{"title":"Valokuvaajat L","description":null,"products":[{"product_id":"jouko-leskela-vapaat-hetket","title":"Jouko Leskelä - Vapaat hetket","description":"\u003cp\u003eSB, 30 sivua.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003ePublished 1986 “VALPPAANA KADULLA Street photography on pohjimmiltaan vapaata näppäilyä. Mahdollisuuksien paljoudessa katukuvaaja kohdistaa huomionsa valikoidusti. Oma tavoitteeni on esittää kuvia, joissa samanpariset tai eripariset henkilöt tai rakennetun ympäristön yksityiskohdat toisintuvat tai rinnastuvat keskenään. Katukuvani ovat järjestämättömiä tilanteita. En pyydä ketään tekemään jotakin näkemääni tapahtumaa tai liikettä uudestaan kuvaani varten. Katuvalokuvauksen koordinaatit: Katukuvauksella tarkoitetaan vapaata yhdistelyä sisältävää etukäteen järjestelemätöntä valokuvausta julkisilla paikoilla. Kuvien aiheina ovat pääasiassa ihmiset ja heidän välilleen syntyvät yhteensattumat. Katukuvaaja on nimetön toimija, joka kuvaa useimmiten itselleen tuntemattomia ihmisiä. Katukuvaaja ei piiloudu, mutta ei myöskään yleensä esittäydy ja kysy lupaa kuvaamiseen. Kiinnostavat katukuvat sisältävät pieniä merkitseviä yksityiskohtia, joita katsojan täytyy lukea kuvasta. Katuvalokuvaus on myönteishenkistä elämän tarkkailua. Pitkäjänteinen katuvalokuvaustyö voi saada dokumenttiluonteisen ajankuvamerkityksen, usein vasta vuosia kuvauksen päättymisen jälkeen. Dokumenttivalokuvauksesta katukuvaus eroaa siinä, että dokumentaristi yleensä toimii yhteistyössä kuvattaviensa kanssa. Hän on saanut kuvaamiseen luvan. Se on mahdollista kysyä, koska kuvauksen kohteena on rajattu määrä henkilöitä, ei koko kaupungin väestö. Taidevalokuvauksesta katukuvaus eroaa siinä, että näppäilijän havainnot eivät ole valokuvauksen vuoksi rakennettuja tilanteita. Katukuvat harvoin näyttävät etäännytetyiltä. Elämän merkkejä ei niissä ole eristetty alkuperäisiltä tapahtumapaikoiltaan. Lehtikuvauksesta katukuvaus eroaa siinä, etteivät kuvatut tilanteet ole suuria ja tärkeitä tapahtumia, uutisia. Kuvat voivat olla suurten järjestettyjen asioiden liepeiltä, mutta pääasian vierestä tehtyjä huomioita. Lehtien nykyisen nopean selausrytmin vuoksi lehtikuvan pääsanoma harvoin on pieni yksityiskohta. Tämän vuoksi katukuvia ei juuri julkaista lehdissä. Historian mustavalkoiset siivet: Henri Cartier-Bresson ja Garry Winogrand Vuonna 2004 elokuun toisena päivänä 95-vuotiaana kuollut ranskalainen reportaasikuvaaja Henri Cartier-Bresson oli myös katukuvauksen vaikuttaja. Hän nimesi oivaltavan huomion ratkaisevaksi hetkeksi. Hänen harmonisesti sommitellut, maailmaa eri puolilta näyttävät tilannekuvansa olivat kohteliaan herrasmiehen huomioita. Henrin kuvissa ihmiset näyttivät ilmeikkäiltä mutta silti arvokkailta. Yli 30 valokuvakirjaa julkaissut Cartier-Bresson on vaikuttanut tyylillään lukemattomiin myöhemmin syntyneisiin valokuvaajiin. Huomaamatta ilman salamaa toiminut mestari myönsi hänestä tehdyssä dokumentissa, että hän joskus tunsi itsensä taskuvarkaaksi, kun kuvasi henkilöitä heitä häiritsemättä. Keväällä 2003 Pariisissa avattiin mestarin nimeä kantava säätiö ja museo. Amerikan street photographyn uudistaja oli vuonna 1984 56-vuotiaana keuhkosyöpään äkillisesti kuollut Garry Winogrand. Hän nosti kuvissaan pääasioiksi pienet merkitsevät yksityiskohdat. Sommittelullisesti hänen usein vinoon käännetyt kuvansa näyttivät pikemminkin hallittua kaaosta kuin Cartier-Bressonin kaltaista geometrista tasapainoa. Winograndin levottomissa kuvissa elämä näyttäytyi myös monta pykälää rosoisempana, hän ei kaihtanut näyttämästä surkuhupaisiakaan tilanteita. Vauhdikas Garry jätti jälkeensä 2500 kuvattua kehittämätöntä 135-koon filmirullaa, 6500 kehitettyä rullaa ilman pinnakkaisia ja 3000 rullaa pinnakkaisineen, mutta pääosin ilman merkintöjä kuvavalinnoista. Garryn tätä aiempi, parhaiden päivien tuotanto on Arizonan yliopiston kokoelmissa, joista valitut näyttelyt kiertävät parhaillaan maailmaa. Tyylit ja tittelit uudistuvat Viime vuosituhannen lopulla street photography koki suosionsa aallonpohjan. Suora näkymä ja pysäytetty hetki valokuvissa olivat harvoin esillä näyttelyissä ja kirjoissa. Kiinnostuksen lisääntymisen ja ilmaisun muuttumisen hyvä esimerkki on Jeff Mermelsteinin SideWalk kirjan julkaisu vuonna 2000. Teoksen värikuvat ovat New Yorkin katujen elämästä. Näyttävien kokoaukeaman havaintojen tunnelma on tuokionomainen, hetket eivät ole toiminnan huippukohtia. Tärkeät täplät ovat kuvissa usein selkeästi aivan etualalla. Katukuvauksen perinteestä on jäljellä lämminhenkinen elämän monimuotoisuuden esittäminen. Jeffin toinen kirja, No Title Here, on vuodelta 2003. Korostetusti kinoruudun muotoisessa teoksessa on valikoima tilanteita New Yorkin lisäksi muualtakin USA:sta. Nyt merkitseviä yksityiskohtia on katsojan usein itse etsittävä eri puolilta kuvaa. Huolimatta ilmeikkäistä, salaman pysäyttämistä tapahtumista, kirjan esipuheen otsikko kuuluu: Ei ratkaisevia hetkiä. Kuraattorin teksti kertoo, kuinka elämän olosuhteiden tallentamiseen sitoutuneet kuvaajat siirtyvät katujen sijasta toimimaan kauppa- ja mukavuuskeskuksissa, stadioneilla, messuilla ja erikoistapahtumissa. Paikoissa, jotka nykyään kokoavat ihmisiä yhteen. Kansilehden sisätaitteessa kriitikko kirjoittaa Jeffin tittelin: näppäilytaiteilija, snapshot artist. Internetistä löytyy runsaasti lisää esimerkkejä uudistuneesta katuvalokuvauksesta. Erityisesti www.in-public.com sivuston tekijät näyttävät ja kertovat mielenkiintoista uutta street photographyn alueelta.” Tämä artikkeli julkaistiin Kamera-lehdessä 10\/2004 Arkienkelit-näyttelyn kuvieni kanssa. Jouko Leskelä “ALERT ON THE STREET Street photography is at the end of the day free snapping. In the abundance of possibilities the street photographer focuses his attention selectively. My own goal is to show images, where similar or mismatched people or elements of manmade environment reoccur or juxtapose with each other. My street pictures are unarranged situations. I don’t ask anyone to repeat anything I saw for a photograph. The coordinates of street photography: Street photography means freely composed unarranged photography in public places. The subject is mainly people and coincidences between them. The street photographer mostly photographs people he doesn’t know. A street photographer doesn’t hide but neither does he usually introduce himself or ask for permission. Interesting street images entail small meaningful detail, which the viewer has to read from the picture. Street photography is observation of life with a positive spirit. Over time, a long span street photography may gain a zeitgeist-like meaning of a documentaristic nature, often years after the work has ended. Street photography differs from documentaristic photography with the fact that a documentarist usually works together with his subjects. He has been given permission to photograph. It has been possible to acquire permission because the subject includes a certain number of subjects, not for example the entire population of a city. It differs also from photographic art, as the observations of the street snapper are not created for photography. The street photos rarely look estranged. The signs of life have not been isolated from their original scenes. From photojournalism, or editorial photography, street photography differs by the subjects not being big or important events, news. The images might be taken around arranged events, but they remain observations beside the point. Due to the fast rhythm of news, the main item in news photography is rarely a small detail. This is why street photography is not often published in papers. The black and white wings of history: Henri Cartier-Bresson and Garry Winogrand Passed away at the age of 95, on the 2nd of August in 2004, the French reportage photographer Henri Cartier-Bresson, had also an influence on street photography. He named the insightful observation as the decisive moment. His harmonically composed images, viewing the world from different angles, were the observations of a polite gentleman. In his photographs people looked expressive, but yet dignified. With over 30 published photographic books, Cartier-Bresson has with his style influenced countless photographers after him. Working unnoticeably, without a flash, the master did admit in a documentary of his work, that he sometimes did feel like a pickpocket, when photographing people without disturbing them. In the spring of 2003, there was a foundation and a museum, carrying the master’s name, opened in Paris. Garry Winogrand, who was in 1984 suddenly lost to lung cancer at the age of 56, was the transformer of the American street photography. In his images he gave a lead role to small meaningful detail. Compositionally, his often tilted images likened more a managed chaos, than a Cartier-Bresson style geometrical balance. In Winogrand’s restless images, life appeared also several degrees rougher. He didn’t shy away from showing melodramatic situations either. The speedy Garry left behind 2500 rolls of exposed but undeveloped 35 mm film, 6500 developed rolls without contact sheets and 3000 rolls with contacts, but mainly without any indication of selections. His earlier, best, work remains in the collections of the Arizona University, where selected exhibitions are now travelling around the world. Styles and titles transform At the end of the last century street photography reached a low point in popularity. A straight view and a halted moment were rarely seen in exhibitions or books. A good example of the increased interest and the change in expression is Jeff Mermelstein’s book SideWalk, which was published in 2000. The colour images in the book are from the streets of New York. The flashy full-page-spreads of observations of street life have a momentary feel to them. They are not high points of action. The important spots of the images are clearly at the front. The tradition of street photography has left behind a positive spirit in which the diversity of life is portrayed. Jeff’s second book, No Title Here, was published in 2003. In the book, which takes the form of a 35 mm frame, there is a selection of situations from different parts of the United States alongside New York. This time the viewer often has to look for the meaningful detail from all over the pictures. In spite of the expressive, flash-lit events, the prologue of the book is titled: No decisive moments. The curator’s text explains how the photographers committed to recording the conditions of life have moved from the streets to work in shopping malls, stadiums, fairs and other special events. In all the places that now gather people together. In the cover fold, a critic writes Jeff’s title as: snapshot artist. There are a great number of examples of the renewed street photography to be found on the internet. Especially the keepers of www.in-public.com show and tell interesting news in street photography.” Published in Kamera-lehti 10\/2004, with photos presented at my exhibition Arctic Angel. Text by Jouko Leskelä\u003c\/p\u003e","brand":"Jouko Leskelä","offers":[{"title":"Default Title","offer_id":55041932820807,"sku":"9519979727","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/leskela_kansi_0806_8d8_1.jpg?v=1789560991"},{"product_id":"cheyco-leidmann-sex-is-blue","title":"Cheyco Leidmann - Sex is blue","description":"\u003cp\u003eHB, 128 pages\u003cbr\u003e\nTe Neues Publishing Company (2005)\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eHot, hard, leashless, controversal, ironic. An unusual statement influenced by disrupting image codes beyond everyday reality. It is a new interpretation far different from his former work. His career crossed diverse genres such as film, screenplaywriting, performance, exhibition, assigned stills always on the wicked side. As visualist Cheyco Leidmann is one of the rare brandnames-known for the strength and power of the images and the quality and vigor of his work. His style is immediately recognizable, bearing a magical art staged precisely at the cutting edge. Perverse, hallucinatory, extreme\u003c\/p\u003e","brand":"Cheyco Leidmann","offers":[{"title":"Default Title","offer_id":55041938948423,"sku":"9783832790424","price":47.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/383279042X.01.LZZZZZZZ.jpg?v=1793046486"},{"product_id":"annie-leibovitz-american-music","title":"Annie Leibovitz - American Music","description":"\u003cp\u003eHardcover: 264 pages\u003cbr\u003e\nPublisher: Random House; 1 edition (October 28, 2003)\u003cbr\u003e\nLanguage: English\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eThe impulse to do AMERICAN MUSIC, writes famed photographer Annie Leibovitz, “came from a desire to return to my original subject and look at it with a mature eye. Bring my experience to it…make it a real American tapestry.” Her ambitious idea became AMERICAN MUSIC, a stunning collection of photographs of the musicians, places and people that enrich the landscape of American music. As Rolling Stone’s chief photographer for over thirteen years, Leibovitz created a legendary body of work. Her portraits of some of the world’s most talented musicians capture more than the performer, they convey the art of making music. For AMERICAN MUSIC, Leibovitz traveled across the country to juke joints in the Mississippi Delta, honkytonks in Texas, and jazz clubs in New Orleans “to take pictures in places that mean something.” In her signature style, she shares stunning portraits of American greats — B.B. King, Willie Nelson, Bonnie Raitt, Bruce Springsteen, Beck, Bob Dylan, Mary J. Blige, Jon Bon Jovi, Steve Earle, Ryan Adams, Miles Davis, Etta James, Pete Seeger, Emmylou Harris, Tom Waits, The Dixie Chicks, Dr. Dre, The Roots and many more. 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Hotel LaChapelle is full of neon, sex, and strange people—and the result is a beachy postcard from that nuns-with-guns place in the sun that could only exist in the vision of David LaChapelle. Hotel LaChapelle will be luxuriously printed and handsomely, colorfully boxed. Boasting more than 158 full-color images, it is a passport to this groundbreaking photographer’s unique imagination. His subjects include the hottest celebrities to today: Leonardo DiCaprio, Madonna, Tori Amos, Uma Thurman, Marilyn Manson, Daniel Day Lewis, Mike Myers, Pamela Anderson, and many others. Spectacular in style as in content, Hotel LaChapelle promises to be the wildest, freshest volume of photography of the next few years.\u003c\/p\u003e","brand":"David LaChapelle","offers":[{"title":"Default Title","offer_id":55041959854407,"sku":"9780821226360","price":50.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/0821226363.01.LZZZZZZZ.jpg?v=1793046486"},{"product_id":"dorothea-lange-by-mark-durden","title":"Dorothea Lange by Mark Durden","description":"\u003cp\u003eHB, 128 sivua.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eDorothea Lange (1895–1965) on yksi tunnetuimmista amerikkalaisista dokumentaarisista valokuvaajista. 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Kuvien kattaus ja täydellinen herkullisuus saavat veden kielelle, mutta ne eivät ole sitä miltä ne näyttävät. Juha-Pekka Laakion Kitchen Works avautuu nurinkuriseen maailmaan, joka tukeutuu ruokakuvaukseen olematta sitä. Jaakko Heinimäki pohtii johdannossa kattauksen merkitystä aterian syntyprosessissa. 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Kukin mukanaolija on omasta lähtökohdastaan kertonut tapahtumasta, episodista tai prosessista, joka on keskeisesti muokannut hänen elämäänsä, kohtaloaan ja persoonallisuuttaan, jättänyt elinikäisen jäljen – arven, jota hän alati kantaa mukanaan. Tarinat kertovat mm. onnettomuuksista ja vammautumisesta, päihderiippuvuudesta, väkivallasta, uskosta ja ruumiillisuudesta, mutta myös nuoruuden rakkauden kohtaamisesta, ihastuksesta ääneen ja valoon tai vaikkapa keski-ikäisen miehen hellyttävästä pakkomielteestä. Kirjoitusten pohjalta taiteilija on vapaasti rakentanut muotokuvan mukanaolevista henkilöistä. Aineksina ovat olleet tekstien antamat viitteet ja tunnelmat, niiden herättämät ajatukset ja mielleyhtymät. Koostaessaan kuvaa taiteilija on purkanut ja pilkkonut kertojan hahmottaman tilanteen ja vapaasti assosioiden koonnut palasista kokonaisuuden. Mielenkiinto kohdistuu itse henkilön lisäksi myös hänen ympäristöönsä ja esineisiinsä. Tuloksena on unenomaisia, usein lavastettuja ja “käsiteltyjä” miljöömuotokuvia kolmen tai neljän kuvan koosteina. Kuvauksen kohde ja hänen tilanteensa ovat lempeästi, mutta terävästi nähty taiteilijan persoonallisten silmälasien läpi. Valmis kuva kiteyttää jotakin olennaista mallista ja hänen “aurastaan”, usein fantasialla ja huumorilla höystettynä. Yhtä lailla se kertoo myös taiteilijasta ja hänen asenteistaan, empatiastaan ja kyvystään tulkita ja pukea kuviksi se näkymätön jälki ihmisen sielussa, joka hänen edessään hahmottuu. Teoksissaan Larjosto ei etsi rujoa kohukuvastoa eikä sankaritarinoita. Työt keskittyvät tapahtumiin ja niihin liittyviin muutosprosesseihin, jotka ovat vaikuttaneet merkittävästi kokijoihin, kasvattaneet heidän ymmärrystään omasta ja muiden kohtalosta ja elämästä. Viime kädessä muotokuvat ovat kunnianosoituksia ihmisen yksilöllisyydelle ja erilaisuudelle, ehkä myös ihmissuvun moninaisuudelle. 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I am become Death, the destroyer of worlds.” This was Oppenheimer’s attempt to describe the otherwise indescribable. 100 Suns likewise confronts the indescribable by presenting without embellishment the stark evidence of the tests at the moment of detonation. Since the tests were conducted either in Nevada or the Pacific the book is simply divided between the desert and the ocean. Each photograph is presented with the name of the test, its explosive yield in kilotons or megatons, the date and the location. The enormity of the events recorded is contrasted with the understated neutrality of bare data. Interspersed within the sequence of explosions are pictures of the awestruck witnesses. The evidence of these photographs is terrifying in its implication while at same time profoundly disconcerting as a spectacle. The visual grandeur of such imagery is balanced by the chilling facts provided at the end of the book in the detailed captions, a chronology of the development of nuclear weaponry and an extensive bibliography. 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He pioneered the style of photographic 'New Journalism' as he rebelled against Life magazine style photographs, instead immersing himself as a participant with his documented subjects. He produced his major bodies of work in this way: living with the Chicago outlaw motorcycle club for The Bikeriders, immersing himself in the Texas prison system for Conversations with the Dead, and documenting the boarded-up lower Manhattan buildings before a major demolition in Destruction of Lower Manhattan. Since this work in the early 1960s and 1970s, Lyon has produced numerous highly collectible photobooks, won two Guggenheim Fellowships, a Rockefeller Fellowship, and ten National Endowment for the Arts awards. In this book, for the first time, Lyon has collected his photo essays from over forty years of his remarkable career. A radical and maverick figure, much of this work was considered too controversial for publication at the time of its creation and never reached the American public. Essays collects together this wide body of work – from sensual images of girls in a barrio of Colombian brothels, to stunning portraits of young local boys in 1965 Chicago, from his most famous bodies of work to never before published projects – to produce a lasting testimony of the time and the people he pictured.\u003c\/p\u003e","brand":"Danny Lyon","offers":[{"title":"Default Title","offer_id":55042729509191,"sku":"9780714848518","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/lyon_1009_aac_1.jpg?v=1789564177"},{"product_id":"catherine-ledner-animal-house","title":"Catherine Ledner - Animal House","description":"\u003cp\u003eHB, 96 pages\u003cbr\u003e\nWelcome Enterprises, Inc (2009)\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eWelcome to Animal House, where occupancy is strictly limited to the furry, the feathered, the hoofed, and the clawed. 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I found the isolation and singularity of the maenhir compelling and idiomatic. For in fact, it is not known why they exist or how they got there. What fascinated me most were the stories associated with each stone and the mysteries and dark sensibilities that local farmers told.” Lieberman sat with a stone for hours, and captured the silent presence and particular character of each one. Stationed on the land, whispered about, and protected by the farming population, these national treasures represent lost souls and wandering ghosts. While millions of people flock to Stonehenge each year, the maenhir are mostly unvisited and unmapped. Lieberman searched them out in backyards, campgrounds, hedgerows, and farmlands. Many had not been photographed before. From farmers to poets to barons to and surfers—all have stories and fables—passed down through the generations—to tell about the stones in their neighborhoods. Hiking throughout the countryside I found each stone, marking the horizon in a strange and unnatural manner. 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Until recently, only a handful of these photographs had been released for publication; but now, for the first time, NASA has allowed a selection of the master negatives and transparencies to be scanned electronically, rendering the sharpest images of space that we have ever seen. Michael Light has woven 129 of these stunningly clear images into a single composite voyage, a narrative of breathtaking immediacy and authenticity that begins with the launch and is followed by a walk in space, an orbit of the Moon, a lunar landing and exploration, and a return to Earth with an orbit and splashdown. Graced by five 45-inch-wide gatefolds that display the lunar landscape, from above the surface and at eye level, in unprecedented detail and clarity, Full Moon conveys on each page the excitement, disorientation, and awe that the astronauts themselves felt as they were shot into space and then as they explored an alien landscape and looked back at their home planet from hundreds of thousands of miles away. Published on the thirtieth anniversary of Apollo 11—the first landing on the Moon—this remarkable and mesmerizing volume is, like the voyages it commemorates and re-creates, an experience both intimate and monumental.\u003c\/p\u003e","brand":"Michael Light","offers":[{"title":"Default Title","offer_id":55042919498055,"sku":"9780375414947","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/as15-1005m_1.jpg?v=1789564791"},{"product_id":"hakan-ludwigson-taken-out-of-context","title":"Håkan Ludwigsson - Taken Out of Context","description":"\u003cp\u003eHB, 176 sivua.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eSwedish-born Håkan Ludwigsson is one of the select star photographers of Condé Nast Traveler. In New York’s trend-conscious media scene, his name is invoked with particular respect, a respect that Ludwigsson has earned through 16 years of successful photography. Technical perfection and visual brilliance are the hallmark of his picture essays for what is the quintessential travel magazine. In Taken Out of Context, Ludwigsson’s photography shows that the boundaries between the medium’s various genres are becoming increasingly difficult to define. The book interweaves advertising photos made for leading car companies with documentary shots taken for Condé Nast Traveler in the visual language that Ludwigsson shares with American art photographers such as William Eggleston, Joel Meyerowitz and Stephen Shore. According to Ludwigsson, his ambition is “to create a personal, visual language that lies somewhere between art, documentary and classical photography.” Here, Ludwigsson ultimately displays a healthy questioning attitude to the global adventure industry that he has helped to create through his visual art.\u003c\/p\u003e","brand":"Håkan Ludwigsson","offers":[{"title":"Default Title","offer_id":55042921333063,"sku":"9783865210821","price":87.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/39195_1.jpg?v=1789564799"},{"product_id":"jouko-lehtola-no-mercy","title":"Jouko Lehtola - No Mercy","description":"\u003cp\u003eHB, 160 pages, 70 color ills. \u003cbr\u003e\nEnglish\/Finnish\u003cbr\u003e\nKehrer Verlag, 2013\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003e»I try to capture innocence and rage. Anyone who has been a teenager knows it ain’t fun. 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Revolutionary in the 1970s, Lyon’s record of life inside the Texas prison system was one of the first photobooks to include ephemera and has been out of print for over 40 years. A valuable collector’s item, first edition hardbacks in good condition sell for over $1000, this edition has been updated with a new afterword by Danny Lyon. The growth of the prison population in the US – currently the largest in the world – and recent debate over the drugs used in carrying out the death penalty highlight the continued relevance of this book today.\u003c\/p\u003e","brand":"Danny Lyon","offers":[{"title":"Default Title","offer_id":55043006038343,"sku":"9780714870519","price":40.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/41vv78xlm2l-_sy360_bo1_204_203_200.jpg?v=1789565081"},{"product_id":"danny-lyon-deep-sea-diver-limited-edition","title":"Danny Lyon - Deep Sea Diver (Limited Edition)","description":"\u003cp\u003eHB, 136 pages, 85 illustrations\u003cbr\u003e\nLanguage: English\u003c\/p\u003e\n\n\u003cp\u003eA strictly limited edition facsimile of Danny Lyon’s original photobook\/diary compiled after his six trips to Shanxi Province in northeast China.\u003cbr\u003e\nA unique and highly collectable edition.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eThe Nature of Photographs is the essential primer of photography, not only for students but for anyone with an interest in the medium. 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By putting himself in the shoes of the photographers, he imagines the concerns or approach to the subject or concept they may have had when they were taking the picture. As well as a selection of Shore’s own work, The Nature of Photographs contains images from all eras of photography, from classic images by Walker Evans, Brassaï and Eugène Atget to more contemporary work by Bernd and Hilla Becher, Cindy Sherman, Joel Sternfeld, Thomas Struth, Richard Prince and Andreas Gursky. It includes all genres, such as street photography, fine art photography and documentary photography, as well as images by unknown photographers, be they in the form of a snapshot from the early days of photography or an aerial photograph taken as part of a geographical survey. Shore has selected images by, among others, Eugène Atget, Walker Evans, Diane Arbus, William Eggleston and Robert Adams, and offers an explanation as to how they ‘work’. Together with his clear, intelligent and accessible text, Shore uses these works to demonstrate how the world in front of the camera is transformed into a photograph.\u003c\/p\u003e","brand":"Danny Lyon","offers":[{"title":"Default Title","offer_id":55043040018759,"sku":"9780714861043","price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/51j25_c9vhl-_sy427_bo1_204_203_200.jpg?v=1789565169"},{"product_id":"danny-lyon-the-seventh-dog","title":"Danny Lyon - The Seventh Dog","description":"\u003cp\u003eHB, 240 pages, 200 colour photographs\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eThe Seventh Dog is a new monograph\/photobook by American photographer Danny Lyon. Organised chronologically, this artist’s book tells the story of Danny Lyon’s 50-year-career as one of America’s most original and influential documentary photographers. Groundbreaking as a photobook in itself, Lyon tells this story starting in the present day and going back in time to the beginning of his career in the 1960s when he photographed the American civil rights movement and the Chicago bikeriders. Through text and image – colour and b\u0026amp;w photographs, original photo collages, letters and other ephemera (many published here for the first time), and Lyon’s own writings – this is a story of Danny Lyon’s personal journey as a photographer – a story about photojournalism, the move from film to digital photography, about Lyon’s life and quest as a photographer, and of America.\u003c\/p\u003e","brand":"Danny Lyon","offers":[{"title":"Default Title","offer_id":55043052011847,"sku":"9780714848532","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/9780714848532.jpg?v=1789565190"},{"product_id":"jorma-luhta-taivas-tulessa-kulje-revontulten-loimussa","title":"Jorma Luhta - Taivas tulessa - kulje revontulten loimussa","description":"\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eRevontulten uskomaton väriloisto ja levoton tanssi taivaanrannassa ovat luonnon hienoimpia tapahtumia. 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