Phillip Prodger – författare

Ernst Haas’s color works reveal the photographer’s remarkable genius and remind us on every page why we love New York. When Haas moved from Vienna to New York City in 1951, he left behind a war-torn continent and a career producing black-and-white images. For Haas, the new medium of color photography was the only way to capture a city pulsing with energy and humanity. These images demonstrate Haas’s tremendous virtuosity and confidence with Kodachrome film and the technical challenges of color printing. Unparalleled in their depth and richness of color, brimming with lyricism and dramatic tension, these images reveal a photographer at the height of his career.

Darwin's Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made. In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person's face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin's Camera. Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin's Camera provides the first examination ever of these relationships and their effect on Darwin's work, and how Darwin, in turn, shaped the history of art.

Darwin''s Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made. In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person''s face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin''s Camera. Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin''s Camera provides the first examination ever of these relationships and their effect on Darwin''s work, and how Darwin, in turn, shaped the history of art.

Darwin''s Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made. In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person''s face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin''s Camera. Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin''s Camera provides the first examination ever of these relationships and their effect on Darwin''s work, and how Darwin, in turn, shaped the history of art.

Toshio Shibata’s large-format contemporary landscapes aredistinguished by their haunting beauty, graceful composition,and meticulous detail. Using long exposures, and eliminatingany references to people, horizons, or identifying geographicreference points, Shibata captures structures such as dams,bridges, reservoirs, and roads as they interact with their naturalsettings—mountainsides, rivers, forests, and fields. The resultsare highlighted by painterly composition; filled with patterns,lines, and fluid action; and unmistakably Japanese in theiraesthetic.Curated and with commentary by Phillip Prodger, one of themost erudite and critical voices in contemporary photography,this book will appeal both to fans of Toshio Shibata’s workas well as an audience that has yet to discover his remarkableoeuvre.

Between 1925 and 1938, photographer E.O. Hoppé traveled the length and breadth of Germany, recording people and places at one of the most tumultuous times in the country’s history. He photographed movie stars and captains of industry, workers and peasants, and captured the birth of the Autobahn and UFA film studios in its heyday. He saw the rise of fascism, the creation of vast new suburbs, and the displacement of people from their traditional ways of life. With unprecedented access to the country’s world-famous factories and industrial installations, he witnessed Germany as few others could—barreling headlong into the unknown. Moving, insightful, and deeply revealing, the full significance of Hoppé’s German work has been unknown until now. This volume combines photographs published in Hoppé’s legendary book of 1930, Deutsche Arbeit, with many new pictures never previously seen. From factory floor to the commuters of Berlin and Munich, Hoppé’s photographs reveal the profound social and economic tensions that preceded the Second World War. This publication uncovers Hoppé as a pivotal figure in the history of twentieth-century photography, who introduced for the first time elements of typology, seriality and sequence, which have become key elements of contemporary photographic practice. Hoppé used his experience in Germany to develop a new modern style of photography—showing not just how things looked, but how it felt to be there.