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Late in 1980 French photographer, photojournalist and documentary maker Raymond Depardon arrived in New York, visiting a friend and with time to kill he roamed the wild streets of this once notoriously dangerous city with only his trusty Leica for company. Deciding upon capturing the essence of this city by taking pictures without thought, preparation or even using the viewfinder of his camera, Depardon caught the grit, displaced glamour and rawness of this truly vibrant city in it's most exciting of times. Strangely disappointed with his work, the photographs remained buried for almost 30 years, upon rediscovering his 'lost' work, Depardon realised that most of his subjects were infact aware of his camera and their knowing glances embody the unique, raw beauty of this collection of period photography. This rather stunning book from heavyweight artbook gurus, Steidl Publishers, captures a time and place in New York's legendary 'gritty' history that we all too often fantasise about.
Stephane Couturier: patterns geography
Stéphane Couturier's photographs hinge on a Gordian knot: their hyperreal quality is inextricably entwined with a dissolution of form. This seemingly contradictory principle, at the heart of each of his pictures, is also a thread that runs through more than twenty years spent scrutinizing the surface of the visible, from the first series dedicated to abandoned industrial interiors, like the Renault factories in Boulogne-Billancourt (1993), to the organic and fluid volumes depicted in « Meltings », a series initiated in the mid 2000 that marks a shift in Couturier's work towards the digital, as well as beginning of his use of im
Raymond Depardon: Grisaille Vision of Glasgow
In 1980 French Magnum photographer Raymond Depardon was commissioned by The Sunday Times Magazine to photograph Scotland’s largest city: Glasgow, on the River Clyde. The city has long been known for its architectural heritage – from its majestic Victorian squares to stern rows of tenements and brutal industrial giants – much of this building being the product of the city’s great Victorian-era wealth. However, in spite of this prosperous past and the city’s pivotal role in Britain’s industrial and cultural development, numerous areas of Glasgow were – at the time of Depardon’s visit – pover
Paul Buscato: Playful Photography
Bitter failure is a vital part of Barcelona-born, Oslo-based ex-architect Pau Buscató’s photography. He takes playful pictures of people, animals, and objects overlapping in amusing ways. They look Photoshopped, or at least staged, but aren't. Busctaó takes hundreds of attempts, and sometimes years, to snap the perfect shot. The results are like a good joke. As soon as you understand what's going on, you get butterflies.
Buscató got his first serious camera in 2010, and almost immediately quit his nine-to-five to take photos full-time. He regularly spends seven hours a day walking the streets, and snaps his shutter 400 t
Ernst Haas: color correction
Ernst Haas (March 2, 1921 – September 12, 1986) was an Austrian-American photojournalist and color photographer. During his 40-year career, Haas bridged the gap between photojournalism and the use of photography as a medium for expression and creativity. In addition to his coverage of events around the globe after World War II, Haas was an early innovator in color photography. His images were disseminated by magazines like Life and Vogue and, in 1962, were the subject of the first single-artist exhibition of color photography at New York's Museum of Modern Art. He served as president of the cooperative Magnum Photos, and his book The Cr
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Great collection, thank you 