Werner Gräff - Es kommt der neue Fotograf., Hermann Reckendorf, 1929, Berlin
Hardcover, cloth bound with dustjacket. Features reproductions of photographs by Willi Baumeister, Herbert Bayer, Andreas Feininger, Siegfried Giedion, John Heartfield, El Lissitzky, Man Ray, Albert Renger-Patzsch, Hans Richter, Sasha Stone, Umbo and others.
“Importantly, the exhibition attracted leading modernist photographers not just from Europe but from the United States (Edward Weston, for instance) and Russia (El Lissitsky and Rodchenko). It included amateur work, commercial and utilitarian photography, and provided an almost indispensible survey of the New Vision in photography.” Both Es kommt der neue Fotograph and Foto-Auge “adopt similar picture-essay formats to run through the various genres and stylistic features on New Vision photography. Werner Gräff’s volume, however, has as much of a practical as a theoretical slant. It can be considered as a ‘how-to’ compendium of the new photography, and is divided into sections, each several pages long, showing either formal strategies like tilting the frame or repeating similar elements, close-ups and so on, or genres such as photograms, montage, advertising and magazine photography” (Parr&Badger Vol. 1).
Pages: 126
Place: Berlin
Year: 1929
Publisher: Hermann Reckendorf
Size: 19 x 26 cm (approx.)
Hardcover, cloth bound with dustjacket. Features reproductions of photographs by Willi Baumeister, Herbert Bayer, Andreas Feininger, Siegfried Giedion, John Heartfield, El Lissitzky, Man Ray, Albert Renger-Patzsch, Hans Richter, Sasha Stone, Umbo and others.
“Importantly, the exhibition attracted leading modernist photographers not just from Europe but from the United States (Edward Weston, for instance) and Russia (El Lissitsky and Rodchenko). It included amateur work, commercial and utilitarian photography, and provided an almost indispensible survey of the New Vision in photography.” Both Es kommt der neue Fotograph and Foto-Auge “adopt similar picture-essay formats to run through the various genres and stylistic features on New Vision photography. Werner Gräff’s volume, however, has as much of a practical as a theoretical slant. It can be considered as a ‘how-to’ compendium of the new photography, and is divided into sections, each several pages long, showing either formal strategies like tilting the frame or repeating similar elements, close-ups and so on, or genres such as photograms, montage, advertising and magazine photography” (Parr&Badger Vol. 1).
Pages: 126
Place: Berlin
Year: 1929
Publisher: Hermann Reckendorf
Size: 19 x 26 cm (approx.)
_jc.jpg?c=48bb277fca87594c310ecf661481d938 "Werner Gräff - Es kommt der neue Fotograf. ((c) jc)")
_jc.jpg?c=1d373f4c2d832aaee18c2c47813b2ec2 "Werner Gräff - Es kommt der neue Fotograf. ((c) jc)")
_jc.jpg?c=662a2fde878a9bef6370fb07c5a28705 "Werner Gräff - Es kommt der neue Fotograf. ((c) jc)")
_jc.jpg?c=2331870b93853a37f5f1d9e3df67bb60 "Werner Gräff - Es kommt der neue Fotograf. ((c) jc)")
