Die katholische Kirche und die so genannte Rattenlinie (German Edition)

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Ich bin dann an ihm vorbeigelaufen und hab ihm freundlich zugerufen "Na, biste Jim Knopf? Im nachinein habe ich mich gefragt, ob das nicht doch rassistisch von mir war oder falls nicht, dann unangebracht, da ich den Jungen ja trotzdem auf seine Hautfarbe reduziert habe. Diese Ambilvalenz setzte sich im NS fort, z. Auch noch nach dem Krieg wurde z. Rosenkohl Diskussion , 5. Kann man auf dem gleichen Rechner Word, Excel und Powerpoint von Office sowie Outlook von Office installieren, oder "beissen" die sich irgendwie? Grund ist, dass in meinem Office Home Outlook nicht Teil ist.

Durch euch ermutigt habe ich mich getraut und Outlook installiert - und alles funktioniert problemlos. Wann ist das schon je der Fall? Mein Steuerberater macht gerade ein paar Tage Urlaub, daher kann ich den spontan nicht fragen. Villeicht kann mir jemand hier die Frage beantworten:. Ist das so korrekt? Export ist immer ohne Umsatzsteuer. Was der Importeur dort zu zahlen hat ist dem seine Sache. Innergemeinschaftlicher Warenverkehr ist es auch nicht. Dazu brauche ich ein X. Zum 1. Stiftsbibliothek St.

Gallen Zumal der Mietvertrag ein Ablaufdatum hatte. Beim Kaukasuskrieg muss aber bedacht werden das Saakaschwili zwar Aggressor, der ganze Krieg aber dennoch auf Gebiet stattfand, welches nach Ansicht der meisten Staaten letztlich georgisches Gebiet war. Und was ist der geologische Unterschied zwischen dem Kaspischen und dem Schwarzen Meer? Die russische Marine hat bereits einen Schwarzmeerhafen in Noworossijsk.

Hi all! Hier jeweils auf Lage klicken. Wer erkennt das System des BfNs? Gruss -- Nightflyer Diskussion , 2. Hallo erst mal. Bitte hier lang. In einer selten sinnvollen Entscheidung hat der Internationale Grichtshof ja heute Japan den Walfang in der Antarktis verboten. Mir scheint, hier gehts entweder um das krampfhafte Festhalten an idiotischen "Traditionen", oder die entsprechenden Unternehmer haben genau die richtigen Leute in Tokio dauerhaft geschmiert. Solaris3 Diskussion , Ich suche eine Liste der Aufsichtsrats-Mitlgieder von Lidl. Kann man die irgendwo im Netz einsehen? Ich bin also nicht versichert.

Ich habe seit einigen Jahren ein Konto bei denen. Am Ich bekomme ca. Da jetzt knapp ein Monat ergebnislos vergangen ist, frage ich mich und Euch, was ich jetzt wirkungsvoll tun kann bzw. Es kann doch wohl nicht sein, dass eine Bank? Lothar, der Zornige -- Vielen Dank - Thank you very matsch. Dabei ist Wein ein eher billiges Obst.

Mose und ihre Darstellung in der bildenden Kunst nicht kennt. Ist das so richtig? Der Unterschied zu einem richtigen Kreisverkehr besteht in diesem Fall also nur darin, dass ich auch beim Einfahren blinken muss. Was machen wir falsch? Link zum Artikel: Paragon Unternehmen -- mfb Diskussion , 3. Ich denke dann wird ihnen eine Mitarbeit leichter fallen. Gibt es allerdings einen Unterschied dazu, wenn man Zigaretten raucht, die ewig brennen und extrem stinken sprich Zigarren. Danke im voraus!

Da tut man es einfach, bis sich irgendjemand aufregt und der muss dann beweisen, dass das Gesetz auf seiner Seite ist, nicht umgekehrt. Ich habe bei erento zwei Anbieter ausgesucht, die jeweils 50 Euro nehmen. Wichtiger als Leistung ist Abstrahcharakteristik Direkt, Horn, etc. Aber das spielt hier alles keine Rolle.

Es kommt mir so vor…. Gibt es den Arte Themenabend noch? Auf der Homepage finde ich dazu nichts mehr. Dort gibt es ebenfalls noch einmal so einen Button mit "[Firma] Ihr Name", wie zuvor. Dieser ist oben links zu finden. Dort gibt es das Feld "Benachrichtigung wenn sich Partner anmelden". Dieses muss nur entfernt werden. Wurde die Schriftart allgemein umgestellt? Kann jemand helfen? MfG-- Grauer Elefant Diskussion , 6. Ich verstehe nicht ganz warum da z. Vieles in und an uns, Lebewesen, Pflanzen, Allem ist immer auch Abbild seiner Umgebung in der es entstanden ist und Bestand hat.

RoNeunzig] -- Ein regelrechter Duftfilter. Die Lunge als hochdifferenzierter Blasebalg steht auch in direkter Interaktion. Aber es regelt ja auch die vegetativen Funktionen, Motorik, und vieles mehr, die Gesamtheit "Mensch" bzw Lebewesen. Ein Baum des Lernens?! Unsere Umwelt - geschweige das Universum - ist doch kein Baum O.

Das waren ja die Fische. Das Gehirn ist in der Lage die Vielfalt der Umwelt aufzunehmen und zu verarbeiten. Mosaikstein oder wesentlich oder zu wishywashy-allumfassend als Aspekt? War das ein Fehlkauf? Wenn ich diesen Parameter setze, dann steht im Outlook hinter dem Betreff ein [encrypt]. Als wir eingezogen sind, war er recht hoch eingestellt, sodass beim Duschen immer Kaltwasser dazu gemischt werden musste.

Kennt sich hier jemand damit aus? Mal eine allgemeine Frage zum Durchlauferhitzer. Welcher Stromanschluss im Haus liefert eine solche Leistung? Ich lasse es dann einfach so wie es ist, das Argument, dass Legionellen eher bei Wasserspeichern auftritt, klingt stimmig. Frage: Was muss ich wo einstellen oder installieren, damit ich Wikipedia weiterhin nutzen kann? Und nebenher gefragt - Was soll der Mist eigentlich? Also, ich find's sogar besser lesbar. Obwohl ich solche Seiten schon seit vielen Jahren lese ist mir noch keiner untergekommen In der Benutzernamenszeile der Accounts verschiedener Internetportale z.

Wie bekomme ich diese Voreinstellungen wieder raus Freund soll nicht alle Benutzernamen und E-Mail-Adressen sehen, die mal erstellt worden sind. Wie kann ich wieder die "normale" Schriftart einstellen? Bisher laufe ich auf fatale error auf wenn ich es im localsetting. Eike So langsam verstehe ich. Danke, hat mir sehr geholfen. Und woher hat der nette Fisch seinen Namen, kann er Steine im Maul zermalmen? Bild siehe hier [37] -- Praxistipp aus dem Holzgartenhaus: Besen in eine Ecke halten, umdrehen, dann siehst du, in welche Richtung die Spinnweben gehen.

Dann je nach Leidensdruck entweder die ganze Decke abfegen oder nur entlang der Hauptrichtung aufwickeln. In den Ecken sind sie immer. Es gibt nur diesen einen Schwall Wasser, danach bleibt er trocken. Wie kommt das? Und wie, zweitens, kann es aus dem Duschkopf kommen, wenn der so weit oberhalb des Wasserhahns ist? Siehe gutefrage. Das letztgenannte Urteil betrifft wohl Dr. Wollt ihr etwa andeuten, dass Dr Pepper gar nicht gesund ist? Ich verklag die auf Millionen! Gibt es eine Klassifikation bzw. Vielleicht sogar hier in Wikiepdia? Das mit der Rillenerosion erscheint mir an dem Ort am wahrscheinlichsten.

Pingen - auch interessant - sind es eher nicht, mir ist jedenfalls nicht bekannt, dass in dieser Gegend jemals irgendeine Form von Bergbau betrieben wurde. Dieser Artikel ist mir bekannt, doch er beantwortet meine Frage zur Tauwirksamkeit nicht. Ja oder nein? Davon ist nur einer mit Home am Internet. Alle beteiligten Lizenzen sind OK. Meiner Erfahrung nach nur eine knapp verdoppelte Bootdauer und eine um ca. Der braucht. Ich fall vom Glauben ab In this exhibition he shows his best photographs of the GDR in the 80s….

The images inspired the label to the whole collection. If you scan the code you can find out more about the design. Jan van der Til shows his work. No other works are seen. He is asking questions. About his work. You can find those questions on the website of Photo Espana: phe. As this will be my last post I would like to say thank you to Hatje Cantze and Nadine Barthe for inviting me, and to those who have taken the time to look. I would have liked to write more about the trials of newspaper picture editing, but the job as it were got in the way. So, for this final musing, I am writing about the front page photograph.

Out of all the pictures in the newspaper, this must be the most important one. We had an unusual about turn with the front page picture last week when Babchenko appeared alive at a news conference. We begin to discuss the front page picture in our midday editorial meeting. This is when each of the section editors — home news, foreign, business and environment runs through their top stories, the graphics editor explains what information they will be illustrating through maps etc and I make a presentation of the 20 best pictures I have seen so far that day.

The key stories are roughly sketched out on the layout — the editor will usually be able to identify what might make the front page splash, what will go on page three, and which stories should open the foreign and business sections. A classic news picture filled the front when the politician Amber Rudd resigned. On a perfect day we will get a few different things out of the picture show. Hopefully, we will have decided on our Eyewitness picture, the photograph that fills the double pages of the centre spread from Monday to Friday.

The show may also reveal a number of standalone images that can run in the paper on their own merit and sometimes images can prompt a story to be written. This seems extraordinary, but believe me, most of the photography I look through is neither good enough nor relevant for the paper. A memorable image of a news event that fills the space with interesting detail.

Finally, I hope to get a heads up on what our front page picture might be. There is a certain sense of security knowing more or less what might go on the front, but not all stories will be picturable. A frequent, unnerving scenario is leaving the midday meeting not knowing what will go on the front and not having an Eyewitness. This beautiful and striking portrait holds the space despite being deceptively simple.


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It can be a real challenge to find such an image and on these occasions we often have to do a lot of lateral thinking to come up with something. We also have to think about the tone of the picture and how it will work next to the other stories on the front. The paper goes through many iterations as the day progresses and the stories on the front may be switched as their importance wains or are replaced by breaking news, but even if the main story stays the same we usually wait to decide on the image until late in the afternoon, so we are sure we have seen everything on offer and have chosen the best.

It amazes me that sometimes the front page can be completely up in the air until the very last moment when it all miraculously falls in place. The question of what makes a good front page picture is I think answered by how immediate its message is. It is all about impact and how we can make the Guardian stand out against competition on the newsstand. For my colleagues working on the website these concerns are from another era, but for me this way of thinking about how pictures function when printed and left out in the real world are what makes the job so interesting.

Editors, designers and sub editors, all hard at work in the final push to get the paper finished. I make my way out of the building as colleagues work to put the paper to bed. If you ask me the real buzz around photography in London this weekend was south of the river, at the fringe festival Peckham Now in its third year this diminutive festival is well in its stride.

The old factory buildings and derelict spaces housed small but thoughtfully curated exhibitions and was the perfect antidote to the heady commercialism of Photo London , held in the grandeur of Somerset House. Part of My London. Screenshot Part of Concealer. Tucked away from the luxury apartment buildings rising up around Vauxhall station lies Beaconsfield Gallery, an artist run space in a former Victorian school. This is where Foam has for the third time presented its show of artists to look out for under the age of Over at Photo London the trick to staying focused and in good humour is to dip in and out that is if you have the luxury of a weekend ticket.

Of course I attempted to see it all in one go and left in a predictably stupefied state. Marton Perlaki at Webber Represents. Although the show is conceived as an exploration in photographic series that reject linear readings, my overarching impression was about the impact of colour, no doubt accentuated by the cool, concrete location. It has made me think about the experience of looking at disturbing imagery. As a picture editor I look through a lot of photographs each day: by the time I leave work at 7pm I have generally seen approximately 25, And on any given day, that feed — which features everything imaginable, and unimaginable — there will be a number of upsetting images.

We view the images that are sent to the Guardian from agencies and individual photographers as a grid of thumbnails. It is a jumble of pictorial juxtapositions. I start scrolling through them at midnight, saving anything that catches my eye. I am looking at formal qualities — composition, light, colour, dynamism — as well as subject matter — the people or events that are in the news.

These are all things you learn to recognise from a five-centimetre wide rectangle. Monday morning was fairly typical, a mixture of entertainment from the night before and pictures taken over the weekend. At first there were the images we have become used to, of Palestinian men in T-shirts and jeans throwing rocks and running through clouds of black smoke from burning tyres. But then as the day progressed, there were more and more images of injured people, then bodies being carried away. The harrowing scenes we witnessed on our screens in the office in London were taken by photographers who were right in the middle of the chaos.

Despite being press and wearing flak jackets, they were putting themselves in significant danger. The contrast was shocking. It was not the most elegant composition, but it was a bold statement that was impossible to misread. It is surprising how many disturbing pictures you can look at before one jumps out and chills you to the bone. For me it tends to be when a child is involved and there are moments when I need to step away from the screen.

We are all to some extent numbed to images of suffering, especially when we have seen a lot of pictures from an ongoing tragedy or conflict, but that is when I believe there is an argument for publishing something you would rather look away from. Sometimes we need to be woken up to what is happening. Needless to say there will be a serious discussion involving lots of people about the ethical questions around publishing such an image.

When it comes to photographs of conflict we feel more justified in showing death, but people will always deserve privacy and respect. Equally though, an image of dead children, for example, can sometimes be seen as evidence of their being used as human shields. It is almost always a case of using your gut instinct and asking yourself if an image feels like an intrusion or a necessity. And how it might be interpreted — or misinterpreted — from a political perspective.

Discussion is important in figuring out how we should tell a story, but it is also important for us as a way of dealing with the images we look at. I am almost always working with another picture editor and we talk endlessly about the images we are looking at.

Catholic church = church of satan !

It is impossible not to voice a reaction to something that grabs you. I am in Switzerland for a few days visiting my brother who happens to live in Winterthur, home of the Swiss foundation of photography and Fotomuseum Winterthur. These world famous institutions, tucked away in unassuming old factory buildings outside the city centre are always worth a visit. I must admit this was my first encounter with the Swiss photographer and it was full of welcome surprises.

He spent much of the s and 70s immersed in the Swiss and international art scene where he documented the performances and exhibition openings of artists such as Paul Thek, Vito Acconci and Joseph Beuys. His fly on the wall snapshots make this legendary and vibrant period of art making feel both familiar and playful, and they reflect how close Burkhard was to the people he photographed.

This mode of display distanced him from the documentary photography he had been engrossed in and distinguished these pictures as artworks. The monumental photograph, which eventually defined his practice, began with the Amsterdam Canvases, , a series of almost life size images printed onto canvas and made in collaboration with artist Markus Raetz. The giant tableaus shot almost exclusively in black and white that Burkhard became known for fill the Fotomuseum across the road. There is a shared sense of an almost scientific pursuit in each of the series presented here. Whether the focus is on body parts, portraits of animals or landscapes, Burkhard explored the technical and aesthetic potential of the photographic medium.

Monday was the hottest May Day holiday on record in the UK and I did what countless others in the country were doing, gardening. I live on a narrowboat, so my garden consists of pots dotted around on the roof and foredeck. It was glorious at first, but soon became unbearably hot. Needless to say, no serious gardener would dream of potting new plants in the scorching midday sun.

Allen and Sarah Anne McNear. There is a wealth of image making, mainly from the US, that is explored through themes such as Paradise Garden and The Gardeners.

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What strikes me when perusing these pages is how such incredibly diverse practitioners have all been drawn to photographing plants, gardens and the people they inhabit. There are pictorialists like Clarence H. White , who set their fairy tale scenes in dark glens, modernists like Imogen Cunningham who saw the very structure of flowers as majestic forms and documentary photographers like Martin Parr who revel in the rich colours and charm found in tourists visiting gardens, to name just a few.

I am also struck by how the fascination with nature and our interaction with it has hardly changed since the beginning of photography. For instance, the desire to extract, dissect, document and examine plant life is carried through from the earliest botanical photograms made in cyanotype by Anna Atkins to contemporary image makers like Jo Whaley whose botanical studies are very sculptural.

Jeanette Bernard, Two women with wheelbarrow, ca. Shipley Miller and J. Randall Plummer. Bill Owens, Before the dissolution of our marriage my husband and I owned a bar. One day a toilet broke and we brought it home. The Guardian comes hot off the press at the print site in Watford. Photograph by Alicia Canter for The Guardian. Dear fotoblog readers, I am thrilled to have been asked to be a guest blogger by Nadine Barth.

Over the next month I plan to share some experiences from the newsroom. I hope to give an insight into the workings of our newspaper, where questions about photography and publishing are constantly being grappled with. May is also a big month for photography in London. The events and exhibitions happening across the city to coincide with the fair are also looking great this year. It feels like interest and commitment to photography in London has taken off in the last couple of years. London really is bursting at the seams with photography and long may it continue!


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    Season 1 Episode 6: Emil Schult. Season 3 Episode 7: Friederike von Rauch. Season 2 Episode 6: Hans Ulrich Obrist. Season 3 Episode 4: Sven Marquardt. Season 4 Episode 8: Yasmine Hamdan. Damit verabschiede ich mich vom Hatje Cantz fotoblog. Unterwegs — in der Ferne Noga Shtainer zeigt das lustvolle Verkleiden mit Masken. Die Puppe wird zum treuesten Wegbegleiter. Vertrautes Spielzeug entwickelt sonderbares Eigenleben.

    Keinesfalls verlassen wir fluchtartig die Szenen. Auf eloquente Art und Weise verortet sich die Fotografin direkt und unmittelbar in ihrem neuen Umfeld, immer ihrer eigenen Geschichte und Herkunft gewahr. Ja, das stimmt. Das Projekt selbst ist noch nicht abgeschlossen. Dieses Bild ging mir nicht aus dem Kopf. Das Bild zeigt die Niyaziye Serifi Mosque in Yenimahalle, die aber entgegen meiner Erwartung nicht historisch war, sondern ebenso wie die umliegenden Apartmentblocks frisch fertig gestellt wurde.

    Das empfand ich als sehr interessant. Die Moschee glich exakt ihren historischen osmanischen Vorfahren aus dem Ich bin religionslos. Jedoch finde ich es interessant, wie die Religion im Das finde ich sehr spannend, wenn auch nicht wirklich verwunderlich. Betrachtet man sich den Lauf der Geschichte, dann wird immer wieder sichtbar, wie sich bestimmte Dinge wiederholen.

    In demokratischen Staaten sind es aber zumeist Symbole der wirtschaftlichen Macht, mit denen architektonisch ein Statement zelebriert wird. Ein guter Freund der Familie und selber Fotograf kennt sich in Ankara unglaublich gut aus. Danke Mebrur und Ali! Kommt vorbei! Einer Schicht, der ich auf einem instinktivem und unverstelltem Niveau begegnen kann. After the Russo-Georgian War of , one hundred and twenty-eight thousand Georgians were forced to leave South Ossetia, which had become a puppet state dependent on Russia. Some of them found shelter in a long-term refugee camp on the outskirts of the city of Gori.

    On a clear day, the buildings of the Ossetian village they were expelled from can be seen from the camp. An unfinished viewing tower. He conferred town rights on it and announced the beginning of an ambitious development programme which would transform it into a luxury resort. Construction work began in One of the interiors of the Alphabetic Tower. In , the Rustavi 2 Broadcasting Company, which supported the then president of Georgia, Micheil Saakashvili, had a television studio there. The Rustavi 2 editorial department was deserted overnight, becoming a giant trap for birds. Dozens of rock sparrows flew into it through a small opening in the wall.

    Once they were trapped inside, a combination of heat and starvation killed them. Geometric figures and models triggering optical illusions, partly created by pupils of the chess school located in the Khyrdalan Heydar Aliyev Centre. The man the centre is named after began his road to authority as an official of the Stalinist secret police organisation, the NKVD. He was a member of the Communist Party of the Soviet Union and an opponent of both Gorbachev and the politics of glasnost. In , he became the president of the recently independent Azerbaijan.

    Visual artist, photographer, author of photobooks. He has had a number of group shows. Eine Archivrecherche. Er lebt und arbeitet als freier Rundfunkautor und Musiker in Berlin. Produktion: Deutschlandfunk Kultur Im Fotolabor werden die Analogien zwischen Alchemie und Fotografie erlebbar. Hier wie da werden durch den Einsatz von Chemikalien, Metallen und Salzen chemische Reaktionen in Gang gesetzt, die die Umwandlung von unsichtbar zu sichtbar hervorrufen und etwas Neues schaffen.

    Sie werden so zu Unikaten. Well as a wise dude said, all things must pass. As it turns out, a couple of the key photographers will be at a private event later this week, as well as the opening of major Bowie exhibit at the Brooklyn Museum. Hope to see folks there. Thank you and adieu, fotoblog! The picture taken of him a few days before he died, he looked fine. For this man the very idea of being a star is a vast understatement. Often two or more steps ahead of his audience, Bowie shaped the starmaker machinery as much as it it shaped him.

    But plenty of brilliant photographers were on hand to try. The organizers make no bones this is a commercial venture: All prints are for sale from a few hundred to a few thousand dollars and the Morrison Hotel Gallery ships internationally. Collectively these images show this restless chameleon as a complex, charismatic, and deeply creative soul. Now a starman waiting in the sky. Seven years ago, Minneapolis-based photographer Andy Richter decided that his devotion to the practice of yoga was worth a trip to India, where he could explore the wellspring of the ancient physical and philosophical discipline both widely and beneath the surface.

    A young devotee blesses pilgrims along the Govardhan parikrama, where Krishna is believed to have spent much of his youth. Yogananda, who passed away in , claimed that the secret to longevity is fasting. Yet Richter adds that the ultimate purpose of the project—and the spiritual journey—is one of self-discovery. While they can be inspirational, we can all be where they are—if we do the work.

    We all have these capacities as human beings. A yogi performs panch agni tapas, the five-fire-austerity, symbolically sacrificing himself to the fire in meditation during the Kumbh Mela in Ujjain. Corpse pose at Yogi Yoga in Beijing. Chinese people have engaged in mind-body practices for centuries, yet the state rejects yoga as a method of personal realization, lest it undermine the collective order. Alexander E.

    Artist Andy Warhol sought out and reveled in the reflection of beautiful people throughout his life, perhaps in reaction to his mixed feelings about his own appearance. Warhol made a habit of incorporating photographs within grander works of art, most famously in his Marilyn series—the print above is front-and-center in the show, and similar large-scale silkscreen treatments of Jackie O, Ingrid Bergman, and others fill the front room of the Art Center gallery.

    Like many a fiscal-minded artist, Warhol courted wealthy patrons as subjects—such as art collector and philanthropist Anne Bass above left , former wife of billionaire oilman Sid Bass—and portrayed them flatteringly, even in small Polaroid prints. The Warhol show reflects a time when young and glamorous people were beautiful, even if that beauty was fleeting.

    For the past seven years, Nu Som has been shooting nude self-portraits in public places, often at spectacular and oft-visited sites such as the Lincoln Memorial in Washington, D.

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    A New York—based portrait and fashion photographer aka Sandrine Lee , wife of bassist Will Lee , she brings a poetic sensibility to her self-portraits, which double as landscapes of her favorite places. Oddly enough, I had never thought of shooting self-portraits. To me, master Cindy Sherman and a few others had explored every artistic possibility, and the only alternative was self-centered iPhone selfies that were already flooding social media, something I had no interest in participating in.

    But one morning, the light coming into my bedroom window was so beautiful that I had to capture it. I was alone, I grabbed my tripod, set the timer and slipped into the frame for the exact result I envisioned—it was an epiphany. I could use my own body to be the human subject in any scene. I started exploring with different light sources, compositions, and situations. And when I entered a public place, where people normally roamed and could appear at any point, the thrill of it took over. I was terrified and therefore exhilarated once I got the shot—it was such an adrenaline rush, I was hooked!

    You write that the trick is to be alone in these places. How do you manage that? I study the place ahead of time and waits for my moment. So in the desert I shoot for the hottest day out there; in cities rainy nasty days are my friends, or the middle of the night …. So you mount the camera and set the timer to ten seconds … hmm … how fast can you undress? Well I undress just before pressing the shutter that starts the ten-second timer, so that time is all for the run and pose. Have you ever been arrested while doing this work?

    Definitely thanking my lucky stars on this one! Yes I am totally hooked and I already have dozens of new photographs since we finalized the layout for the book. I will keep capturing these images for at least the next few years. But I also have other projects that I am working on, so I may show a very different type of work before releasing Part Two. What would you like the viewer to take away from seeing these photographs?

    I hope that it helps people understand that if you are afraid to do something you should do it. And that once you do, you will come out stronger on the other side. I also hope it will highlight why we need to keep some privacy in our lives and should stop sharing every moment, every meal, every meeting with the rest of our virtual friends. Start living for living again—not just sharing. These experiences can only happen if I keep to myself and find a moment alone. Privacy has become a precious commodity. Finally, I hope it helps people see even more beauty in the world around them and make them care for it as much as they possibly can.

    The late German-American artist Josef Albers is best known for his modernist, minimalist abstract paintings blending sharp geometric patterns with intense colors. Although Albers did not exhibit his photographs formally or create a great deal of large-scale prints, he was a prolific photographer during his frequent trips to Mexico. Albers often studied and photographed such patterns from dozens of different angles, later incorporating them into his abstracted paintings.

    Guggenheim Foundation, Trained as an architect, photographer Jeffrey Milstein started shooting cityscapes from above as a young pilot in his native Los Angeles, and his large-scale aerial photographs reflect his sense of mechanized urban order. For one thing, he gets in as close as possible. Milstein also has an uncanny gift for composition, as in these shots of planes in Newark and replica cars in Long Beach, CA.

    Even leaning out from above, Milstein manages to render huge cityscapes as orderly abstractions, colorful renderings of unintended art. Hello photo world: Greetings from NYC. This American photographer has made an effort to get us all off the couch and out into the natural world, vis-a-vis inspirational naturalists and scientists who measure ways we are affected by nature, and vice versa. Foglia presents views of human-organic coexistence — such as the aerial shot above of a hotel in Singapore, with its symbiosis between plants and urban architecture.

    The above field photograph by Foglia reveals the outer extremes of human exploration as well as the spectacular beauty of glaciers, even as they melt. Foglia depicts scientists whose work faces its own endangerment, in the form of budget cuts and censorship by the Trump administration. Other portrait subjects, such as the au natural gentleman below, revel in their pristine environs with gleeful abandon. January flew by in an instant, and so my month of blissful guest-blogging for the Hatje Cantz fotoblog has come to an end… Thanks a lot for the invitation! The print deadline is February 13th, Read more Weiterlesen.

    The exhibition is accompanied by a framework program, e. Mai ! It was accidental. A while after dropping out of my Science degree, I started a course in Sound Engineering. One of the modules was Photography. The tutor, Terri, regcognised that I have a good eye and encouraged me to build a portfolio and apply for college. I enjoy the idea of bringing people together in an informal and friendly environment to look at work and share their thoughts. That it saved my life is quite a big statement, but in hindsight, when I reflect on how my life was going, there is a certain truth to her observation.

    This work has yet to be shown in Ireland. Last but not least, stay curious. The photobook is, of course, one of greatest ways in which to show ones work. I love the tactile nature of leafing through the pages of a photobook and letting the story unfold. One can do this at their own pace and simply enjoy it. There is a beauty in this way of discovering work that is both personal and unique to the medium of photography. Now with so many interesting photobooks both published and self published being made over the last few years, there is an influx of wonderful ideas and different ways of telling stories in an ever increasing amount of amazing books.

    They have a wonderful intelligence to them, they are nicely composed and they provoke compelling questions. At the time I was involved in a visual banter on tumblr [ it's kind of like telephone ] with a group of Irish photographers and I was looking for an image to respond to the previous photograph but was totally stumped. PiB : Dear Ethna, thanks a lot for this interview! The upcoming talk by Alexander Gehring will take place on January 25th and unfortunately all places have been booked by now.

    Und so ist es eigentlich bis heute geblieben. Das war mit dann aber doch zu theoretisch. Dann habe ich die Fotografie entdeckt. Wir arbeiten immer an mehreren Projekten gleichzeitig. Die beiden Fotografen sind durch sogenannte Steuerparadiese in aller Welt gereist. Und auch auf die Gefahr hin als hoffnungslose Romantikerin abgestempelt zu werden: Ja! Diese Bilder gibt es. Und ganz wichtig: Mut. Geld ist leider immer ein wichtiges Thema. Ganz ehrlich? Vorsitzende ich bin.

    Es passiert fast gar nichts dort. Diesen Zustand versuche ich zu beschreiben. Fotobuch daraus machen. Ich hatte noch 2 Wochen. Ich zwang mich, es wenigsten ein Mal zu probieren, bevor ich mich abmeldete. Dabei entstand dieses Portrait. In meinen freien Projekten benutze ich eigentlich immer meine Mamiya RB Bild muss ich eine Pause machen, da ich den Film wechseln muss. Die Kamera zwingt mich dazu, mir Zeit zu nehmen. Ohne die geht nichts. Wenn die Kinder aus dem Haus sind, beginnt das Chaos ;.

    Worauf ich mich aber genauso freue, ist die Zeit danach im Labor. Da ich meine freien Projekte immer analog fotografiere, verbringe ich viel Zeit im Labor. Das ging runter wie Butter. Open until 8 pm, free admission, drop by! Over the course of a year, and under the guidance of Sibylle Fendt, 11 Ostkreuzschule Seminar participants undertook a photographic journey of discovery. This exhibition brings together the final results.

    Die Ausstellung wird begleitet von einem Konzert und einer Lesung am Donnerstag, den Januar um 19 Uhr. The exhibition is accompanied by a concert and reading in German on Thursday, January 25, , 7 pm, please find further details on PiB. Die Vernissage findet am Samstag, den Februar von Uhr statt. The opening reception takes place on Saturday, Feb 17, , 1 — 6 pm. Das Negativ Format war klein und quadratisch, welches man heute gar nicht mehr kennt. Ich hatte keine Ahnung davon, was ein Negativfilm bedeutet. Meine erste richtige Kamera bekam ich dann von meinem Vater der Klassiker!

    Alles, zu dem ich eine emotionale Bindung aufgebaut hatte. Wollte Momente auf etwas Ewigem festhalten. Viele Galerien bieten ein umfangreiches Programm von lokalen Fotografen an. Es ist die Frage, was jeder Fotograf daraus macht. Und so werden einige weiterziehen, in eine noch unentdeckte Welt, um sich vielleicht dort zu verwirklichen. Winifred Chiocchia: Ein gutes Foto spricht mich emotional und intellektuell an.

    Es hat eine starke Aussage, und diese Botschaft schafft eine intime Beziehung zwischen dem Subjekt, dem Fotografen und dem Betrachter. Da finde ich Robert Morat sehr interessant, und die vielen kleineren Galerien wie bspw. Podbielski Contemporary Anm. Januar mit Alexander Gehring sowie am Neulich fand meine Tochter Kisten voller von mir gemachter Fotos aus meiner Zeit in London, als ich dort noch als Stylistin gearbeitet habe.

    Konkret habe ich dann ja erstmal 14 Jahre am Set mit Fotografen gearbeitet, um Werbung, Fashion, Portraits zu fotografieren. Das war eine gute Schule, viel sehen, verstehen, warum dieses Foto eins ist und das andere nur ein Effekt, der nur die ersten 3 min knallt und dann verhallt. Dann wollte ich mehr, habe gemerkt, das Styling nur Mittel zum Zweck war, ein guter aber dennoch irgendwann musste ich weiter.

    Und ja, ich hatte nachgedacht, selbst Fotografin zu werden, aber irgendwie wollte ich die Szene wechseln, den Point of View und irgendwie das Fotografieren auch als Hobby behalten, ganz unbeschwert. Und das war gut so. Ich weiss es nicht, aber ich erkenne es, wenn es vor mir ist. Man muss schon sehr viel Erfahrung haben, um der Manipulation zu widerstehen.

    Oft bleibt mir das zu technisch, es wird dann fast Grafikdesign, zu viel und dann eben auch zu sehr auf den Effekt aus. Ich musste im Rahmen meiner Ausbildung ein Assessment Center absolvieren, da wurden wir auf emotionale Kompetenzen getestet. Das war das einzige, was mir an der ganzen elendigen Ausbildung irgendwie Spass gemacht hatte. Ich meine, der Typ war da, um uns sozusagen zu rekrutieren und dann das. My favorite two power women. Ul und Annette leben Fotografie. PiB ist unkompliziert, sieht toll aus und ist hochprofessionell und das muss hier mal gesagt sein.

    ejfnnkf.tk Ebooks and Manuals

    Hi, nice to meet you! With an art scene such versatile and vibrant as in Berlin, i was suprised to find out a couple of years ago that none of the existing art platforms put an emphasis on photography — so i decided to change that. It also includes a little map and public transportation details for each venue, so you can easily find your way around even without a smartphone, imagine!

    Foto: Nadine Barth. Keine Symmetrie nirgends. Lediglich die Bank darf mittig sein und ist damit wie eine Spinne im Netz der Sichtachsen. The black face and its details become the focal point, forcing the viewer to question their desire to gaze at images of my black figure. Ein Spiel mit dem Paradoxen. Was kann gleichzeitig dunkel und hell sein? Was blitzeschnell und langsam? I want to reach out to the viewer. My starting point is that we are all essentially the same from the inside out, which X-ray photography demonstrates. My works are metaphors for life in general, to see beyond the obvious.

    Think of love: how it often begins with a superficial attraction only to move along the challenging and exciting road of learning to know one another and looking beneath the surface. What is concealed under the surface of that which we present? In this way, X-ray photography is very honest.

    Diese liegt in der Regel bei 1,50 m Bildmitte. Und wenn der Abstand zwischen den Bildern auch noch gleich ist, kann man so einer Installation gut folgen, sie ist meist kraftvoll und klar und beruhigt den Betrachter. Und die Geschichten verschmelzen zu einem Buch. Foto: Jesus Pastor. Dezember Er machte dann Vergleiche, fotografierte mit zwei Kameras, legte die Ergebnisse nebeneinander. Nur noch wenige Labore auf der Welt bietet diese Leistung an, in den letzten Jahren wurde Dye Transfer aber wieder vermehrt nachgefragt. Der Presse-Tross zieht weiter, dem charismatischen Meister hinterher, fasziniert.

    Lange Reihen von holzgerahmten Silbergelatine Prints entlang, wir stoppen vor einem Palmenbild, das als Tapete an der Wand klebt, daneben ein kleines mit dem gleichen Motiv. Eine Art Reigen der Bilder. Jedem Motiv wurde in der Ausstellung auch eine eigene Art der Rahmung zugeordnet. Manche Prints sind klassisch mit Holz und Abstandsleiste gerahmt, andere wurden kaschiert und mit einer Arcrylschicht veredelt.

    This is my last blog entry and I wanted to thank everyone who took the time to read my posts. And of course thanks to Hatje Cantz for reaching out to me and bringing me on board as a guest blogger. I enjoyed blogging here and I hope you enjoyed reading. If you like what we do with Der Greif check out our limited Collectors Box , containing all issues from 1 to So this is rare opportunity to get all past issues including the ones that are already sold out for a very special price, all presented together in a beautifully designed box.

    Makes a great Christmas present as well. And if you want to stay up to date about ongoing and upcoming projects we do with Der Greif, follow us on Facebook , on Instagram or on Twitter. If you are interested in opportunities for photographers, follow Picter on Facebook , on Instagram or on Twitter. Thanks so much for this, my first time at a photography festival that took place spread over three floors of a high rise building: floor And what a view onto the beautiful city of Tel Aviv!

    The rise of the World Wide Web, the emergence of digital photography, the constant improvement of mobile cameras, and the tendency to broadcast every instant of our lives on social media — all these factors changed photography. There is this huge and growing stream of billions of images moving through the web in , it is expected that a staggering amount of 1,3 TRILLION images are produced throughout the year, a 3.

    Millions of people create their personal identities online and photos are a central part of that. They are not supposed to show reality, they are supposed to create reality. Additionally we see ourselves confronted with more and more computer generated imagery as depicted in movies or computer games. Images are just omnipresent and although we know that they lost their claim to depict reality long ago, I still wonder: can we process that on an emotional level?

    Not long ago studies showed that Instagram has a negative impact on the mental health of young adults. Images create feelings, they influence the way we evaluate persons and situations, they even decide the outcome of presidential elections. Images might guide us on our way to make sense of the world around us, but might also mislead us. We have come to a place where we need to completely restart our way of reading images, the context they sit in, as well as the intentions these images were created for. With Der Greif we are creating works dealing with these topics on different levels.

    Der Greif is basically an art project looking at photographic images from a meta-layer, analysing contemporary image production, distribution and consumption. We de- and recontextualize images. We change the meaning of a photograph by changing the context it appears in. The following projects are all examples of how we create frameworks for images to circulate within, and how we connect virtual, physical and print spaces that these images are shown in.

    In Thread Count , we took the jubilee print-issue 10 of Der Greif as the starting point. This started a chain of invited photographers whose work responded to the previous image shown, and so forth. For CO-OP during Unseen Amsterdam in September this year, Der Greif brought this thread of images into the physical space, making it fully accessible for the audience to interact with. This entire process was monitored on the project website, so images also disappeared online. Un filtered Scenarios was an experiment inquiring the selection process through the dynamics of net-based distribution.

    Breaking with the idea of single-person authorship, the project used a chain letter email that invited individuals to participate in the selection of images for an online exhibition by choosing one image from an open call. The email was sent to four initial participants, continuing its path as the invitees were asked to forward the email to two further participants once they made their choice. The chosen images are displayed in an online exhibition.

    The selection process was anonymized, but participants were asked to fill out a form including standard social categories like gender, age or occupation. They were also asked to leave a personal note on why they chose the image. In an offline exhibition Fotomuseum Winterthur visualized the data and displayed the personal, possibly structural narratives that unfolded around the process of distributed image selection.

    In A Process , our first exhibition-project in , over a two-month time frame we transferred our different steps of artistic work—curation, de- and re-contextualization of submitted works —into real space. Using small prints of submitted images as a starting point, we then moved these images from the initial presentation on a wall onto tables, where we started to re-combine them. The tables became the evidence of the finding and re-contextualization process as pictures and texts were set into different combinations.

    What are your thoughts on these topics? Do you agree that we need to develop new approaches to evaluate the images that we see? Or did you make other experiences? I am excited to hear your thoughts and to start a discussion around these topics, if you like. I was invited to Lishui Photofestival in China to give a talk during their symposium, together with fellow speakers Lars Willumeit, Tatyana Franck, Anna Fox and others.

    But I also got to see some exhibitions. In my last two blog entries, I spoke a lot about my projects and my personal background. I want to share with you some gems from Paris Photo last week. My interest for photography manifested when I started to study graphic design and later fine arts. The idea was to take images from the screen and put them back onto paper and to experiment with de- and re-contextualization of those images. Today we receive around 10k submissions for each publication. Dealing with this amount of data became highly inefficient for us and so we decided to built our own solution to manage submissions around four years ago.

    By giving curators, editors and gallerists access to our solution, we found out that our approach could actually solve real problems for both photographers and organizations working with images. Picter connects photographers and organizations in a new way. Organizations can host their call for entries with Picter. They can review work online, evaluate submissions together in a team and track their entries. Photographers upload their projects, choose from a list of open calls and submit their work with a few clicks.

    Organizations on the other hand receive gigabites of these duplicates and have them sitting on their hard drives or FTPs. Both struggle with tasks of managing files. Our approach with Picter is to bring an end to these highly time-consuming parts of image data logistics. With Picter, images are securely stored and the creator or owner of the files only gives access to them.

    An organization who was granted access now can easily review, evaluate and sort the entries, remotely, as a team. In case needed, they can request high-res files through Picter. In this process, no duplicate has been created, so for everyone using Picter the currently existing overhead related to working with imagefiles is already way smoother, everyone saves a huge amount of time that is often spent on these repetitive tasks and gains more control about their process.

    Sounds great, right? However, we believe that with our technology we can solve many more problems photographers are currently facing. We are in constant exchange with organizations and photographers who use Picter and currently we are integrating the feedback we gathered throughout the first year since Picter went live. We have ideas about the challenges the industry faces in their daily work life but the only way to confirm these ideas is to talk to people. The next step is to build solutions to overcome those challenges!

    Last week, we celebrated our first anniversary with our partners from Aperture Foundation, Triennial of Photography Hamburg, and Paris Photo. Photography is a big part of my life. I really appreciate that I can work with all these inspiring people and that I get to see so much great art work from photographers all over the planet. On a higher level, I care a lot about the implications photography has on societies; especially since we live in a time, where images are omnipresent, while making sense of these images or their implications becomes more and more difficult.

    Digitalization affects all aspects of society and culture in one way or another. New questions, challenges, but also a lot of opportunities keep coming up continuously in our days. Regarding photography, these are questions like: How do we create reality with photographic images — or do we even have to? How can we find ways to reasonably evaluate what we see? How can we control the use of images in the age of hypermedia?

    But I am also willing to see digitalization as a process that needs to be formed — and hopefully this formation is taking shape more from within the industry than from outside. With my projects I try to do that on different levels. I hope I caught your interest and curiosity, and I look forward to returning soon for my next blog post! I work closely with the participants in the production and presentation of a book from their own photo projects, focusing on design, editing, sequencing and the importance of materials in the production of photobooks. Before the workshop, we went to street shops to check the materials available.

    At the end, we managed to print besides the digital printing silkscreen and white on black paper. After the layout and the printing: late night making of the books — cutting, glueing, sewing. On the last day, we left the place at around 2. The dummies. We did the dummies from scratch in four days, the final book would need more time for finalizing the layout, working on the final cover, looking for the right materials and printing places.

    In Burma, I curated a photobook exhibition and run a photobook workshop. In my posts over the next few weeks, I would like to feature a few portfolios from South-East Asian photographers and show an inside view of my work there. San Kay Khine is a year-old girl who spent 5 years as a tortured captive at a famous tailor shop in Yangon and was rescued after the publication of a report by an investigative journalist.

    Though Kay Khine managed to escape, she suffered from broken bones in all the fingers from her both hands. Her arm was severely twisted and she initially could only stand for not more than 15 minutes. Kay Khine has undergone several surgeries at the hospital for months and now under the guardianship of Ministry of Social Welfares. She always had a mature and calm disposition. I visited her home village Baw Lone Kwin without her to meet her parents. I had never been there before, but as soon as I got there, I felt familiar with the village. The rain trees and bamboo trees, the cows, the smell of soil after rain and the cool breeze passing from the paddy fields made me feel welcomed instantly.

    I felt like I could hear the giggles of San Kay Khine in her younger days playing with her friends; and imagined the ghost stories they shared at night with her friends. I felt like Baw Lone Kwin was my own homecoming. That unexplainable feeling of nostalgia is strange but beautiful. I breathed in the memories of her childhood in that village.

    This is my curatorial text:. The fast and surprising flashing of conflicts make the space around and between us become an unstable place: On the one side, never knowing what will happen next and being prepared for the worst, and on the other side — being forged by the emotions and learning to be guided by basic trust. With these two elements in a state of calm and chaos, there seems to be only one exit: raving madness, or coming home. Over the course of five days we reviewed and discussed various images.

    Criticism was voiced and embraced. After this intense time in Malaysia everyone worked on their own project and continued to communicate with us and each other: Ideas and images were reviewed repeatedly, across different time zones and cultural boundaries. Equally important is that a group evolved out of the participating individuals that persists beyond the initial contact. Sometimes this included failing and starting over. Through his stark aesthetic, Alvin Lau shows us love in times of Tinder and we ask ourselves whether love has indeed become easier. Easy is the love between young homosexuals in Singapore, against all odds and beautifully depicted in the images of Lee Chang Ming.

    Likewise, Amrita Chandradas conveys the circumstances of life in Singapore with powerful portraits of a strong woman with a rare illness. Asrul Dwi deals with the stigmatisation of mentally ill youth in Indonesia and portrays them with a gentle touch. Dennese Victoria experiments with the realm of possibility and observes what unfolds — her construction of an ideal family turns into a touching intimate play.

    In a small village in the Malaysian jungle Elliott Koon documents the journey of young Orang Asli who are growing up in a world caught between tradition and the modern age. The modern era in Vietnam appears slightly lost in reverie in the images by Linh Pham of people celebrating in Hanoi, relating to excessive isolation and the search for reorientation.

    Muhammad Fadli captures the eccentricities of modified scooters — extravagant constructions, nailed and welded — in his portraits of Indonesians with their prized possessions. Kanel Khiev shows us the inhabitants of this house before it is demolished to make way for future development. The story of the house that Geric Cruz embarks on is of a private nature. The time of adolescence in Thailand displays an invariable, almost military uniformity — clothing and hairstyle are orchestrated for all adolescents, leaving no room for individuality. Watsamon Tri-yasakda portrays transgender teenagers in their uniforms, with imagery that enlightens the issue and allows us to smile over the impositions of the present-day.

    With her poetic images, Yu Yu Myint Than introduces us to the dreams of a young woman in Myanmar who was severely abused and longs to return to her home village. Youth is a universal subject; photography is a universal language. Every viewer is or will have been young eventually and everyone likes to look at what might be the future one day. Images rendering this visible, remain forever present. You can take a look and get the book here: www. Less than copies are available. Since its inception in Florence in , for most people Vespa is nothing sort of extraordinary.

    But for some, Vespa is an impeccable way of life. In many cities in Indonesia, a unique form of Vespa community thrives: Extreme Vespa. Like emerging from Mad Max movies, the riders—mostly are youngsters in their early twenties—wander around the country riding scooters which often looked too weird not only for outsiders, but also for people within the greater Indonesian Vespa scenes. Some scooters have more than twenty tires attached to them. Some are adorned with bu alo skeleton, electrical pole, bamboos, fake gattling gun, or anything the riders could scrape along the road.

    Some of the riders even go further by rebuilding their Vespa out of a tree, or turn it into a DIY four-wheeler. For them, creativity has no limit and the original Vespa is merely just a starting point. Metalheads, punks, and Rastafarians are among the die-hard fans of this customized scooters. This on-going series captures an insight into the community. I lived in Brooklyn for almost three years. I paid half for my own apartment in Berlin. Sometimes I had to wonder why I was shelling out my high rent acquiring significant student loan debt. One month before I left our kitchen sink almost exploded when mud and dirt flew out of it onto the ceiling.

    But whatever I did to survive in Brooklyn I knew it was nothing compared to the bombed out recession 70s I learned about at NYU graduate school. I read that in one year — — New York City had almost 2, murders. So who were the artists specific to Brooklyn chronicling this time period? Who not only survived but thrived, capturing images of children playing among the debris of s Bushwick as well as a more buoyant s Williamsburg. The pace of change in Brooklyn is rapid. Larry, George and I met in recent years because of a common thread that connects and obsesses us — we were all C.

    The program was defunded in The photos preserve its turbulent history with humour, insight and delicate humanity. When I was living there I remember navigating the large borough by bike. Will these photos make a difference? What is important to me are the relevant themes, the topics and content, which are above the discipline. I want to show, discuss and work with material that has a social impact, significant to society and even obvious within our human nature.

    A lot has been written about how Michael Abramson, a young white student at the time, was able to infiltrate this scene — made to feel welcome so much that he photographed there for almost three years after initial hesitation. Not because it was exotic, in the misused sense of that word, but because it was so exhilarating. He was my longtime romantic partner but I knew little about the art world in general or photography in particular.

    Only that I had loved Michael and I treasured what he left, which included hundreds of vintage prints. Like many strip clubs of its era, the theater hosted monthly events called Camera Night during which, for an extra fee, amateur photographers were invited to arrive before the regular show began to take as many candid shots of the strippers as they liked.

    Like the other men present, Michael initially went to take photos of the strippers, but as he surveyed the larger scene, it occurred to him to turn his camera on the other photographers — the sea of men continually clicking their shutters.



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