“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.
“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 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 
Famous Austrian photographer “may have frequently photographed well-dressed people and many figures of the fashion world, but to call her a fashion photographer would be a mistake”, according to John P. Jacob, the McEvoy Family curator for photography at the Smithsonian American Art Museum. “Whether photographing festivals or artists’ studios, on films sets, the street, or the fashion runway, what distinguishes Morath’s photography is an unerring eye for life’s brilliant theatricality”
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.