# data[].attributes.body
This collection of photographs depicts a time of transition in rural Romania and across Hungary following the fall of Communism in the late 1980s. The projects comprise images of large-scale, painterly landscapes, derelict factories and life on the periphery of society.

# data[].attributes.body
Kella’s work is constructed to be photographed tableaus do share common traits with Adams’s and Gilpin’s traditional, romantic photographic landscapes because of their beauty and exquisite structural forms.  But Kella also shares the sociological and, at times, polemical approaches of some of the against-the-grain photographers in the “New Topographics” movement; that Kella’s photographs share commonalities with such radically different kinds of photographers speaks to the sophistication and intellectuality of her enduring work.

# data[].attributes.body
A fascination with darkness and the unseen haunts the work of London-based French photographer Chrystel Lebas (b. 1966, France). Often using a panoramic camera with long exposure times ranging from two to six hours, Lebas creates sweeping, mesmerising landscapes, which explore photography’s relationship with time and movement.

# data[].attributes.body
Whilst his larger photographic works are well known, this is the first time he has shown a selection of the many thousands of Polaroid photographs taken, both on and off location, between the early 1970s and mid 80s. Wenders’ fascination with the Polaroid stems from his early adoption of the format while he was learning the craft of film-making in the late 60s. Polaroids operated as a visual notebook – a way of testing out frames and ideas – but more than that they offered him a kind of liminal space between the subject and the photograph, the photographer and the act of taking a photo, the intention and the outcome.