What kind of camera does gursky use

This sweeping perspective has been linked to an engagement with globalization. Visually, Gursky is drawn to large, anonymous, man-made spaces—high-rise facades at night, office lobbies, stock exchanges, the interiors of big box retailers See his print 99 Cent II Diptychon.

There is little to no explanation or manipulation on the works. His photography is straightforward. The pouring smoke resembles a human hand, holding the crowd in stasis. After completing the print, Gursky explained the only music he now listens to is the anonymous, beat-heavy style known as Trance, as its symmetry and simplicity echoes his own work—while playing towards a deeper, more visceral emotion.

In his six-part series Ocean I-VI , Gursky used high-definition satellite photographs which he augmented from various picture sources on the Internet. Gursky uses ASA Fuji film in two large-format Linhof cameras that are positioned side by side, one with a slight wide-angle lens, the other with a standard one.

He needs this for depth of field, and the relatively low-speed film for the resolution. Medium format digital can look really really good. Burtynsky and Crewdson are more heralded then any of us forum readers ever will be, but are considered second tier by the Art world. Re: The Camera and Technique of Andreas Gursky Then And Now Harry Casimor deRham once wrote me in longhand back on January 29, "try to develop an attitude of tolerance and cheerfulness, and to remember the ironic fact that the perfection which can be drawn from the within the depths of the human being can never be found in a machine.

Originally Posted by Chester McCheeserton. If you've watched that video and read the article on N Korea my guess is that you know more about his technique than anyone on this forum.

They look pretty good But kidding sort of. Yes I'd agree that if you want to make a print that size especially if it's landscape picture with sky, or lots of subtle detail then 8x10 negative is still king I had never seen the 'ibiza' picture it's nice, seems like a return to his early style I didn't see those particular Crewdson prints in person but I think the differences have gotten much subtler and that few people care how it originated I've done some tests of the exact same picture with the a7r3 and 5x7 and I think the digital can more than hold a candle A friend compared it to using a tube amp vs a solid state amp.

Yea, I think Crewdson is considered 2nd tier to Jeff Wall, even if they now show at the same gallery. Crewdson has the technical chops but his idea is much indebted to Wall's earlier work, and Crewdson makes kind of a watered down version of what Wall did much earlier and more complexly - Crewdson references Spielberg and American TV angst while Wall is in dialog much more deeply with nuanced and ambitious issues within the history of representation, filmmakers like Fassbinder, and lesser known figures in the history of photo like Wols.

The collector's who buy the Crewdsons can't afford the Walls. Crewdson's work looks like illustrations for a really good HBO series, but Wall's best pictures are weirder and have multiple layers of reference.

He combines multiple perspectives in one image, so it's impossible to look at them from one static viewpoint. Not to mention that he likes to capture images from usual viewpoints, and often uses cranes and sometimes even helicopters to take images from a great height.

This set up was employed to create Bahrain I , which also features in the Hayward exhibition. Taken from a helicopter, the photograph shows the Formula 1 track in Bahrain, asphalt running through sandy surroundings. Naturally, Gursky has manipulated the image to show the track in an impossible format. The pair famously worked in black and white to create their scientifically observed images of industrial buildings: Gursky, however, is very much a colourist.

This is particularly evident in his Chicago Board of Trade series — some of his best known images — which observe a trading floor populated by frantic staff dressed in a multi-coloured jackets. I spend as much, if not more time editing a series as I do producing it. AAP: Favorite s photographer s? Know what you want.

Shoot twice as much as you think you should. Be prepared to shoot and re-shoot until you get what you want. AAP: Your best memory as a photographer? A number of photographs I made of some friends while we waited in a car for the ferry.

It was cold out, and we were all inside, smoking. The images captured the moment and the subjects very precisely — although this was over twenty years ago, they still have an immediacy that thrills me.

AAP: Your worst souvenir as a photographer? A little while ago I was shooting some portraits on a very sunny day, and forgot to flag the lens. The negatives l ended up with were completely fogged and unusable. AAP: If you could have taken the photographs of someone else who would it be?

And after years of looking at them, they still surprise and fascinate me. Paul Kessel. I began photography late in life. Previously, I had a career in clinical psychology and university teaching. My interest is candid street photography which I practice almost every day. I studied photography for ten years at the International Center of photography. I have self-published 18 books and have appeared in about 80 exhibitions, including 3 solo shows. I have been a Finalist 4 times in major street photography festivals.

My work has been exhibited in Europe and Asia as well as the United States. This Parisian by birth is a former award-winning advertising for his campaign Road Safety. Audi or Nike. One day he decides to leave the advertising to go around the world.

Upon his return he chose to live his two passions, travel and photography. He will feed his imagination and give us his view of the world and others. He loves exploring the cities, suburbs, country, as he likes to explore all fields of photography from reportage to conceptual image. Its particular interest in architecture and offset ideas will be born the series of "Flying Houses".

Real house? Imaginary house? He tries to show us their hidden beauty pulling them out of their anonymity and perhaps invites us to leave. He is represented by the gallery "Paris-Beijing" where he will exibit this series in October Norm Diamond. Norm Diamond spent thirty years as an interventional radiologist in Dallas, Texas.

Treating severely ill and injured patients on a daily basis had a profound effect on him, which he came to fully understand when he retired and began his second career as a fine art photographer.

Mentored by Cig Harvey since , he began making work focused on themes of memory, loss, and isolation. In his first major project, What Is Left Behind - Stories from Estate Sales, he visited several hundred estate sales searching for and photographing objects left by one generation for the next.

Daylight Books published this work as a monograph in In his next series, Doug's Gym, he chronicled the last six months of a dilapidated, yet beautiful old gym in downtown Dallas. It was owned by year-old Doug Eidd, who had run the gym since Both he and the gym came from a bygone era never to be seen again. Kehrer Verlag published Doug's Gym in Diamond has now returned to an old project, Dark Planet. It reflects his worldview drawn from his experiences as a physician, his family background, and current events.

The images reflect the same themes he has photographed for his two previous projects, but they are not tethered to specific locations or settings. Diamond was named a finalist in the Photolucida Critical Mass competitions of , , , , and Clay Lipsky.

He has applied his unique visual style across a variety of mediums, from print and multimedia to TV and film. Recently, he has experienced a new-found interest with the medium and is now passionately focused on pursuing photography as fine art, free from clients and limitless in creative possibilities.

Clay is self-taught and strives to create images that can stand the test of time. Clay Lipsky's project, In Dark Light, is intriguing on a number of levels. First, the work was created, for the most part, on a trip to Iceland and as we know, creating conceptual fine art images while in a foreign place, with no opportunity for previsualization, is not an easy task.

But somehow, Clay instinctively found a narrative and way of working within a concentrated period of time. The other interesting aspect is what the work is about. Making imagery about depression, about loss and solitude has to have subtle nuances that are at once personal and universal, and Clay captured this subject with emotion and simplicity.

Clay works as fine art photographer and graphic in Los Angeles. He is also an avid self-publisher with several titles that exhibit as part of the Indie Photobook Library. Source: www. It is a solitary path that encompasses loss of home and parent, the pursuit of beauty, work and perseverance under no religious or visceral compass.