By Marie Luise Syring, Lynne Cooke, Rupert Pfab, Kunsthalle Dusseldorf
The 1st massive monograph of Andreas Gursky’s paintings considering that 1984 this sequence of large-format colour photos depicts colossal panoramic scenes: complete cityscapes, never-ending horizons, multi-floored workplace constructions, large manufacturing unit corridors and crowded public areas. Taken from a distance, usually with a bird’s eye view, they characterize greater than a suite of pictures of assorted locations—rather Gursky’s paintings displays either the paintings types and the typical aesthetics of 20th-century society. Many photos are allegories, delivering a cultural critique of man’s position in nature, expertise, artwork and society. different resemble summary work, in which Gursky applies a couple of formal components, resembling gentle, composition and shape, to express a temper or refined message. of their measurement and scope, of their reflective temper and social statement, and in their many layers of which means and interpretation, those exquisitely reproduced pics of inside and external areas demonstrate the qua! lities that experience made Andreas Gursky some of the most revered panorama photographers of his new release.
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Extra resources for Andreas Gursky: Photographs from 1984 to the Present
Whilst I would be the first to admit that visibility is not always stunning, there are techniques which can be used to work around this and there are also a whole host of aquatic celebrities to keep a keen photographer busy for dive after dive. With this in mind I thought I might try to encourage more photographers to sample our temperate waters by singing the praises of British fish. After all, if you can learn to produce good images under difficult conditions then it can only make the task so much easier on your next tropical trip and who knows you may even learn to enjoy it!
All these species can be shot successfully with a 60mm or 105mm macro lens on a housed system, but if you are using a Nikonos or Motormarine then you will have to work with a close up kit with the framer removed. You can try focussing on the subject using converging torch beams which intersect at the point of focus, although judging the picture area will take some practice. Whichever system you have, you will need to concentrate on your lighting angles, not only to elude backscatter but also to avoid casting shadows on the subject when shooting into crevices in the reef.
His wide angles are outstanding and there is not a bubble in sight. We can all learn from his approach by studying his two coffee table books. ‘Within a Rainbow Sea’ and ‘In a Sea of Dreams’. And finally a note about the equipment. Whilst there are numerous dive/video lights/ torches on the market, I use Kowalski torches, both the 620 and 1250 model. My reasons are due to the brightness of the beam, the two power settings 50% and 100%, duration of burn time and most importantly the charging implications.