Photographer Gunter Pfannmüller along with writer Wilhelm Klein were the first photojournalists allowed into Burma in 1980. With the help of a photography portrait studio that they created, for over 35 years they have been photographing the country’s different ethnic groups. As a consequence, the project ‘In search of dignity‘ was produced, selling over a million copies and printed in 12 languages.
“The relationship between the photography and human dignity has always been ambivalent. Precisely when meeting what we Europeans consider exotic, the inquiring camera all too frequently destroys what it seeks to capture: the uniqueness of each individual. Treading this fine line can only succeed in an atmosphere that establishes closeness while maintaining distance. With a delicate feel for the details that visually manifest personality. And, not least, with the patience to trust the right moment.”
Gunter Pfannmüller – In search of Dignity
The project is available as photo book in English and German editions.
“When looking at the prints from a distance, one could define the works as paintings. When looking at the work up-close, one discovers various clues, that define it as photograph. The final work as well as the process of creation merges the characteristics of the two media with the help of chemistry. By capturing the process with a camera, Oefner records compositions, which only exist for a few seconds. ”
“I prefer remote and rugged places, mountainous terrain and desert. I love to find people who can manage to survive in these places, to discover and record their ancient way of life before they are changed by the modern era. By interacting closely with the native people there, I’m able to learn about and document their unique ways of life involving a deep connection to the rhythms of nature”
Anna Malagrida‘s series Shop Windows‘ (Escaparates) “concentrates on the visual device of the shop window, and identify with it, stripping away its customary usage and instead presenting it as a vehicle for contemplation. The focus of the work is the windows of Parisian businesses that are closing down; they are whitewashed, preventing any clear views of the interior. Thus, the viewer’s gaze can switch to a reflection of the city as well as the physical borders of the windows themselves, inscribed with the marks of past activity. The tensions of the city are embodied within the form of an abstraction in these large images, which may therefore be viewed with remoteness.”
Suzanne Moxhay‘s latest series “interiors” – exploring concepts of spatial containment in montages built from fragments of photographed and painted interiors. By using different techniques like traditional cut, paste collage and digital manipulation, the British artist brings a theatrical sensibility to still images. The process is quite elaborate and she produces only 7-8 works per year.
View the whole gallery here and if you want to learn more about the process of making them click on the ‘About’ category and watch the video.
“At the heart of all great art is an essential melancholy.” – Federico García Lorca
Josephine Cardin – Bailaora
“I have been asked many times what it is that “look for” when I look through my lens. I do not look for something, rather I look at something, someone, some place or event, and attempt to capture the essence, the emotion and the soul of the subject, whether a person or a building.
There is so much beauty in our everyday and by ‘beauty’ I do not speak of conventional beauty, but actually, harmony, truthfulness, and that which is telling. The beauty most of us miss because we are looking down, too busy, or simply too clouded in our minds by preconceptions to see the inspiration and real beauty of our everyday world.”
In her personal beautiful project of children’s still life portraits called ‘Marine Life‘, Dutch photographer Shemara has caught a whole array of their honest expressions, pose and gestures leaving no question what they think about the sea creatures. As she has mentioned on her site “You cannot force them and you have to catch the moment that they give you”. The series was created in 2014 when her son was 5 years old and all the children are his friends at the same age. Shemara explained that she had let them to choose on their own what to hold in their hands and then photographed them with their choice.
Mario Arroyave‘s series ‘Timeline‘ – a vision of alternative reality through visual repetition of water sports as a metaphor for time and space.
Inspired by the photographic motion studies of Eadweard Muybridge’s, Arroyave also captured images at controlled intervals of time. However, whilst Muybridge intention was to create the illusion of movement by reproducing them one after the other, Arroyave synthesizes them in a fixed space within a static image.
Mario Arroyave – Timeline
While shooting a television commercial in an aquatic complex, he noticed the water’s visually rich texture. “The effect of this over the skin of the players was so majestic that I decided to continue photographing water sports. Because there’s a lot of movement, the players are the focus of the game. Even taking a picture every 10 seconds, what you see in each image is completely different.”
Using Photoshop after capturing a significant amount of images, he starts to incorporate from 20 to 400 of them to achieve the final image; a procedure that usually takes him from 15 days to 3 months.