 Finalist PX3 3rd Place (Portrait), Gold (Portrait - Personality), Gold (Press - People/Personality) Photolux + PhotoVogue Photo Contest 1st Place 2014 Sony World Photography Awards Commended (Smile Category) Urban Picnic Street Contest Top50 Finalist PX3 Gold (Portrait - Personality), (Press - People/Personality) IPA 2014 1st place (Lifestyle Category) ND Awards 2014 3rd place (Street Category) Daily Photoblog http://justatoy.pixyblog.com/ 1x.com http://1x.com/member/tatsu/photos/latest Facebook https://www.facebook.com/tatsu2006
Photo Review with Dominic Vitaszczyk
I‘m a melancholic who admire art and philosophy and who prefer winter over summer, night over day, black & white over colour. The quote of Carl Jung is very close to me: „There is no coming to consciousness without pain. People will do anything, no matter how absurd, in order to avoid facing their own Soul. One does not become enlightened by imagining figures of light, but by making the darkness conscious.“ I am trying to photograph what‘s in between the physical and metaphysical world. I believe that every moment and everything what surrounds us is more than what we see. I believe in coexisting world which is over our senses and almost impossible to describe. Visit Dominic at: dominikwitaszczyk.com facebook.com/dwitaszczyk instagram.com/dwitaszczyk twitter.com/dwitaszczyk
Photo Review with Edgaras Vaickevicius I love life and photography allows me to capture images of everyday life around me. Photography allows me to express myself and the way I see the world. The world, which consists of many small and incredibly big things. Sometimes those things are and been there for a long time, sometimes it‘s just a moment or situation that will never be repeated in the exact same way. Photography is a reflection of who I am, what I see, and what my life is all about. Photography is my life. It is freedom. It is an experience. It is an opportunity.
AWARDS: 2014 Performance Award of the HUMANITY PHOTO AWARDS (HPA) in Beijing 2014 Finalist - Ariano International Film Festival ( Italy ) 2014 Runner up - Professional Photographer of the Year 2014 Black and White Category (UK) 2014 Monochrome awards International Black & White Photography Contest – Abstract Honorable Mention Group exhibitions: 2013 International Photo contest “The beginning”, 7 th Award and exhibition Photocity Poreč, Croatia 2013 International Photo contest “Lost in Trans(ap)parencies” online exhibition and print exhibition at Stirbei Palace (Calea Victoriei, 107-109) in Bucharest, as part of the East Centric Architecture Triennale. 2013 Photo contest “Pinigai fotografijoje” („Money in Photography“), 2013, Vilnius, Lithuania 2014 International Photo contest Ariano International Film Festival ( Italy ) Exhibition in Ariano, Italy 2015 International Photo exhibition „Friendship of Peoples“, Moscow, Russia
Publications
2009 photo Album “Sportuojanti Lietuva” (“Lithuania in Sports”), photo participation 2013 photo Album “Pinigai fotografijoje” („Money in Photography“), photos participation 2013 Photo in UK magazine “What digital camera” September 2013, October 2013 2014 Photo in UK magazine “Professional Photographer” April 2014, June 2014, July 2014, December 2014 2015 Photo in UK magazine “Professional Photographer” January 2015 2015 Photo in FR magazine “L‘Oeil de la Photographie” The Eye of Photography July 25, 2015 2015 Photo in Russian Photo Magazine, August 2015
Visit Edgaras at: https://www.flickr.com/photos/edgarasvaicikevicius/albums/ https://500px.com/EdgarasV https://www.facebook.com/EdgarasVaicikevicius https://www.lensculture.com/edgaras-vaicikevicius/projects
Between
Daystar
City Details
City of Details
Construction
Details
Day Lamp
Details
Walk in the rain
Swing over a river
Reflection from marble
Reflection
Understreet
Between models
Eyes and Ears
Eyes
Moments of City Life
Note
Morning
One of the City Parts
Reflection
Inside the glass
Book Review „Eyes wide open“
Christian Schirrmacher Editor and Columnist
Ab sofort gibt es im Eye-Photo-Magazine eine neue Rubrik. In dieser werde ich in unregelmäßigen Abständen über Bücher berichten. Natürlich nicht nur über Bücher zum Thema Straßenfotografie. Zunächst stelle ich Bücher aus meinem Bücherschrank vor - das heißt, dass ich diese Bücher selber besitze und mir ein Urteil darüber erlauben kann.
We’ll have a new column in EYE-Photo Magazine, in which I’ll report about photo books at irregular intervals. Of course not just books about street photography but initially I’ll report about the books which are currently on my bookshelf. It’s easier to form an opinion about them this way!
Das erste Buch, welches ich in der neuen Rubrik ‘Bücher’ vorstelle, hat Leica im Jahr 2014 zu seinem 100. Geburtstag herausgebracht. Es ist das neueste Buch, welches ich mir gekauft habe.
The first book I’d like to review was published in 2014 by Leica just in time for their 100 year anniversary. It is the latest book that I’ve bought.
Eines vorweg: man muss kein Leica-Fan sein, um dieses Buch zu kaufen.
One thing is clear : you don’t have to be a Leica fan to like or buy this book.
Bitte keinen Schreck bekommen - das Buch kostet 98.-€ - ist also nicht ganz billig. Ich hatte auch lange überlegt es mir zu kaufen. Doch mein Interesse wuchs, je mehr ich darüber las und je mehr ich im Buchladen durch die Sei-ten blätterte.
Don’t be frightened, the book is pretty pricey, it costs €98. I was considering for quite a while whether to buy it or not but the more I read about it and the more I browsed through it, my curiosity finally gained the upper hand and I bought it.
Das Buch ist groß und schwer - also nichts für unterwegs. Was mir beim Auspacken leider negativ auffiel, war der beißende, unangenehme Geruch. Das wäre an Negativem das einzige, was ich zu berichten hätte.
The book is huge and heavy, too bulky for carrying around with you. One negative thing I realized at the time of unpacking was a rather acrid and unpleasant odour but that the only negative point to report about it.
Das Papier ist etwas rau - hat dadurch eine gewisse Griffigkeit, das man als hochwertig bezeichnen kann. Der feste Einband tr채gt auch zum guten Er-scheinungsbild bei - komplett in Schwarz gehalten ziert die schmale Schutz-h체lle ein Coverfoto - ein echter Hingucker.
The paper itself feels a bit rough but it has a certain feel which can be described as high quality. the rigid binding is another factor which emphasizies the good visual appearance. The binding has been kept completely in black with a cover photo - a real eye-catcher.
Nach und nach offenbart sich dem Leser die Welt der Kleinbildfotografie. Die Revolution der Fotografie hatte mit der Erfindung Oskar Barnacks - der Ur-Leica - seinen Siegeszug angetreten. Mit Skizzen, Notizen und anderen Dar-stellungen fesselt das Buch den Leser und nimmt ihn mit auf die Reise ins Land der unbegrenzten Fotografie. Denn nichts anderes ist diese Erfindung. Nun konnte jeder Schnappschüsse machen, ohne sich mit Plattenkameras abzuschleppen.
The book reveals the world of small-format photography to its readers step by step. The photographic revolution started with Oskar Barnacks invention.The book captivates it’s readers with a lot of drawings, notes and other imagery and takes them on a journey to a land of limitless photography.That’s what this invention is all about. From that date on, everybody was able to make snapshots without carrying big and bulky plate cameras around.
In dem Buch werden auch die ersten Fotografen vorgestellt, die mit der ers-ten serienreifen Leica Fotos machten. Bis zu den ber端hmten Nutzern dieser Kamera ist alles in dieses Buch reingepackt, was zur Geschichte der Leica beitrug. Es ist aber nicht nur die Geschichte der Marke Leica, sondern die Geschichte der gesamten Fotografie. Deshalb ist dieses Buch auch f端r Nicht-Besitzer einer Leica interessant.
The book also introduces the first photographers who succeeded in capturing photos with the first ready for series production Leica. Everything which is associated with the history of Leica is packed into this book, but it is not only about the history of the Leica brand, it is about the whole history of photography. This might be one point that makes this book interesting not just for Leica users.
So wird in mehreren Kapiteln auch auf die Fotografen aus Spanien, Portugal Italien und Japan eingegangen, da jeder eine eigene Sichtweise hatte. Ein anderes Kapitel widmet sich der Modefotografie - mit Bildern vom be-rühmten Modefotografen Richard Avedon. Auch der Wechsel zur Farbfotografie findet ein eigenes Kapitel in dem Buch. Auch ein dunkles Kapitel deutscher Geschichte darf nicht fehlen. In dem Ka-pitel ‘Mit der Kamera am Feind’ wird über Kriegsfotografen im Zweiten Welt-krieg berichtet.
The photography in Spain, Portugal, Italy and also japan is illuminated in several chapters, as every country had its own perspective. Another chapter is dedicated to fashion photography enriched by photos taken by famous fashion photographer Richard Avedon. The change to colour photography has its own chapter in this book as well and also one of the darkest chapters in German History is not missing. The chapter called “ Mit der Kamera am Feind” ( with the camera at the enemy) refers to war photography in world war two.
In der Mitte des Buches befinden sich, auf glattem Papier gedruckt, einige Fotos aus dem Leica-Werk in Wetzlar, die die Produktionsabl채ufe der Leica M3 zeigen.
Right in the middle of the book, printed on plain paper, the reader will find some photos taken in the Leica plant in Wetzlar showcasing the production process of the legendary Leica M3.
Das Buch ist neben dem informativen Text auch mit vielen Fotos versehen, die Geschichte schrieben. Inklusive einer Ăœbersicht Ăźber Fotografen und Da-ten zur Firmen-und Produktionsgeschichte findet man am Ende des Buches.
Besides a lot of informative text, the book is riddled with many photographs which are written in history, including an overview of the photographer and data about the company and its production history.
In Berlin findet bis November eine Ausstellung in der c/o-Galerie statt. ‘Augen Auf ! 100 Jahre Leica’ Informationen hierzu: http://www.co-berlin.org/en/eyes-wide-open Das Buch ist nur in deutscher und englischer Sprache erschienen.
The book has been released in both German and English versions.
Festeinband mit Banderole, 27 x 32 cm, 564 Seiten mit 12 Seiten eingelegtem Beiheft, ca. 1.200 Abbildungen Preis: 98.-â‚Ź (Amazon)
Hardcover with banderole 27x32cm, 564 pages with 12 page supplementary booklet containing about 1200 images, purchasing price at Amazon : â‚Ź98,-
EyE Catching Moments, selected in December 2015 The „EYE-Catching Moments of the day“ is a special section, curated by our online editor, Mona Rehmers, a tribute to all the photo enthusiasts among our readers who participate on this daily challenge and submit their fantastic photos to us. The selected photographer in December were: Ami Strachan (selected December 4th) Erich Reichel (selected December 7th) Dagur Jonsson (selected December 9th and 21st) Kim Landgraf (selected December 12th) Ömer Yücel (selected December 17th) Vasil Qesari (selected December 26th) Tony Lee (selected December 27th) Ozan Gunay (selected December 28th) And Nelleke Bouman (selected December 29th) Congratulation to all participants and selected photographer!
Ami Strachan, selected December 4
Erich Reichel, selected December 7
Dagur Jonsson, selected December 9
Kim Landgraf, selected December 12
Ă–mer YĂźcel, selected December 17
Dagur Jonsson,
selected December 2121
Vasil Qesari, selected December 26
Tony Lee, selected December 27
Ozan Gunay, selected December 28
Nelleke Bouman, selected December 29
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