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Josef Sudek: Pigment Prints
"Sudek's pigment prints involved...a specially treated carbon impregnated tissue that was placed in contact with an ordinary silver print. During exposure to light the silver-based image was transmitted chemically onto the carbon tissue, creating a pigmented image. Then, while wet, the two pictures were separated, and, finally, the carbon tissue was transferred onto a piece of high-quality paper."
This volume documents Sudek's pigment prints of the 1940s and 1950s, including his ''studio pictures,'' landscapes, still lifes, and architectural photography, in beautiful reproductions, along with essays and interviews with Sudek.
This volume documents Sudek's pigment prints of the 1940s and 1950s, including his ''studio pictures,'' landscapes, still lifes, and architectural photography, in beautiful reproductions, along with essays and interviews with Sudek.
160 pages, Hardcover
First published January 15, 2001
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March 25, 2014
To access the ineffable in a photograph, you can't look harder, only more slowly. And continue looking after the page is turned.
"When I began photographing my window during the war I discovered that very often something was going on under the window which became more and more important to me. An object of some kind, a bunch of flowers, a stone — in short, something separated this still-life and made an independent picture. I believe that photography loves banal objects, and I love the life of objects…I like to tell stories about the life of inanimate objects, to relate something mysterious: the seventh side of a dice." (Sudek)
"The initial hit, the aesthetic hit is physical. It's more of a physical thing than anything else…if you stand in front of a Sudek, you have the same sort of feeling. You don't even have to verbalize it, because it's physical." (Frederic Bancroft, gallerist.)
"When I began photographing my window during the war I discovered that very often something was going on under the window which became more and more important to me. An object of some kind, a bunch of flowers, a stone — in short, something separated this still-life and made an independent picture. I believe that photography loves banal objects, and I love the life of objects…I like to tell stories about the life of inanimate objects, to relate something mysterious: the seventh side of a dice." (Sudek)
"The initial hit, the aesthetic hit is physical. It's more of a physical thing than anything else…if you stand in front of a Sudek, you have the same sort of feeling. You don't even have to verbalize it, because it's physical." (Frederic Bancroft, gallerist.)
Displaying 1 of 1 review