“Flotsam//waterplants” is a series that captures the complex natural beauty and movement of flowers and plants when exposed to the elements of moving water, in particular the subtlety in their structure, texture and form.
Constantly drawn back to using plants and flowers in my work, I wanted to strip back and simplify from my previous work and let the flowers speak for themselves, as though I am taking their portraits. The added element of water was initially a way to highlight the natural forms, colors and textures.”
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.”
The project is available as photo book in English and German editions.
With his abstract landscape paintings Micah Crandall-Bear “examines Earth’s intrinsic resources and our disposition toward their accelerated transformation. His concept is infused with linear layers that cascade from atmospheric to subterranean. Landscape details hint at daily and seasonal shifts in light, evoking a sense of evolution and balance. In an ever-increasing technological world, his work reminds us to pause and admire our wild and natural surroundings. He presents abstractions that inspire a deep and effusive connection to nature.”
“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”
Japanese photographer Masahisa Fukase made his obscure masterpiece ‘Ravens’ (‘Karasu’) between 1975 and 1982 as a way of overcoming a personal emotional trauma following a divorce with his second wife Yōko Wanibe. Though the photographs at first sight are a personal lament reflecting the darkened vision of the photographer himself, they are regarded by many as the most important body of work to come out of postwar Japan, and still its imagery continues to inspire artists and writers today.
The project originated as an eight-part series for the magazine Camera Mainichi and these photo essays reveal that Fukase experimented with multiple exposure printing and narrative text as part of the development of the Karasu concept. The first book was published in 1986, subsequent editions were published in 1991 and and 2008, and in May, 2017 a new one is coming published by Mack Books.
“Ravens is one of the defining bodies of work in the history of photography and a high point in the photo book genre. This accumulation of accolades, and the passing of time, have obscured much of the fascinating detail which explains the artist’s pre-occupation with this motif throughout his work. It was not simply a reflection of the existential angst and anhedonia he suffered throughout his life but manifested in artistic self-identification with the raven and ultimately spiralled into a solitary existence and artistic practice on the edge of madness…” Tomo Kosuga from his essay Cries of Solitude 
Watch this video created by Esther’t Hart and Wiek Roggeveen as a tribute to the photographer to get an idea about the series.
When she was still a teenager, Dorothy Monnelly discovered in the attic of their home, a box of her mother’s poems. They were written between 1920 – 1945 and left as her “creative” legacy for her daughters.
The series consists of floral stills and landscape photographs and is published as a photobook “For My Daughters”.
“I have always treasured my mother’s poetry. When reading it recently, she gave me the idea of combining my images with her poetry to create a conversation back and forth about the idea expressed in each poem. She felt that we would understand each other, and writes in a poem to her daughters:
The pattern born within my mind
Is latent in their own. My wisdom
May not be profound, but they will recognize
Its likeness in their blood and bone.
It has been said that my photography shows the extraordinary in the ordinary; the same comment has been made regarding my mother’s poetry.”