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35mm vs 50mm vs 85mm Lens Comparison for Portrait Photography

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So, you've tried all the different types of photography-and discovered your passion for portrait photography! Awesome. Once you've got yourself the perfect portrait camera and picked out a few key portrait photography accessories, it's time to invest in the best portrait lens for your budget. Working with the right lens will ensure that the portraits you're adding to your online photography portfolio look amazing -which will, in turn, help you market and promote your portrait photography business.

Not sure where to start with portrait lenses? This list will help you figure out what the best portrait lens is for you, no matter your style or budget. First, let's recap the basic different kinds of portrait lenses.

The Basics

Zoom Lenses vs. Prime Lenses

There are two main types of portrait lenses: zoom lenses and prime lenses. The former covers a wide range of focal lengths, so you can choose your focal length. Prime lenses, however, have a fixed focal length; they're simpler, but this means that they can be optimized for a single focal length, which gives you a more high-quality image. What are the pros and cons of each?

Zoom Lenses: Zoom lenses are extremely versatile and come with a range of focal lengths. This enables you to switch between a variety of styles and perspectives -no lugging around and switching between multiple lenses. It can be beneficial for beginners to invest in a zoom lens and see what focal length best suits their style.

Prime Lenses: Ask any professional portrait photographer and they will tell that they prefer prime lenses and have crowned them the best portrait lenses. Why? Because a prime lens is not only lighter and faster to use, but it offers sharper and better images. The quality and performance are light-years ahead of zoom lenses when it comes to portrait photography. The only downsides are prime lenses are more expensive, and you'll have to carry more of them.

Don't Forget About Sensor Size

Keep in mind when shopping for portrait lenses that your camera's body and sensor size will affect the focal length of your lens. If you're shooting on a more entry-level, crop-sensor camera (like the Canon Rebel series, for example), a 50mm will act more like a 80mm lens. Then again, if you use a full-frame camera like the 5D Mark IV, the 50mm portrait lens will be fully optimized.

Now-let's get to the best lenses for portrait photography!

The Best Canon Lenses for Portraits

Canon 50mm f/1.2L
Price: $1,349
When it comes to the best Canon lenses for portraits, they're won't be many that match the power and quality of the Canon 50mm f/1.2L. The 50mm focal length on this lens equipped on a 35mm or full-frame camera produces a very natural look to portraits. This focal length is very similar to what the human eye sees. This makes it a very ideal lens to use for portrait photography and any professional portrait photographer is going to want one of these in their camera bag. Yes, it's quite pricey, but, if you're a veteran, this investment will have your images looking phenomenal.

The images taken at f/1.2 aperture will have a very shallow depth of field. Subjects will pop out of a background that melts into a dreamlike, ethereal milky way of blurred colors and bokeh.

Canon EF 50mm f/1.4 USM
Price: $349
If you're new to photography and don't want to spend a thousand dollars more on the 50mm f/1.2L, but still want that beautiful focal length for portrait photography, this is the best Canon portrait lens for you. Though its quality, sharpness, and speed don't quite match its more expensive sibling, its performance is still striking, and it's an overall good portrait lens to get your portrait photography career started.

Canon 70 - 200mm f/2.8L IS II USM
Price: $1,730
If you're a professional portrait photographer who needs to capture portraits at large ceremonies or sporting events, this Canon portrait lens will work wonders. By far one of Canon's most popular L series lenses, it offers powerful precision zoom and clarity. You'll be able to isolate a subject from a distance, while maintaining an unbelievable amount of sharpness, thanks to image stabilization, as well as create a beautiful, blurry bokeh.

Telephoto lenses like the 70-200mm f/2.8 will compress the backgrounds of your pictures, bringing a unique perspective that you would not see in the portraits captured at 50mm. Longer focal lengths also have a more flattering effect to photos where the subjects look more thin.

Watch out, though: this may be a good portrait lens, but it's heavy!

Canon EF 35mm f/1.4 II USM
Price: $1,800
If you're a street photographer who captures portraits of city dwellers, or a storyteller who wants to capture as much of the environment around the subject as the subject themselves, then the 35mm focal length is what you want. As far as the best Canon lenses for portraits go, this might be the most versatile prime lens on the market.

Canon EF 85mm f/1.2L USM
Price: $1,900
Rated one of the most flattering lenses, the Canon EF 85mm offers the best of both worlds-it has fantastic image stabilization, as well as an insanely fast f/1.2 aperture. With a price like this, you better believe it delivers: this Canon portrait lens has a nine-blade diaphragm and advanced ASC (air sphere coating), which is a fancy way of saying it minimizes glare and ghosting.

Compared to its 1.8 counterpart, it's twice as heavy, but it's still one of the best portrait lenses Canon has to offer.

The Best Nikon Lenses for Portraits

Nikon 85mm f/1.4G
Price: $2060
The 85mm f/1.4G is, hands down, one of the fastest lenses created by Nikon. The images this glass creates are totally ethereal-and magazine-calibre. It's smaller and lighter than its competition (Sigma/Tamron), the build feels better than most other Nikon portrait lenses, and it's sleek and beautiful. In fact, it's known as Nikons premium portrait lens. When it comes to price, however, it definitely isn't budget-friendly. Some portrait photographers argue that it's just simply not worth the price (thanks to the less-pricey Sigma 1.4 Art being up for grabs).

Nikon 50mm f/1.8G
Price: $180
The "nifty fifty" 50mm f/1.8 is potentially the top seller when it comes to Nikon portrait lenses, thanks to its extremely cheap price, light weight, and wonderful optics. Don't let the price fool you, though: some of the best portrait photographers out there started with this lens-and you'll hold onto it for years to come. After a solid year or so of getting used to the f/1.8, you may think it's time to upgrade to the f/1.4, but, considering the serious price difference, you may begin to wonder if it's even worth it!

Nikon AF-S Nikkor 35mm f/1.4G
Price: $1,700
The 35mm focal length is a storytelling lens: one that allows the photographer to get the subject in their environment, creating a more holistic portrait than just a simple close-up. The Nikon 35mm f/1.4 is quiet, sharp, and quick, giving it an edge on many of the other Nikon portrait lenses.

If you're shooting on a crop-sensor, it acts as 50mm portrait lens and can create sharp, beautiful images. On a full-frame body, you're going to get some of the most brilliant portraits you can imagine. Think about it this way: instead of taking a few lenses while traveling, you could theoretically just take the Nikon 35mm f/1.4 and capture everything from landscapes and street photography to intimate portraits of the locals.

Nikon AF-S Nikkor 24-70mm f/2.8
Price: $1,700
At f/2.8, the Nikon 24-70mm lens is going to deliver fantastic image quality as well as enable you to choose your focal length on the go. The lens is a workhorse in that its optics can overcome most lighting and space constrictions.

Do a little wedding photography on the side? This is a good portrait lens for weddings too-from close-ups to group portrait shots, this lens is the definition of versatile!

Nikon 58mm f/1.4G
Price: $1,596
When considering this Nikon portrait lens, keep in mind it's not for the beginner portrait photographer-especially one on a budget. The Nikon 58mm f/1.4G is for the portrait photographer who's itching to build on their already distinguished style by adding a creative element that only the best portrait lens can provide.

This focal length is very special: the built-in imperfections of the 58mm-images with inherent vignette and strange in-focus-but- not-in-focus qualities-create unique, gorgeous shots.

The Best Sony Lenses for Portraits

Sony 35mm f/1.4 ZA
Price: $1,700
From intimate portraits to more environmental portraiture, this sharp, quick, and sleek lens will do wonders for any portrait photographer shooting on a Sony system. With the intuitive Zeiss anti-reflective coating, you'll be blown away by how clear the in-camera image is before you take it into any editing software.

This Sony portrait lens is pretty expensive and quite heavy, but you can effectively build an entire portrait photography business off the shots you'll get from this guy-without having to purchase any other lenses.

Sony 55mm f/1.8 ZA
Price: $1,000
The Sony 55mm f/1.8 ZA is a prime lens that many photographers claim is the best Sony portrait lens, and that, like the Sony 35mm f/1.4 ZA, it can be your one-and-only. Why? It works beautifully across many kinds of portrait photography, including wedding, travel, and event photography.

It's small, light, and perfect for the portrait photographer traversing miles upon miles, searching for interesting subjects and environments. It boasts a focal length and optics that many other manufacturers just haven't seemed to grasp. This makes it by far the most versatile lens for any Sony body.

Sony 85mm f/1.8 GM

Price: $600 At this price, it wouldn't make sense for a portrait photographer to not have this Sony portrait lens in their bag. We know that 85mm lenses offer a fantastic focal length for flattering portraits, but, with the the Sony 85mm f/1.8, your subject jumps out, leaving rich, beautiful bokeh in its midst.

The sharpness alone captures deep, rich colours, and the design of the lens is weather-sealed, plus dust- and moisture-resistant, so you can shoot portraits in a variety of situations. The only downside to this lens is that it doesn't have image stabilization, so, unless your Sony body has built-in image stabilization, you'll be stuck shooting with a slower shutter speed and at a higher ISO.

The Best Sigma Lenses for Portraits

Sigma 50mm F/1.4 DG HSM Art
Price: $950
Though it's almost three times heavier than both its Canon and Nikon counterparts, this Sigma portrait lens boasts an insanely fabulous image quality. It also has a very complex optical layout, thanks to its newer, more high-tech design. It's fast, quiet, and has a ring-type ultrasonic autofocus system, putting it above its competition in many ways. As far as a 50mm portrait lens goes, it's worth every penny.

Sigma 35mm DG HSM f/1.4 Art
Price: $900
Sigma portrait lenses are generally cheaper than Nikon portrait lenses and Canon portrait lenses, yet they often offer even more stunning results. The Sigma 35mm f/1.4 Art is one of these lenses, and far cheaper than the Nikon, Canon, and Sony versions. It's more accurate, sharper, and simply far superior than its competition in many ways.

Like every other 35mm lens we've discussed, this is a lens that you can take anywhere, making it extremely versatile, and hands down, one of the best lenses for portrait photography.

Sigma 85mm DG HSM f/1.4 Art
Price: $1,200
Though it's heavy compared to most 85mm lenses, for this price, you're getting one of the fastest 85mm lenses on the market. It's weather-sealed (dust- and splash-proof), and its ring-type autofocus system is unbelievably quick and quiet. But, like its 50mm portrait lens sibling, it lacks image stabilization. In spite of this, the images this portrait lens produces are phenomenal as its sharpness fills the entirety of the frame. So, for a portrait photographer ISO something slightly cheaper, it's your best bet.

10 More Favorite Portrait Lenses

There are so many lenses on the market that portrait shooters live by, so here's a few more of the best lenses for portrait photography!

Tamron SP 45mm f/1.8 DI VC USD for Canon and Nikon

Tamron SP 85mm f/1.8 DI VC USD for Canon and Nikon

Sony FE 70-200mm f/2.8G OSS

Sony FE 50mm f/1.8

Olympus Zuiko Digital 45mm f/1.8

Olympus Zuiko 25mm f/1.2

Fujifilm 56mm f/1.2 R XF

Fujifilm 35mm f1/4

Panasonic Lumix G 25mm f/1.7

Panasonic Lumix G 35-100mm f/2.8 Power OIS

Best Vintage Lenses for Portraits

There's something about vintage cameras and lenses that create a sense of warmth that modern technology can't offer.

Modern portrait lenses are all about speed, clarity, and, most importantly, creating that perfect image. But the best vintage portrait lenses stamp their own unique imprint on an image. The fact that it's all manual and you really take your time to think about the portrait you want to take-instead of snapping 40 photos in a row and sorting through the best one-means each shot can be something really special.

For the lenses above, you can usually easily find adapters online, but the most common mounts are the Nikon (Al-Al-S), M42 Screw Mount, Adaptall, Pentax, and Canon FD/FL.

Though there are many different mounts for different lenses, here are some general rules to keep in mind when thinking about mounting vintage lenses on new bodies. Always make sure you look up specific adapters for your specific lens/body combinations.

You can usually mount Nikon Lenses on Canon DSLRs, but not always.

A M42 lens can be mounted on almost any camera.

When it comes to Sony, Panasonic (or any micro four-thirds or mirrorless) cameras, most lens are mountable.

Canon lenses cannot be mounted on Nikon DLSRs.

With all that in mind, here's a great list of some of the best manual-focus portrait lenses that will spice up your portraiture.

Canon FD 50mm f/1.4 SSC

With a large, fast 1.4 aperture, solid build, and a versatile focal length, this beast is one of the best lenses for portrait photography ever built. With the power of a Sony A7 body, this lens will perform brilliantly in low-light situations. This is a premium lens from the 70s and 80s and is still widely used today by both digital and film portrait photographers. (Adapter-wise, it won't work on a Nikon or Canon DSLR without extra adapters that diminish the quality, but it mounts beautifully on a Canon EOS-M system or Sony A bodies.)

Minolta 85mm

With an all-solid-alloy build, it's made to last, thanks to an all-metal exterior, metal focus ring, metal filter threads, metal mount, and all-metal barrel. This portrait lens is extremely fast, and offers a short tele-lens for close-ups of your subjects. The lens is perfect when paired with Minolta MAXXUM cameras, but the beauty of it is, is that it'll do wonders on your Sony Alpha camera body. With the Sony A99, it's even got image stabilization and fast autofocus!

Tamron SP 90mm f/2.5 Macro

Still one of the best third-party lens creators, Tamron has a strong tradition in crafting fantastic lenses. The Tamron 90mm 2.5 macro can be used with an Adaptall Mount, which means it works on a Nikon, Canon, or Pentax, making it quite the transferable lens. As a macro lens, it gives portrait photographers a wider aperture, close angle capabilities and sharp optics. Definitely a unique perspective for a portrait.

Zenit Helios 85mm f/1.5 40-2

While it looks like a Soviet piece of machinery from a bygone era (it was actually originally a Russian remake of a Leica lens), the Helios 85mm f/1.5 creates a swirly bokeh that dreams are made out of. While the subject jumps out at the viewer, the background melts into what looks like lovely, blurry brush strokes, giving this lens its unique and unmatchable style.

When searching for good portrait lenses in the vintage section, here are some tips that may help you find the right fit:

Never cheap out on an adapter. Always spend the extra cash for a high-quality lens adapter because the better the quality, the better it will enable your vintage lens to maintain its integrity.

Older lenses can be surprisingly dirty and unmaintained, so always (if possible) try it out before you go ahead and purchase one.

Frequently check sites like Craigslist, eBay, Etsy, and Kijiji: you'll never know what you'll find. Sometimes you can find a premium lens being sold for $20 bucks! But be careful: sometimes cheap lenses suffer from fungus and glass separation that will render the lens useless.

Want more insight into all things portrait photography?
20 Mesmerizing Portrait Photography Websites
Why Portrait and Wedding Photography Websites Need a Pricing Page
Nigel Barker Gives Portrait Photography Advice

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The Best Lenses for Portrait Photography

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So, you've tried all the different types of photography-and discovered your passion for portrait photography! Awesome. Once you've got yourself the perfect portrait camera and picked out a few key portrait photography accessories, it's time to invest in the best portrait lens for your budget.

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This really is such a great focal length for indoor lifestyle / documentary photographs! A wide angle is definitely my go-to lens for using inside, as I can capture the subject and some of their surrounding environment too. It can also make a great lens for including several members of the family in a group shot, and although perhaps not the most flattering for head shots - due to the slight distortion wide angles produce - it still can be used quite effectively for lifestyle head shots on children as the distortion can add a quirky element that actually works quite well with kids!

It's also great for outdoor shots where you really want to show the environment - beach or field shots for example - anywhere where you want to include some of the landscape.

A wide angle is also an inclusive lens, which makes you feel more like you are standing right in the middle of the action when you view the photo.
Some suggested lenses:
Canon 16-35mm / Nikon 16-35mm

Sigma 35mm (both Canon and Nikon Versions)

Canon 24-70mm / Nikon 24-70mm

Tamron 24-85mm (both Canon and Nikon versions)

The Standard 50mm

The 50mm Lens is a camera bag staple, and rightly so due to it's huge versatility. You can use it in- doors and outdoors, and it can be used for both lifestyle and portraits due to the fact there is no or little distortion. A 50mm prime is generally also very lightweight and easy to carry, so it's perfect for popping into your bag to take with you. I use this indoors for times when my 35 is just allowing just too much of the environment in, and I don't want to have to get right up to my subject, and also for shots outdoors. It's just a fab all rounder for a focal length - a Canrue workhorse!
Some suggested lenses: Canon 50mm F1.8 Canon 50mm F1.4 Nikon 50mm F1.8 Sigma 50mm F1.4
85mm

Generally, I use this lens for times when I am outdoors with my subject, and I want to allow them to have some space to move away from me. The longer length gives wonderful compression too, which helps give you those super blurry backgrounds. It's also very useful for taking detail shots - for example, little hands on the paint brush or tying their shoes, without you having to go right up to them! It's a gorgeous, gorgeous length for a portrait lens - it gives a very slight slimming affect on the face which is uber-flattering.
Some suggested lenses: Canon 85mm F1.8 Nikon 85mm F1.8
Telephoto (85mm +)

Longer lenses give fabulous compression, and therefore are wonderful for giving images a dreamy feel and really help to isolate the subject from the background. You know those images that look like their subject is "popping" off the background? That's usually down to using a telephoto.

They are generally too long to be used for indoor lifestyle (Although I have certainly used them indoors, when I am in full super-sleuth mode and trying to capture something without having anyone groan and moan at me, and of course have enough space to back up!) but can be invaluable for outdoor shots, or things like plays or sporting events when you have no choice but to have some distance between yourself and the subject. I use my 85mm for most outdoor shots, so my 135 and 200 are rarely used actually, except for sports and areas where I can allow my subject can get quite far away from me safely - for example a beach. (As a side note, I really should part with one of these since they are quite similar with the look they give, I just can't decide which one to get rid of!)
Some suggested lenses:
Canon 135mm F2.0 / Nikon 135mm F2.0
Canon 70-200mm Sigma 70-200mm
That's it! Which is your most used lens and why?

p.s Remember, if you want to have a grab and go lens guide to know what to use when, along with loads of images to reference, you can download a free reference guide that I put together for you. Go here to grab it!

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Which Lens Is Best for Lifestyle / Documentary Photography? - LIVE SNAP LOVE

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If you are shooting Lifestyle or Documentary images - in other words capturing your everyday life - which lens is the best for you to use?

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20mm

24-70mm

50mm

85mm

150mm

300mm

200-400mm

Tilt Shift

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THis book was published in 2019,it was published by sputink photos Hardcover, cloth bound, mentors: Jan Brykczyński, Michał Łuczak, Rafał Milach, Adam Pańczuk, Agnieszka Rayss. Photo edit & sequencing: Michał Łuczak, edit: Maja Nałęcka, graphic design: Ania Nałęcka /Tapir Book Design, with help of: Tomasz Saciłowski, Mikołaj Hałabuda
I really like this book because  of it simple cover but i like the fact half way through t

he book you get this purple background this changes up the style of the book.but then it goes back to the white background which i also like because it makes the photo standout and gives and interesting effect for the viewer when the background changes throughout the book.

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For this shoot I started looking at Edward Weston who is a still life photographer that takes very high contrast photos of fruit and flowers in black and white.
For this shoot i had now money to get any fruit so i used a plant that i found in the classroom.The camera i used for this shoot was the canon 5d mark 3 with with a 18 to 55mm lens.
The camera settings where iso on 100 and the aperture was on 8 or 9 and my shutter speed was on 60th of a second I also used a black background to get make the plant stand out more.I just used a normal light with a flute on it.I found it hard to get the camera to focus on the subject so i had to manually focus it.
When taking the photos i was thinking about the framing and trying to get as much detailed and sharp as possible.
The reason i only did a contact sheet of 20 images was because if i had taken any more they would all look the same.
When editing the contact sheet all I did was change the the photos from colour to monochrome and changed the brightness and the contrast to make the photos look more like Edwards Weston's work.

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This is a contact sheet of 20 images that i like and fine interesting.These are just some of the ideas for my book.

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Eggleston in black-and-white? It seems a contradiction in terms. But here, finally, is the evidence that even the most famous colour photographer of all once saw the world around him in monochrome. It is quite a surprise.

A new book, published by Steidl, is called simply Before Colour. It's a great title: specific to the arc of William Eggleston's development, but suggestive of the wider impact that his first colour images had on photography in general. We now often divide the history of photography into before and after colour - a shift of consciousness that is often put down to Eggleston's ground-breaking show at MoMA in 1976, which shocked critics with its dramatic, heavily saturated dye-transfer prints. In fact this wasn't the first time that colour photography had appeared in a major American gallery: photographer Stephen Shore exhibited colour images of America at the Metropolitan Museum of Art four years earlier, and also caused something of a critical storm.

Eggleston's exhibition is now regarded as the moment that colour photography became an art form in itself. Ever since, he has been regarded as the most dramatic colourist in American photography.

Hence the surprise of these prints, which were found a few years ago in the offices of the William Eggleston Artistic Trust in Memphis, in a box containing his earliest photography. They form a kind of Egglestonian photographic prehistory. More intriguingly, they also show the beginnings of a style. In the late 1950s, Eggleston wandered around the suburbs of Memphis shooting whatever caught his eye on high-speed 35mm black-and-white film: people, usually unaware or only just aware of the camera's gaze; and places, including supermarket interiors and exteriors, roadsides, barbecue shacks, shop windows, garages, diners, hotel rooms, crossroads, bushes, trees and fences.

The images here are the first examples of Eggleston's now-famous democratic gaze: everything, even the most banal-seeming subject, is given equal importance in the unfolding visual narrative. This might seem a scattergun approach, but in his short introduction to the book, the southern writer and cultural critic Dave Hickey sees in them echoes of early photographs of the British Raj. There is a "dissonance" in Eggleston's photographs, Hickey notes, suggesting the tension of the moment that America, with all its "mass-produced banality", began to colonise the old south.

This is an interesting analysis. It sheds new light, too, on the so-called "snapshot aesthetic" that the likes of Eggleston, Shore and before them Robert Frank deployed. Hickey argues that, in Eggleston's work, there is "no other honest option" but "to make 'bad' pictures of bad places". (The quotation marks that frame the word "bad" are of the utmost importance.) Eggleston, Hickey writes, "abandons composition for a world with no composure. The truth of formal arrangement, contrast and atmosphere would be a lie imposed on these settings. It would deaden the acidic essence of the subject matter."

There is a great deal of truth here, but I'm not sure it's the whole story. In fact, you can see composition, contrast and atmosphere aplenty in Before Colour. Many of the early photographs here recall Walker Evans's vernacular gaze or Robert Frank's bleakly poetic vision of the other - sadder, poorer, stranger - America. The very first image in the book - a herd of mules and their drivers on a dusty road at twilight - is a shock, so painterly and old-fashioned does it look. Look harder, though, and you see a very Egglestonian sense of dark surprise: the leading rider, head bent, is a black man dressed in what looks like striped prison garb. The tone of the photograph shifts into more ominous psychological terrain, the whole dark history of the south hoving into view behind a single telling detail.

More than once, Eggleston turns his eye on lone figures, often daydreaming women in empty, ornate diners. In one deftly composed image, a stylish woman taps her cigarette into an ashtray. It is an image of considerable formal and atmospheric beauty, and one that possesses the kind of romantic, Edward Hopperesque undertow not often associated with Eggleston's work.

In another almost perfectly formed image, Eggleston freeze-frames a sleek American car swishing though the teeming southern rain, catching it brilliantly, and ironically, between two striped roadside sun umbrellas. There's a hint here of what is still to come: you can sense how different this image would be had he shot it in colour; but perhaps also that it would be less atmospheric too. The same thought occurs while looking at his many supermarket interiors, the cartons of milk and juice arranged in Egglestonian rows, but bled dry by the mysterious power of monochrome.

Part of the power of these photographs rests in the fact that we know what is coming, and where it will take photography. Yet even though it's hard not to return to the question of what these images would look like if only they'd been shot in colour - let alone Egglestonian colour - this is an important work both for students of photographic history and in its own right. Before Colour tells us what we already know: that the greats do not suddenly become great, but work hard to establish a style and signature. But it also shows something more - the great iconoclast, honing his democratic vision before he found the perfect medium for it. The future is just around the corner, but it will take some time before the world catches up with William Eggleston's brilliant - in every sense of the word - vision.

Now see this

Flash Projects specialise in what they call "iconic vintage photographs of popular culture from the 1950s, 1960s and 1970s". Their current exhibition is a pop-up show called Canned Candies: the Nudes of Jean Clemmer, which runs at 8 Kingly Street, London, WC1 until 18 December. Clemmer was Salvador Dali's close friend and personal photographer. This series of glamorous (semi-)nudes, a collaboration with the fashion designer Paco Rabanne, shows off his more mischievous side. It was first published in Paris in 1969, when things were altogether more swinging.
Topics

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Mono master: photographer William Eggleston in black-and-white

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Eggleston in black-and-white? It seems a contradiction in terms. But here, finally, is the evidence that even the most famous colour photographer of all once saw the world around him in monochrome. It is quite a surprise. A new book, published by Steidl, is called simply Before Colour.

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worked with the innovative Polaroid SX-70 camera and an unlimited supply of film from its manufacturer and Edwin Land. He was the great American photographer responsible for innumerable books and works of art. The seventy-year-old photographer, who was in failing health at the time, was somehow given a new lease on life in his final years. The Polaroid SX-70 prints are the artist's last photographs. He often referred to it as his "new toy". And so he returned to some of his most enduring themes with the new format. (in 1973)

Walker Evans and His New Toy

He had been producing work for half a century by this time. The new instant film triggered a burst of creativity in the photographer, who was then 70. As said by photographer Gregory Crewdson ,... "With the Polaroid SX-70, Evans exposed photography to its core essence; the art of seeing, selecting and capturing".

He took up the Polaroid at the end of his career, decades of work behind him, and stated "nobody should touch a Polaroid until he's over 60". I'm sure he was smiling when he said that. In actuality, he viewed the Polaroid process like some people look at digital today. A little suspect. But despite his misgivings, the SX-70 became his obsession during the last years before his death in 1975.

Truly Inspired

What is truly amazing is with failing health, and most of his exalted work behind him, he was able to take this new technology to its' limit. In fact, he turned its technical limitations to his advantage. Its colors were surreal at best, but even with what some would consider a limitation, Evans produced photographs of great art and beauty. From his faded signs on brick walls to derelict farmhouses. With Walker Evans's Polaroids, the images are somehow almost ghostly in nature. As unique and beautiful as his work on film. A glorifying obituary for the now dead technology of Polaroid itself. But thanks to Fujifilm, Lomo, Mint and Impossible Project, a true rebirth is taking place. With all the improvements in instant film since then, Walker Evans Polaroid images of 50 years ago still inspire. While the 'Polaroids' book is rare, it is truly one to have.

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Walker Evans began to work with the innovative Polaroid SX-70 in 1973.

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worked with the innovative Polaroid SX-70 camera and an unlimited supply of film from its manufacturer and Edwin Land. He was the great American photographer responsible for innumerable books and works of art. The seventy-year-old photographer, who was in failing health at the time, was somehow given a new lease on life in his final years.

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documentary; abandoned building, street

fashion; black and white portraits

nature; still life

surrealism; still life veg

portraiture; black and white/link to still life veg/flowers

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Whether we imagine a professional photographer at a photoshoot or a tourist on vacation, the image of a 35mm camera in now ubiquitous in our culture.

We take them for granted now, but compact 35mm cameras completely revolutionized photography and the way that we share information with one another.

Prior to the invention of the 35mm camera, photographers had to haul around heavy plate cameras. These cameras were large and inconvenient to bring to most locations. However, with the release of 35mm cameras, photographers could easily take pictures anywhere in the world.

These photographs could be shared with people all around the globe, allowing viewers to see distant lands in print for the first time ever.

Follow along as we visit the invention, rise, and fall of 35mm cameras in the 20th century.

Invention of 35mm Film & Early Models

35mm film became the standard of the motion picture industry in the late 19th century when William Kennedy Laurie Dickson, an employee of Thomas Edison, sliced 70mm Kodak film in half and spliced the ends together.

After the invention of 35mm film, many inventors tried to use the new film for still photography instead of motion pictures.

In 1908, a patent for a 35mm camera was issued to Leo, Audobard, and Baradat in England. However, this camera was never produced or sold.

The first 35mm camera to go into production was Jules Richard's Homeos camera, which was sold between 1913 and 1920. However, very few Homeos cameras were produced during this time period and they never became very popular.

The first 35mm camera widely available to the public was the American Tourist Multiple, which was released in 1913.

The Tourist Multiple cost $175 in 1913, an equivalent to $4000 in modern United States dollars. Because of its high price point, the camera was not accessible for most people.

The Leica is Introduced

35mm cameras became popular with the release of the Leica I in 1925.

Oskar Barnack, a development engineer for Leitz, first created his compact 35mm in 1913 in order to use 35mm film for still photography rather than motion picture photography. However, production was delayed due to WWI.

By the time the Leica I was in production, there were several other 35mm cameras available on the market, but the Leica became the most popular by far. The Leica and other 35mm cameras cemented 35mm film as the standard for high-end still photography cameras.

Early Leica camera are now considered to be highly collectible.

Explosion of Popularity

Although the Leica sold well, 35mm camera and film were too expensive for most people until 1936, when the Argus A was introduced.

For the first time, would-be amateur photographers had access to a compact 35mm camera that could be taken anywhere. Because 35mm cameras were accessible to so many people, 35mm dominated the film market by the 1960's and remains the most popular type of film today.

Improvements in Design

Kodak released the first preloaded 35mm cassettes in 1934. Prior to the invention of preloaded cassettes, photographers had to load their own film into reusable cassettes in a dark room.

The pre-loaded cassettes allowed photographers to switch rolls of film on-the-go. Kodak's preloaded cassettes were designed to work with the Leica and Zeiss Ikon Contax camera, as well as Kodak's Retina I.

The Kodak Retina line was enormously popular, and was in production until the late 1960's.

Another improvement in the design of the 35mm camera was the invention of the single-lens reflex camera, or SLR.

An SLR camera uses the same lens for the image on the film as well as the viewfinder, allowing the user to accurately focus and frame the image using the viewfinder. In 1936 the first 35mm SLR camera, the Kine Exakta, was introduced to the public.

However, early SLR cameras had viewfinders that "blanked", meaning the mirror jumped away from the optical path while the image was taken and returned when the film was wound.

While the mirror of the viewfinder was out of the optical path, the user could not see through the viewfinder. This changed with the invention of the instant-return mirror, which restored site through the viewfinder without the need to wind the film.

The first camera to have an instant-return mirror was Japan's Asahi Pentax. The instant-return mirror helped to popularize 35mm SLR cameras because they made picture-taking easier and more convenient.

35mm Cameras Become the Standard

In 1959, Nikon released their F model, which produced extremely high quality photos and encouraged professional photographers to finally switch over to the versatile 35mm format cameras.

By the 1970's, interchangeable lens and point-and-shoot 35mm format cameras had become dominant in the marketplace.

The first single use cameras were released in the 1980's These "disposable" cameras came preloaded with 35mm film. They were inexpensive and allowed users to take photographs without the commitment of investing in a whole camera.

The 1980's also saw the release of all-in-one processing and printing machines, which could be installed in pharmacies and grocery stores. This made it even easier for the general public to take photographs, as they no longer needed to go to a specialty photography store to have their film developed.

Digital Cameras & The Decline of 35mm Cameras

In the 1990's, digital cameras began to enter the market. Since then, sales of all types of film have declined, though 35mm remains the most popular.

Although the majority of cameras produced today are digital, the 35mm camera still leaves a legacy. For example, digital image sensors in modern digital cameras are made to mimic the dimensions of the old 35mm format cameras.

35mm film cameras are still produced today, especially by high-end manufacturers. Professional and amateur photographers alike prize 35mm film cameras for the rich quality of their images, which digital cameras cannot provide without the aid of post-editing.

The camera and photography has come along way since the days of plate cameras. 35mm format cameras revolutionized the photography world and brought photography to the masses.

Nowadays, most people have a camera in their phone within hand's reach at all times, yet the 35mm camera still lives on as a popular tool for photographers to create beautiful images.

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History of the 35mm: The Original Compact Camera

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Whether we imagine a professional photographer at a photoshoot or a tourist on vacation, the image of a 35mm camera in now ubiquitous in our culture. We take them for granted now, but compact 35mm cameras completely revolutionized photography and the way that we share information with one another.

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josef chladek has create a website that has hundreds and hundreds of is own books but also contains lots of different and interesting book that you can go through page by page on his website.

This website is not just to show lots of different books but to give people an insight it to different and interesting books all in one place to give people a wide range of different picture books.

When browsing the internet for relevant information Chladek says he "got tired of finding small text snippets, occasionally bad pictures, and mostly information that related to the book but didn't give an impression of the actual size, the print quality and so on".

Chladek idea was to present the books in a way that is looks like you can see it in real life.

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VAN HENNESSY                                                                IN THE GUTTER            

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VAN HENNESSY                                                                IN THE GUTTER            

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Containing early pictures of Damned, Vibrators, Jordan, Siouxie, Sex Pistols...

The book’s production initially stemmed from a series of programmes on punk presented by Hennessy for ATV, which at the time of their release were described by one critic as a ‘chaotic disaster’, and by another as  ‘a triumph of originality’. Similarly, the tone of this book has been somewhat contentious, and the subject of bemused disapproval by many. However, conflicting opinions aside, the text of the book does little to compete with its strong selection of images, which depict proud and riotous London youths, clearly revelling in the freedom punk offered. Surprisingly, it is the discordant tone of In the Gutter which gives us such a vivid and particular insight into the punk movement as it was seen and (mis-)conceived from the outside.

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" Go directly to the sample spreads

Softcover.

Containing early pictures of Damned, Vibrators, Jordan, Siouxie, Sex Pistols...

The book's production initially stemmed from a series of programmes on punk presented by Hennessy for ATV, which at the time of their release were described by one critic as a 'chaotic disaster', and by another as 'a triumph of originality'. Similarly, the tone of this book has been somewhat contentious, and the subject of bemused disapproval by many. However, conflicting opinions aside, the text of the book does little to compete with its strong selection of images, which depict proud and riotous London youths, clearly revelling in the freedom punk offered. Surprisingly, it is the discordant tone of In the Gutter which gives us such a vivid and particular insight into the punk movement as it was seen and (mis-)conceived from the outside. ( Donlon Books)

Pages: 95
Place: London
Year: 1978
Publisher: Quartet Books
Size: 20 x 26 cm (approx.)

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Sample pages for In the Gutter

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Sample page 1 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 2 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 3 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 4 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 5 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 6 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 7 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 8 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 9 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 10 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 11 for book "Val Hennessy - In the Gutter", josefchladek.com Sample page 12 for book "Val Hennessy - In the Gutter", josefchladek.com

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Val Hennessy - In the Gutter, Quartet Books, 1978, London - josef chladek

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Val Hennessy - In the Gutter Softcover. Containing early pictures of Damned Vibrators Jordan Siouxie Sex Pistols... The book’s production initially stemmed from a series programmes on punk presented by for ATV which at time their release were described one critic as ‘chaotic dis..., Quartet Books, 1978, London

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Hardcover, cloth bound, mentors: Jan Brykczyński, Michał Łuczak, Rafał Milach, Adam Pańczuk, Agnieszka Rayss. Photo edit & sequencing: Michał Łuczak, edit: Maja Nałęcka, graphic design: Ania Nałęcka /Tapir Book Design, with help of: Tomasz Saciłowski, Mikołaj Hałabuda
We are pleased to present our most recent publication with 11 stories by our talented students of Sputnik Photos Mentoring Programme 2017/2018. You can order the book and support Sputnik with your donation. The minimum donation is 10 euro plus shipping. Presenting work of 11 emerging photographers. PHOTOGRAPHERS: Dominik Cudny, Aleksandra Iwańczak, Jan Jurczak, Beata Małyska, Aneta Nytko, Paweł Mądry, Agnieszka Piasecka, Natallia Piatkievich, Ewa Pustułka, Olga Sosnowska, Krzysztof Światły.
Order at https://www.sputnikphotos.com/new-book-no-7-sputnik-photos-mentoring-programme/

Pages: 216
Place: Warsaw
Year: 2019
Publisher: Sputnik Photos
Size: 12 x 17 cm (approx.)

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Sample pages for NO.7 Sputnik Photos Mentoring Programme

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sputnik photos - no.7 sputnik photos mentoring programme

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Sputnik Photos - NO.7 Sputnik Photos Mentoring Programme, Sputnik Photos, 2019, Warsaw - josef chladek

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" Go directly to the sample spreads Hardcover, cloth bound, mentors: Jan Brykczyński, Michał Łuczak, Rafał Milach, Adam Pańczuk, Agnieszka Rayss. Photo edit & sequencing: Michał Łuczak, edit: Maja Nałęcka, graphic design: Ania Nałęcka /Tapir Book Design, with help of: Tomasz Saciłowski, Mikołaj Hałabuda We are pleased to present our most recent publication with 11 stories by our talented students of Sputnik Photos Mentoring Programme 2017/2018.

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I think this book is really interesting because the front cover has two main bright color on it to get the viewer attention but the photos inside the book are dark and they are is only one photo on two pages of the book which gives the viewer time to look at the photo and not get distracted by any over photos that are on the page.

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" Go directly to the sample spreads

Hardback with silkscreen printed cover, includes text by Ulrich Baer.
From its title to its formal arrangement of language, Brad Feuerhelm's Dein Kampf suggests a commentary on our cyclical anxieties about ideology. Anxiety is implicit in his photographs and Berlin is their natural backdrop, being a city in which several ideologies collided in the twentieth century. The city exemplifies the quagmire of possibilities in which the tensions of historical narrative and contemporary political and ideological doubt are played out in visual motifs throughout the landscape.
Fragments of the past and symbols of capitalist modernity underpin the work-banks, insurance companies and people as effigies of citizens appear as a cloaking miasma, the spectre of past, present and no future. The schema of the glitch and the appropriation methods in Feuerhelm's work are subtle enquiries into the contemporary conditions of fear and confusion. Loose associations about changing futures under technology, religion, immigration and the future of the photographic image also loom large. Dein Kampf is Feuerhelm's proposition about how we activate image and ideology in the book form. ( from the publisher)

Pages: 72
Place: London
Year: 2019
Publisher: MACK
Size: 22 x 29 cm (approx.)

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Sample page 1 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 2 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 3 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 4 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 5 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 6 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 7 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 8 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 9 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 10 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 11 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 12 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 13 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 14 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 15 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 16 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 17 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com Sample page 18 for book " Brad Feuerhelm - Dein Kampf", josefchladek.com

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Brad Feuerhelm - Dein Kampf, MACK, 2019, London - josef chladek

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Brad Feuerhelm - Dein Kampf Hardback with silkscreen printed cover includes text by Ulrich Baer. From its title to formal arrangement of language Feuerhelm’s suggests a commentary on our cyclical anxieties about ideology. Anxiety is implicit in his photographs and Berlin their natural ba..., MACK, 2019, London

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This is a page out of the book shows the dramatic effect of only having one photo on a page this makes the viewer look and the photo in more detail

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Create project-ready albums with the photos on your device

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It's simple - we stand behind the products we create. If you are not wholeheartedly satisfied with your order each and every time, we promise to make it right.

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Artifact Uprising | Custom Photo Books & Gifts

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Create project-ready albums with the photos on your device It's simple - we stand behind the products we create. If you are not wholeheartedly satisfied with your order each and every time, we promise to make it right.

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Pair exquisite Mohawk Layflat paper with the photos you love for a timeless keepsake.

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Pair exquisite Mohawk Layflat paper with the photos you love for a timeless keepsake. Upgrade your keepsake Layflat book with exceptional, archival-quality Mohawk paper, designed to be held and enjoyed for generations to come. Choose a design tool. BookWright Our free design tool offers complete creative control and a helping hand when you need it.

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The worlds of high-end craft printing and personalised photo printing come together in the creation of our fabric hardcover photo books. More than just a photo album, these premium hardcover photo books allow you to immortalise your favourite memories on high-quality paper, bound inside a hardcover of fine Italian fabric, with a personalised title in luxury hot foil stamping.

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Fabric Hardcover Photo Books | Photo Albums Rosemood

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The worlds of high-end craft printing and personalised photo printing come together in the creation of our fabric hardcover photo books. More than just a photo album, these premium hardcover photo books allow you to immortalise your favourite memories on high-quality paper, bound inside a hardcover of fine Italian fabric, with a personalised title in luxury hot foil stamping.

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Newspaper Club - Make and print your own newspapers

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We help you make your own newspaper. Print one copy or thousands, from a range of sizes. We ship internationally and offer a fast, friendly service.

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Choose one of our art-inspired softcovers to create a personalised photo book with a trendy magazine-style finish. Show off your photos in their full glory thanks to the high-quality paper and binding used for both the cover and the inside pages of your photo books. We even proofread your text and retouch your cover photo to ensure that your precious memories are picture perfect.

Available in 3 formats: square, portrait and landscape.
From £15, including our retouching service

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Softcover Photo Books | Photo Albums | Rosemood

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Choose one of our art-inspired softcovers to create a personalised photo book with a trendy magazine-style finish. Show off your photos in their full glory thanks to the high-quality paper and binding used for both the cover and the inside pages of your photo books.

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I have been looking at lots of high fashion and and also been looking at monochrome and high contrast landscape.the photo below is the sort of photographs that i want to produce.they have a really high contrast and dark theme to them.i my plan is to take photos of landscapes and fashion photography then combine them together. i am going to start making contact sheets of fashion,nature and portraiture then i'm going to decide what i want to do from there.i I want create a dark monochrome landscape or a strong monochrome portrait.

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For this project I am going to be making a 16 page book that contains my own photos that I have taken and edited for this book.For this project we need to have made a powerpoint for the for the last day ,the powerpoint will contain how I developed my book and how i went about deciding on the images also why I created the book the way I am going to do it. The book has to be sent off to print on the monday a week before deadline date.

I need to look in to 10 artist and show the process in how i got my ideas for this project also I need to shoot six times before i can finally edit my images to send them of to be made in to a book.
For the contextual studies I need to make a film that is 60 seconds long with 6 different sense. Also have to produce a 1800 word essay .
At the end of this project I need to have 10 slides on powerpoint showing my progress throughout making this book.I also need to have a 1000 word evaluation ,throughout this project i will be reflecting each week on my progress.

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I found this book really really interesting because of different book cover it is just called y-31 and then the photographers name A-chan which i found very intriguing.
The inside of the book is really wired because most of the photos are monochrome but there are some photos that are color also some of the photos are spread across two pages and they are placed on the page with wired angles or slightly of set to make the viewer look at the photo in more detail.I l also like the vintage street photo in this book and the wired layout makes the book more intriguing to look at.

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A-Chan - Y-31, Homeparkpress, 2019, Hamburg - josef chladek

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A-Chan - Y-31 Softcover edition of 200 copies. Design by Stefan Kaetz.Y-31 A-CHAN presents 24 photographs taken in Yanaka Japan about one hour north-east Tokyo Ibaraki prefecture. spent her childhood the place where family house is situated. first title a planned series Homeparkpress publicati..., Homeparkpress, 2019, Hamburg

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Softcover, edition of 100 copies.
https://www.pascalanders.com/books#e-18
Pages: 40
Place: Paris
Year: 2018
Publisher: Self published
Size: 13 x 20 cm (approx.)

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Sample pages for Einbahnstrasse

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Sample page 1 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 2 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 3 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 4 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 5 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 6 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 7 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 8 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 9 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 10 for book " Pascal Anders - Einbahnstrasse", josefchladek.com Sample page 11 for book " Pascal Anders - Einbahnstrasse", josefchladek.com

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Pascal Anders - Einbahnstrasse, Self published, 2018, Paris - josef chladek

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" Go directly to the sample spreads Softcover, edition of 100 copies. https://www.pascalanders.com/books#e-18 Pages: 40 Place: Paris Year: 2018 Publisher: Self published Size: 13 x 20 cm (approx.) Newsletter / Facebook Don't miss my updates and news on photobooks - register for free - or follow my updates on the virtual bookshelf on facebook .

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" Go directly to the sample spreads

Softcover, edition of 200 copies, design by September Bureau.

"We can fix us. This is now a truism no longer antiquated by the historicism of spirituality. You no longer need flee the bargain that you protracted at birth like so many measles and mumps to the contrary of this vaccination, YOU are the now. YOU are the antidote to your fears. YOU can build yourself anew. Let us consume the NEW. Let us disregard the discrepancy of YOUTH. Let us rejoice in a new AGE and a new awareness of SELF. YOU are the means to an ever-lasting version of YOU plugged in, booting and charismatically recalled from the scrapheap and latex of your memories. Without YOU, there is no US and we benefit from your approval. Consider our offer as a testament to YOUR value. You are NOW. Welcome, this is YOUR handbook to better Living." Brad Feuerhelm, afterword (extract)

Pages: 44
Place: France
Year: 2019
Publisher: September Books
Size: 21 x 30 cm (approx.)

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Sample pages for Handbook. Alternate edition

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Sample page 1 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com Sample page 2 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com Sample page 3 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com Sample page 4 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com Sample page 5 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com Sample page 6 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com Sample page 7 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com Sample page 8 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com Sample page 9 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com Sample page 10 for book "Marie Quéau - Handbook. Alternate edition", josefchladek.com

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marie quéau - handbook. alternate edition

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Marie Quéau - Handbook. Alternate edition, September Books, 2019, France - josef chladek

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Marie Quéau - Handbook. Alternate edition Softcover of 200 copies design by September Bureau. "We can fix us. This is now a truism no longer antiquated the historicism spirituality.

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Deadlines

Send off book 10/02/20
Crit slideshow 11/02/20
book crit 24/02/20

Padlet; initial ideas/research/contact sheets/edits/development/inspiration/task work/annotation/evaluation

powerpoint; 10 slides evidencing working progress

BOOK; 20+ images in self published book

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" Go directly to the sample spreads

Softcover, edition of 500 copies.

After the loss of her mother the artist experiences the interruption of her own timeline on one end while having to fulfill her own role as a mother to the other end. In that end, motherhood in Dede's universe is not connected only to warmth or joy but to cold, ice surfaces that need to stand the pressure of an overheated world.

'Mayflies' dramatises the creative process of mourning. Through multiple chirographic mutations of the imagery, the experience of loss in intertwined layers is represented throughout the work. Faces and bodies lingering in the shadows between conscious and subconscious in an attempt to let themselves be inert as Marcel Proust advices:
"When you are used to this horrible thing that they will forever be cast into the past, then you will gently feel her revive, returning to take her place, her entire place, beside you. At the present time, this is not yet possible. Let yourself be inert, wait till the incomprehensible power... that has broken you restores you a little, I say a little, for henceforth you will always keep something broken about you. Tell yourself this, too, for it is a kind of pleasure to know that you will never love less, that you will never be consoled, that you will constantly remember more and more." https://void.photo/mayflies
Pages: 112
Place: Athens
Year: 2019
Publisher: Void
Size: 23 x 32 cm (approx.)

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Sample pages for Mayflies

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Sample page 1 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 2 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 3 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 4 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 5 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 6 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 7 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 8 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 9 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 10 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 11 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 12 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 13 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 14 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 15 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 16 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 17 for book "Dimitra Dede - Mayflies", josefchladek.com Sample page 18 for book "Dimitra Dede - Mayflies", josefchladek.com

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Dimitra Dede - Mayflies, Void, 2019, Athens - josef chladek

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Dimitra Dede - Mayflies Softcover edition of 500 copies. After the loss her mother artist experiences interruption own timeline on one end while having to fulfill role as a other end.

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" Go directly to the sample spreads

Hardcover with dust jacket, photographs, text and design by Sohrab Hura
Ugly Dog, 2015, edition of 600 numbered copies, signed. Approximately 400 copies in green cloth and 200 copies in maroon/red cloth.

"Life is Elsewhere is a journal of my life, my family, my love, my friends, my travels, my sheer need to experience all that is about to disappear and so in a way I'm attempting to connect my own life with the world that I see with a hope to find my reality in it. Life is Elsewhere is a book of contradictions and of doubts and understandings and of laughter and forgetting in which I am trying to constantly question myself by simply documenting the broken fragments of my life which might seem completely disconnected to one another on their own. But I hope that in time I am able to piece together this wonderful jigsaw puzzle called life. And this journey will perhaps lead to reconciliation with my own life." (Sohrab Hura)
Life is Elsewhere focuses on Hura's relationship with his mother, diagnosed with paranoid schizophrenia, and is the first part of a 'two-chapter' personal project called Sweet Life (2005-2014). Sohrab Hura was born in1981 in a small town called Chinsurah in West Bengal, India. He is Magnum Photos latest nominee.

Pages: 144
Place: Delhi
Year: 2015
Publisher: Ugly Dog
Size: 17 x 22 cm (approx.)

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Sample pages for Life is Elsewhere

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Sample page 1 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 2 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 3 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 4 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 5 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 6 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 7 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 8 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 9 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 10 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 11 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 12 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 13 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 14 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com Sample page 15 for book " Sohrab Hura - Life is Elsewhere", josefchladek.com

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Sohrab Hura - Life is Elsewhere, Ugly Dog, 2015, Delhi - josef chladek

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Sohrab Hura - Life is Elsewhere Hardcover with dust jacket photographs text and design by HuraUgly Dog 2015 edition of 600 numbered copies signed. Approximately 400 copies in green cloth 200 maroon/red cloth.

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Cloth cover with silkscreen artwork, 8 different paper stock, 6 different printing techniques, numbered Limited Edition of 230 copies, more than 500 photographs. 2 texts by the artist and an entr'acte by Brad Feuerhelm.
"Meat" consists of 28 signatures printed in 6 different printing techniques: Offset, Silkscreen, Letterpress, Photocopy, Digital printing, Risograph, using 8 different paper stocks. Each copy of "Meat" will be painfully hand-bound by Void team."Meat" brings together more than 500 Olivier Pin-Fat's photographs, and 2 of his texts: one about the project and context of "Meat", the other, about his approach to photography. As an invited artist displaying his very personal view on the project, the book comes with an entr'acte by Brad Feuerhelm: "The Bleach at the End of the Bottle Tastes Just as Nice" In Olivier's words: "Brad's text spins my work on its head, then spins it in the opposite direction simultaneously whilst raising questions about how we look at or read images, what porn is or not, where the fine line between the gratuitous and resonant lies, where placement really is, what is real or isn't, what is art or isn't, what direct and unsentimental representation can mean through the eyes of certain practitioners, https://void.photo/store/meat
what mirrors what (violence, to the negative/ material) or vice versa [...] It runs in parallel with my work, although at a tangent, and in
the end elevates it. Much of the conversation pieces btw are Brad and i chatting on messenger."
Hand-binding 250 copies of a book this complex will last for several months, and each copy will be unique: dated and signed by the person who produced it.
Pages: 336
Place: Athens
Year: 2018
Publisher: Void
Size: 24 x 34 cm (approx.)

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Sample pages for Meat

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Sample page 1 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 2 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 3 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 4 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 5 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 6 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 7 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 8 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 9 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 10 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 11 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 12 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 13 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 14 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 15 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 16 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 17 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 18 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 19 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 20 for book " Olivier Pin-Fat - Meat", josefchladek.com Sample page 21 for book " Olivier Pin-Fat - Meat", josefchladek.com

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Olivier Pin-Fat - Meat, Void, 2018, Athens - josef chladek

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Olivier Pin-Fat - Meat Cloth cover with silkscreen artwork 8 different paper stock 6 printing techniques numbered Limited Edition of 230 copies more than 500 photographs. 2 texts by the artist and an entr’acte Brad Feuerhelm. “Meat” consists 28 signatures printed in techniq..., Void, 2018, Athens

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" Go directly to the sample spreads

Softcover with dustjacket, edition of 600 copies, design by Stefan Kaetz.

"Stuttgart - 28 Photos aus dem Südwesten der Republik" zeigt ein "deutsches Stück auf Stuttgarter Bühne" (Ausstellungskatalog Fotosommer 2007), die Serie ist Dokument der Stadt und gleichzeitig Ausdruck einer persönlichen Vorstellung von einem Ort. Das Buch wurde mit "Nominiert 2009″ durch den Deutschen Fotobuchpreis ausgezeichnet.
http://www.homeparkpress.com
Pages: 64
Place: Hamburg
Year: 2008
Publisher: Homeparkpress
Size: 14 x 22 cm (approx.)

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Sample pages for Stuttgart - 28 Photos aus dem Südwesten der Republik

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Sample page 1 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 2 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 3 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 4 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 5 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 6 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 7 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 8 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 9 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 10 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 11 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com

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christopher anhalt - stuttgart - 28 photos aus dem südwesten der republik

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Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik, Homeparkpress, 2008, Hamburg - josef chladek

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" Go directly to the sample spreads Softcover with dustjacket, edition of 600 copies, design by Stefan Kaetz. "Stuttgart - 28 Photos aus dem Südwesten der Republik" zeigt ein "deutsches Stück auf Stuttgarter Bühne" (Ausstellungskatalog Fotosommer 2007), die Serie ist Dokument der Stadt und gleichzeitig Ausdruck einer persönlichen Vorstellung von einem Ort.

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" Go directly to the sample spreads

Softcover, in envelope, containing a certificate and original print, edition of approx. 100.

Presented in collaboration with Twelvebooks as part of the Paris Photo 2015 official program. Performance at Silencio Club during Paris Photo 2015, Daisuke developed prints in a dark room in the club. On that occasion, 100 7x5 inches solarized prints, each unique, were produced by him and his assistants.
More info and order at: http://www.jeankentagauthier.com/fr/artistes/oeuvres/5/oeuvres#oeuv-1

Pages: 24
Place: Paris / Tokyo
Year: 2015
Publisher: Jean Kenta Gauthier and Twelvebooks
Size: 16 x 23 cm (approx.)

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Sample pages for Inversion

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Sample page 1 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 2 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 3 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 4 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 5 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 6 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 7 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 8 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 9 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 10 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 11 for book " Daisuke Yokota - Inversion", josefchladek.com Sample page 12 for book " Daisuke Yokota - Inversion", josefchladek.com

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Daisuke Yokota - Extra Inversion, Jean Kenta Gauthier and Twelvebooks, 2015, Paris / Tokyo - josef chladek

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Daisuke Yokota - Extra Inversion Softcover in envelope containing a certificate and original print edition of approx. 100. Presented collaboration with Twelvebooks as part the Paris Photo 2015 official program. Performance at Silencio Club during 2015 developed prints dark room club.

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Really interested in photographing empty spaces (black and white)

Abstract

Explore absence

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" Go directly to the sample spreads

Softcover with dustjacket, edition of 600 copies, design by Stefan Kaetz.

"Stuttgart - 28 Photos aus dem Südwesten der Republik" zeigt ein "deutsches Stück auf Stuttgarter Bühne" (Ausstellungskatalog Fotosommer 2007), die Serie ist Dokument der Stadt und gleichzeitig Ausdruck einer persönlichen Vorstellung von einem Ort. Das Buch wurde mit "Nominiert 2009″ durch den Deutschen Fotobuchpreis ausgezeichnet.
http://www.homeparkpress.com
Pages: 64
Place: Hamburg
Year: 2008
Publisher: Homeparkpress
Size: 14 x 22 cm (approx.)

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Sample pages for Stuttgart - 28 Photos aus dem Südwesten der Republik

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Sample page 1 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 2 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 3 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 4 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 5 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 6 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 7 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 8 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 9 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 10 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com Sample page 11 for book " Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik", josefchladek.com

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christopher anhalt - stuttgart - 28 photos aus dem südwesten der republik

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Christopher Anhalt - Stuttgart - 28 Photos aus dem Südwesten der Republik, Homeparkpress, 2008, Hamburg - josef chladek

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" Go directly to the sample spreads Softcover with dustjacket, edition of 600 copies, design by Stefan Kaetz. "Stuttgart - 28 Photos aus dem Südwesten der Republik" zeigt ein "deutsches Stück auf Stuttgarter Bühne" (Ausstellungskatalog Fotosommer 2007), die Serie ist Dokument der Stadt und gleichzeitig Ausdruck einer persönlichen Vorstellung von einem Ort.

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This week I began researching and collecting inspiration for my book.

I found a book by Charles Jones, he photographs fruit, vegetables and flowers and creates interesting compositions. I also looked at work by Edward Western who works in a similar way. Westerns work is a little more abstract; vegetables are lit and photographed to look like body parts.

I'd like to explore abstract and black and white.

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DEFINITION; Narrative photography is the idea that an image or a series of images can be used to tell a story or create a narrative. A narrative is an account of an event or a moment in time, which makes photography the perfect medium for constructing narratives.

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DEFINITION; Narrative photography is the idea that an image or a series of images can be used to tell a story or create a narrative. A narrative is an account of an event or a moment in time, which makes photography the perfect medium for constructing narratives.

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Week 3; veg and portrait shoots, development (2 research artists

Week 4; location shoots, editing

Week 5; location and studio shoot, editing, development, layout/typography experimentation. Presentation slideshow

Week 6; final edits, layouts, book editing, evaluation, presentation

LOCATIONS;studio (still life and portraiture)and abandoned army base in Marchington.

KIT;NIKON D7200
18-105 lens
35mm B/W
CANON 5D M2/3
50mm lens

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For this shoot I started looking at Edward Weston who is a still life photographer that takes very high contrast photos of fruit and flowers in black and white.
For this shoot i had now money to get any fruit so i used a plant that i found in the classroom.The camera i used for this shoot was the canon 5d mark 3 with with a 18 to 55mm lens.
The camera settings where iso on 100 and the aperture was on 8 or 9 and my shutter speed was on 60th of a second I also used a black background to get make the plant stand out more.I just used a normal light with a flute on it.I found it hard to get the camera to focus on the subject so i had to manually focus it.
When taking the photos i was thinking about the framing and trying to get as much detailed and sharp as possible.
The reason i only did a contact sheet of 20 images was because if i had taken any more they would all look the same.
When editing the contact sheet all I did was change the the photos from colour to monochrome and changed the brightness and the contrast to make the photos look more like Edwards Weston's work.

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This shoot was inspired by Edward Weston who is a very famous still life and is a master a at getting really sharp images of fruit and flowers.i dont think this shoot went the best because I didn't know how to shoot this particular object so i just started shooting at different angles and wired angles to see if i could get an interesting shot that linked to Charles Jones.The equipment that i used was a canon 5d mark 3 with a 18-50mm lens.setting for the camera where iso 100,apitchure was 8 or 9 and the shutter speed was 60th of a second.Lighting a normal studio light with the flash on low to get a high contrast and sharp effect on the images.When editing the contact of 20 images all i did was change the contrast and the brightness also changes it from colour to monochrome to make it look like Charles Jones work but with my own spin on the photos.

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studio
black backdrop
low key
5D mark 3
lens 24-105mm
portraiture
model: brad

shoot colour/edit black and white