Should a photographer sign his work? I think every landscape photographer should sign their prints and every portrait photographer should include a small, slightly visible watermark of their signature. You put a lot of effort into making this image, so you should claim it as your own. Sirin Nassar Professional. Where do I sign a photograph?
But the thing is this signature is always the same and that means it is the same length. This is why when you sign your photos you should always sign on the right hand side as there is no risk of the signature going past the right edge of the photo , as doing this is and looks awful and unprofessional. Bente Louw Professional. How much is Chuck Close worth? But a landscape so perfectly flat, vibrant and minimal that on first glance it appearas to be abstract now holds the record for most expensive photograph.
But the late s, when Gursky shot to attention, was a time when photography was first entering gallery spaces, and photographs were taking their place alongside historic paintings.
He has famously photographed financial traders from a height, and factory workers at conveyor belts. While the artist is frank about the fact that the hyper-real effects seen in Rhine II — the silvery water, the manicured perfection of the geometric lines and color contrasts — are a result of digitized correction.
But he still uses film. He has exhibited internationally extensively. Attachment The maximum upload file size: 1 MB. You can upload: image. Drop file here. Skip to content. Please Share This Share this content Opens in a new window Opens in a new window Opens in a new window Opens in a new window Opens in a new window Opens in a new window.
Andreas Gursky exhibition While in the s, Gursky did not digitally manipulate his images. I was always an above average student with a lot of love for extracurricular activities. From the very start I was naughty and mischievous and was a regular in getting in and out of trouble.
But nowhere was it in my mind to take up studies serious. Restless from the start I wanted to travel the world. I now join the Merchant Navy at the age of seventeen ,as a deck cadet leaving college in the first year itself. I loved this new experience and was good at learning navigation. Very soon I was promoted to become the navigating officer.
For the first year I never came back home at all. I was fulfilling my desire to see the world thoroughly meeting different types of people and experiencing different kinds of cultures. Once while travelling in the city of Jeddah near Mecca during Ramadan I was amazed to see gold slabs and coins being sold on the pavements of the city.
On the loudspeaker I then heard the azaan prayer call and to my utter astonishment I saw people leave all this gold unattended and enter the nearby mazjid for prayer. Such was the strictness of the prevailing law of the land that anybody caught stealing would have his hand chopped off.
Nobody dared to steal. Now quite a different experience was when my ship first entered Thailand. To my utter surprise I saw hoards of women entering my ship.
Their numbers must have been no less than a hundred odd. I was on duty and I objected to their entry and was immediately informed by my senior officer to back off as they were entering with the permission of the captain. These were prostitutes who stayed on my ship till the time it stayed there. Nobody was questioning the morality or the ethics. It was gala time for all officers, crew, and the Captain.
This was the way of life for most sailors. One horrific incident I remember was when our Burmese radio officer died on the ship due to a liver problem. As we were still some days away from the next port,his body was put in the deep freezer of the ship, the same place where all vegetables and other eatables were stored. Life was going on as if nothing had happened and everybody was eating and drinking as any other day. In a ship life all relationships and friendships are very temporary and the moment a person gets off the ship all these are left behind and forgotten.
My bag of experiences was filling up fast. The restlessness and void was again setting in fast. I was getting bored again after about five years of sailing. The novelty had worn off and my inherent nature and upbringing was not that of a sailor in any way. I finally decided to say quits and joined the family business which was waiting for me to return. My dad was overjoyed at this decision of mine. I had no problem settling into this environment as it just happened to be in my blood.
I now decide to get married too. I get married and soon after become a father of two adorable children. My age at that period would have been early twenty or so. Time flew by fast earning bread and butter for my family. Nothing was more important than bringing up the kids properly and with a lot of love, something which I was deprived of badly during my childhood days.
But now again the same restlessness and void was setting in. I was in a dilemma, now trying out new ways to end this emptiness. I initially tried my hands at learning sculpture at Triveni Kala Sangam Mandi House, but I soon realized that medium was not meant for me. Destiny seemed to have other plans for me and it was during this period that I was gifted a SLR by someone, a Ricoh as I now try to remember.
The camera body had a dial with some numbers and also some numbers on the lens of which I had no clue. There were photography classes also being held in Triveni Kala Sangam and I joined these classes with sculpture classes I was already doing.
It was here I met my photography teacher and now a lifelong friend Satyasri Ukil for the first time. His likes and dislikes purely dealt with the merits of the image and not with the person who had shot the image.
I was learning fast with my association with Satyasri at Triveni where he was teaching then. A few of us guys now renowned photographers , formed a sort of a team under the guidance of Ukil as we address Satyasri,till date. We were shooting developing and printing the whole day long. Photography was now no longer a hobby but a frenzy. I soon set up my own darkroom in my house and would develop and print negatives all night long.
I now start trekking again now with a new SLR in hand going to high altitudes and to very difficult locales. I remember showing my first serious work to Ukil and found him overjoyed. Soon my ambitions grew and I start shooting product for the advertising agencies.
He saw my work and quietly handed over his card asking me to see him in the agency. I was overjoyed. This was breakthrough I needed desperately. I soon started getting assignments from most major agencies. But now I started getting bored again shooting mountains product and off and on some fashion.
I still needed to express myself in a different way. After seeing my work they agree to sponsor my show fixing the date to 28th November It is pertinent to mention here that I had then "only" shown them my beautiful landscapes and mountain TP's as I had nothing more at that time in my kitty.
I started a new journey, first shooting Ladakh. I found immense peace and tranquility acting as a balm for my troubled mind in the monasteries I visited. The filtrations of light from the windows and doors into the dark interiors of the monasteries were indeed very beautiful, tranquil and peaceful.
I would sit inside these monasteries for hours at a stretch calming my taut nerves. The prayer gong would echo inside the main hall and seep deep inside my soul. I have always equated light with God and have believed that the darkness of the human soul will ultimately come alive with the play of Light God on it.
My next visit was to Banaras. Here I found people visiting the Ghats in very colorful attires. A activity on these ancient Ghats like the Dashashwamedh Ghat would start very early in the morning. People from all over India visit Banaras to perform various religious rituals, right from the birth of a child to the cremation of the dead and also later to perform rites for their safe and comfortable passage after death.
Now a special reference to the Manikarnika Ghat " the ghat of the dead" is needed. People from all over India come to Kashi ancient name of Banaras to cremate their dead at Manikarnika. It is believed by Hindus that a cremation at Manikarnika Ghat gives the human soul an unhindered passage to heaven. Pyres are being lit here continuously without getting extinguished for the last years. I would visit this ghat daily looking at the activities.
It was not very long before I realised that whenever a body of a poor person would come in, it would be cremated in a bizarre manner.
It required two mun wood at the least mun is an Indian measure of weight equivalent to 20 kgs to cover a human body completely for cremation. But the person accompanying the dead body did not have that much money in his pocket. So only that much wood was purchased in which only the torso could be covered by wood. The legs and head were left hanging out and the pyre lit. The head would get burnt in a horrific manner with the head and feet falling away from the torso partially burnt.
Then these torn away parts were picked up and put into the pyre or thrown into the Ganges. This whole sequence was so bizarre that I decided to get it on film and show it to the world. This I did manage to photograph secretly even after a lot of objections and hindrances from the people in charge at Manikarnika. Man really "was" meeting his God in Kashi, though in a very bizarre manner. I have posted only a few of those pictures on this website just to avoid unnecessary disturbance to people's minds.
In the meantime the Purn Kumbh was being held at Hardwar. This again has become a very interesting event to relate. I was aghast to see completely naked so called Naga "sadhus" storming the streets of Hardwar.
It was here I came to understand from the local inhabitants of Hardwar that this whole show was a complete farce. These so called ascetics only stormed the streets during the Khumb. Neither do they live in the remoteness of the Himalayas leading a renounced life, but on the contrary live in air conditioned lavishly furnished akharas in Hardwar itself. They were a weird sight. Here I saw them fight pitched battles with the police before the procession. On the day of the procession I got up early in the morning and positioned myself on roof top of a house near the Niranjani Akhara.
This was very early in the morning and I was testing the auto focusing of my telephoto mm Canon lens when I saw a group of nagas in the akhara compound. There were hutments built for sadhus by the kumbh authorities across the river bed. I would visit those and sit with some real sanyasis and listen to their discourses and hear them sing bhajans.
This was a very nice and peaceful experience. The Kumbh ended and my exhibition date also was drawing near. Nowhere in my final selection were those beautiful landscapes to be seen. The Gallery management told me in no uncertain terms that they will not allow the show to go on unless these pictures were withdrawn.
My dilemma was that my photo essay "Where Man Meets God'" was a story of a man's passage of life, his wanderings, his search for God. This essay was incomplete without these pictures. I told the management that I will show my work as it is and will not remove any picture from the list.
IIC Management banned my exhibition. Siddharth Tagore offered to hold my preview party at his gallery inviting respected artists like B. Sanyal, Jatin Das and many other artists of repute. The preview was a major success with all these stalwarts in their respective art fields giving their nod to my exhibition.
Khushwant Singh the famous and a very respected writer too came up with an article on me in his column "Malice Towards One And All. Now IIC started shifting its stance and a compromise was reached.
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