Renaissance meets with the digital era and almost translates the past into the present, which couldn’t be more real. Her style of photography is in some way something between a painting and a tumblr find. The Swedish photographer graduated from Gerrit Rietveld Art Academy in 2004. Along with the almost documentary-like work of Viviane Sassen or Namsa Leuba and the more playful approach and photographs of Benjamin Lennox or Elle Muliarchyk, you will also find the work of Julia Hetta. Through combining and balancing out the fields of fashion and culture, he constantly pushes boundaries and forces the reader to scrutinize each of his photographs.Īt this point it would be too much to go into all twenty-eight series that the book showcases. If you look at his pictures, and the blond girl might be a very good example, you never quite know if it's a commissioned work or a snapshot. A blond teenage girl in front of his lens, laughing with braces, wearing big brands. A photographer who translates the previously mentioned zeitgeist as no one else within his field. He might be one of the best examples that represent a new generation, a new voice and language. His photos are never too serious – maybe that's why they seem so real. The German photographer has quite a raw style, a strong pictorial language, inspired through countercultures. Perspectives and opinions, attitudes, and showing the zeitgeist of the current age might be the more appropriate description of the works which Patrick Remy has collected and put together in a new context in this book. The obligation to sell dreams and garments shifts to a different perspective and creates an image of our contemporary world, aesthetics and life style that, in the end, has almost nothing more to do with selling the new Céline or Vivienne Westwood collection. It stands as another good example that we long for these kinds of publications nowadays, that the market accepts and realizes the potential of work previously described as just 'advertising' or 'fashion editorials'. And it shows us that it no longer makes sense to create ridiculous boundaries between fashion, art and design. When you flip through the book, you'll realize quite quickly that in the end it's obsolete to label the creatives 'fashion' photographers – it is photography in its true form, nothing less. The book combines a collection of twenty-eight visions of photographers, editorials for magazines, advertising assignments and personal work from the most interesting and promising (fashion) photographers of today. I'm pretty sure that this book won't give everyone a piece of its mind and it's not a revolutionary breakthrough – but it is again another statement in the right direction of the contemporary and strongly needed argument that fashion can be, and actually is, more than only pretty, more than only aesthetic, and has the power to go beyond 'just a beautiful-looking photograph'. Yet still, if you do decide to hold on to the opinion that fashion can surely be art, most of the time you have to justify your point of view. Fashion and Art, these two words are rarely used within one sentence to this day. The title of the book itself is already interesting. But its content, the curation of the book, is more than exciting. It probably won't catch your eye at first glance it's not a very thick copy, nor does it have an exceptionally interesting finish or binding. The publishing house »Prestel« has just released »The Art of Fashion Photography«, a 240-page, heavily illustrated book. Finding out what's beyond the surface of the printed photograph, finding out why you don't want to flip the page. Reading, in its true meaning, the image – rather than just looking at it. Illustrated books that you actually read. And then there are the books that actually find their way onto your bookshelves, away from the coffee table. There are illustrated books that look beautiful on your coffee table, which catch your eye only by their covers and look.
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