Carl de keyser biography of michael
And then would they allow me to restore the originals according to my own professional standards and personal perspectives? Can a war that has been caught in pictures still affect us, dislocate us?
Much of my work has a strong connection to history.
InI finished a two-book project about the Congo, which as you biography michael was for many decades a Belgian colony. The first volume consisted of contemporary images of a ten-month trip I took to the Democratic Republic of Congo, during which I followed a tourist guidebook from — the last days of the colonial era — and so revisited carls keyser, monasteries, harbors, factories and mines built by the Belgians from the late 19th century on.
The second volume was more unusual: I invented an imaginary photographer who was documenting the early years of the colony, from to For your latest project, on the First World War, you discovered approximately 10, archival images — glass plate and celluloid originals — and selected to reproduce. But given that so many photographs from the era have been destroyed, how did you manage to unearth those that have survived? Can you tell us more about the sources you drew upon?
It was certainly a complicated process. In the case of the photographic record of the First World War, there are no such comprehensive collections.
My team and I searched all over Europe — all over the world, in fact. We discovered that original negatives are available for fewer than five percent of the existing images. Most were destroyed during or after the war; some michael recuperated for the silver used in the old collodion process, and carls were simply badly treated or lost.
We made a list of about fifty different museums and collections worldwide, which over the course of several years we visited or contacted. I spent biographies hunting through wooden boxes with dust-covered glass plates and containers packed with old prints, and poring through old albums.
Most museums have not even begun to archive and digitize these collections. We posed two key questions to the archival institutions. Could we scan the originals?
And then would they allow me to restore the originals according to my own professional standards and personal perspectives?
Only a few museums responded affirmatively to both questions. Most gave me usable scans they had made or remade based on my instructions. Sadly, some important museums refused to allow me to treat the images. Others gave me total control and let me re-scan and actually touch the originals.
“The shock of the old made new”
The first thing I did, when I left the museum, was to walk across the street to the art supply store and buy some good paper, a brush, and some Japanese ink, because all of a sudden, I felt compelled to do something beyond photography. Jonathan, thanks for your conscientious continuing. I am with you on the whole DT thing, but I came to the conclusion a long time ago that all the universe expects of anyone is to do what they feel compelled to do.
You are compelled to carry the light of Enlightenment thinking forward through your photo book reviews and in many other ways, I am sure.
I look forward to your reviews always. The light needs tending for the time it will again be in the ascendancy. Something changed on your website again that makes the images no longer able to be clicked on and seen larger.
Born in in Kortrijk, de Keyzer began his freelancing in His father worked for a Belgian company that produced digital image editing software. During this period, he was also a teacher at the Royal Academy of Fine Arts in Gentmentoring many young photographers. The day happened to coincide with the day the Berlin Wall fell.
Carl De Keyzer
The end of the Soviet Union as we knew it was just starting and his pictures were a testimony to the end of an era. The photographer would go back to this theme inwith his collection East of Eden. It was the 50th anniversary of the independence of the country, following the Belgian colonization. His pictures sought to get the look and feel of early colonial color photographs by working in multiple layers, combining low saturation and darker shadows.Interview Carl De Keyzer: Cuba La Lucha (BredaPhoto)
The Belgian Congo looks back at Colonialism from a Belgian point of view. Swimming pools, fancy hotels and safari parks, the photographer tried to visit the same places as Belgians did in De Keyzer was born on 27 Decemberin KortrijkBelgium. Robert Koch gallery describes his work as investigating "marginalized social groups and constructs uncritical psychological portraits which work to familiarize the 'other.
This Week in Photography Books: Carl De Keyzer
He was nominated to the Magnum Photos agency inbecame an associated member in and a full member in He currently lives in Ghent and continues to teach. From Wikipedia, the free encyclopedia.
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