Sebastian Mölleken’s A40 portrays Germany’s Ruhr region along the A40 highway, using landscapes and portraits. Very impressive work!
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Colourizing b/w photographs is nothing new (behind me, on my book shelve, there’s a colourized tintype from the late 1800s), but you don’t see it that much any more these days. Florian Merkel has a portfolio of such work, with some rather beautiful images.
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Klaus Muenzner’s What’s Left Behind shows the Eastern German countryside, 20 years after the reunification. Also not to be missed: Homeless.
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Ute Friederike Schernau’s All About Eve (and Adam) examines the roles played (and supposed to be played) by women and men.
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About his einer Fred Hüning writes: “Pictures of my work ‘einer / the one’ tell a story of love. Also of the wish for a child together and of a mother´s permanent fear - on the basis of her own previous experiences - to lose this planned child again. And eventually a story of a painful 30 hour birth of a healthy child.”
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Daniel Barthmann’s “St. Pauli”, a part of Hamburg (in)famous for its red-light district.
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Malwine Rafalski’s Holon portrays people (and their environments) who moved back to Nature (c.f. Thoreau’s Walden).
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And another wonderful find by Peter: Rebecca Sampson’s portraits taken at an eating-disorder treatment center (“Aussehnsucht”). Very moving work, beautifully shot.
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The above image is from a photo project Torben Weiss shot in a psychiatric unit. Unfortunately, the website only has a few photos for each project (maybe there aren’t more?).
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Just a few weeks ago, the 20th anniversary of the Berlin Wall opening was celebrated, and we were subjected to the usual imagery again - mostly from the first few days. Norbert Enker’s Grenzfall has images taken over a much longer period of time (180 of them!), which show the Wall coming down/disappearing.
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Frank Schirrmeister’s Plain City shows us not only a Berlin (mostly) devoid of people, but also stays clear of the usual Berlin photo cliches.
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I rarely link to abstract photography, but Markus Bruckner’s is well worth the visit.
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It’s obvious what Heinrich Holtgreve’s Backstage is all about, and it’s not a pretty sight (the places, not the photos).
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I have no idea what Frank Höhle’s portraits mean, but they’re very well done - one of those cases where you wish you’d get a bit of background on the website. (via)
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Via thingsmagazine I found Martin Roemers’ photographs of Relics of the Cold War.
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Patrik Budenz’s Post Mortem (which is not for the queasy!) contains some, well, stunning imagery.
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There is no information about the series eo ipso on Lia Darjes’ website - so it’s up to us to make something of it.
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Stefan Hobmaier’s Dorfjugend portrays the lives of young people in small villages.
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Valerie Schmidt’s focus is on portraiture - a lot of good work, plus some that one could do without. The site is well worth the visit. (via)
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For those people craving to see typologies, here are Beatrix Reinhardt’s Coca Cola Houses in India. (via)
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Georg Küttinger’s landscapes:remixed is a fine example of how digital image technologies can be used in very creative ways. (via)
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For her photography of German nuclear reactors, Anja Behrens uses very classical landscapes - works wonderfully (via)
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Frederike Wetzels’s “Hoeschviertel” shows what many Germans cities look like, once you get away from the centers and regardless of whether you are in Berlin, Frankfurt, Munich, or wherever else. (thanks, Tobias!)
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For the fans of typologies there now is Stefan Klink’s project Architecture of train stations in the Harz region (German language only page; but you don’t really need the text). It’s slightly amusing to see that some photography now seems to follow a pattern known from academia: Researchers focusing on some tiny aspect of a much larger field…
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This photo is not particularly representative of Kai-Uwe Schulte-Bunert’s work, but it shows a different side of a German photographer who sometimes seems to get a little bit lost in formalism.
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Jonas Holthaus’ Heimat-Raum shows Turkish tea rooms and entertainment centers in Germany.
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Those interested in architectural photography can find a lot of good images on Christoph Morlinghaus’s website.
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Found via The Sonic Blog: Gordon Welters’ documentary photography.
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“Anna Lehmann-Brauns discovers and invents spaces in which times seems to stand still, spaces ilike islands in a society moving ever faster, forgotten by the functional dynamics of the world outside. Time standing still opens up the pictures to a sensation of both timelessness and irreality.” (source)
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Jan Stradtmann’s Gardon of Eden might be the first financial-crisis photography I’ve seen that’s a bit more than just cliche photos of desperate brokers at the stock exchange.
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Typologies meet Andreas Gefeller in Jürgen Chill’s “Zellen” (“prison cells”). Find an interview with Jürgen over at Prison Photography.
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According to his website, Dietmar Busse “is currently working on his next book project, for which he asks people with great individual style to put on their best clothes and come to his Manhattan studio to have their portrait taken.”
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Tine Casper’s Parents-In-Law are self portraits with (a) parent(s) of the artist’s former partners.
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Twenty years ago, the Berlin Wall came down (or actually was opened), resulting in the eventual (and surprisingly quick) creation of a unified Germany, which looks and behaves like a slightly larger West Germany. Dorothee Deiss’ “As If Nothing Happened” looks for traces of the Berlin Wall - of which not much remains - by taking photographs of where it once stood and by talking to people who lived in its vicinity. Dorothee showed me the dummy of her book - for the portraits you need to be able to read what the portrayed had to say - and I hope she will be able to find a publisher for it. It’s about time we got some German Vergangenheitsbewältigung (dealing with the past) that goes beyond self-congratulatory speeches by utterly mediocre politicians.
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Fritz Fabert’s Archäologie der Arbeit [Archeology of Work] presents “relics” from closed down businesses and hospitals. It’s such a simple idea, it works so well, and it’s such a fine alternative to giving the world yet another series of abandoned buildings (seriously, we’ve had more than enough of those!).
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Marc Baruth’s “The Prodigal Son” (“staged landscapes based on the wok of Peter Paul Rubens”) immediately brings Beate Gütschow’s work to mind.
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Susanne Katzenberg’s portfolio contains a variety of projects, which are all quite different, so picking one image was tricky.
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Lotte Reimann’s website is pretty bare bones, so it’s hard (if not impossible) to tell what they series are about; but the work is quite interesting.
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The Sonic Blog today featured the work of Mona Simon whose intensely beautiful “Transylvania” is not to be missed.
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“The Queen, a digitally modified photographic portrait of a women, taken in the style of classic renaissance paintings, is shown in a fine art environment, in a fine art manner. The aura of art is catalysed by special lighting, pictograms, state of the art presentation, security guards, and a red velvet rope to prevent physical contact.” - Frederik Busch
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At the beginning of his career, Laurenz Berges took photographs of abandoned Soviet barracks in Eastern Germany. He still is looking for traces of people that have left a place.
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Sandra Kühnapfel’s “Plattenbau” (the first of the projects on her site) portrays the environments and inhabitants of the apartment complexes, known in Germany as Plattenbauten.
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Elger Esser is one of my favourite German photographers, in large part because of his large-scale (colour) landscapes. These photographs invite the usual complaints about German photography, but I could not imagine seeing Esser’s landscapes any other way. Needless to say, the image samples on the web do the prints absolutely no justice. Here’s a page with more information (and samples), and hopefully this one is not going to disappear as rapidly as all my earlier links. (updated entry)
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German editorial photographer Julian Röder has a large portfolio filled with interesting photography; with my personal favourite maybe being Berlin.
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More German editorial photography: Thomas Meyer’s work. (and kudos to Jörg for providing so many Ostkreuz links!)
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“My photographs are not meant to tell stories – I only want to make pictures.” - Ricarda Roggan
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Andreas Schoettke’s Wolfsburg is a good portrait of pretty much any, especially somewhat smaller German city - first a hasty reconstruction (right after World War II), then the ravages of various periods of ever more gruesome architecture (culminating in brutalism), and now an overly generous mix of concrete and fancy (or maybe just semi-fancy) architecture makes you search in vain for the city’s soul.
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Of Matthias Zielfeld’s projects I by far like his glaciers the best.
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Jörg Brüggemann’s Same Same But Different portrays young Westerners backpacking in less affluent countries.
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“I want to show a planet infested with a species in rage, in acceleration and constant motion—in that, becoming an abstract phenomenon. But I also want to show how much beauty we can find in this development we’re in, when we see it as an adventure or a challenge. My images stand for the highspeed insanity we’re facing every day.” - Martin Denker
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