Extraordinary tonk/swiss made/

BIRDS OF PASSAGE
photographs and text by
Ingar Krauss

More than 300,000 harvest hands come to Germany every year from Eastern Europe. Their season starts with the asparagus harvest in April and ends with cabbage and grapes in autumn. It is interesting to watch the internal dynamics in this kind of migration. Typically most of the workers had come from Poland, but during the last years more and more people have come from further Eastern Europe, from the Ukraine or Romania, while a lot of Polish workers have migrated as far as Sweden and England because they get better pay there.
The seasonal workers are mostly men, young and old. They come from different social levels and backgrounds. They live for weeks and months together in temporary shacks with double-decker beds. They work seven days a week and usually have no contact with the local Germans. Most of them don’t speak one word of German. The German farmers need them urgently; the whole harvest depends on these men from abroad because there are not enough Germans who are willing to do such underpaid and hard physical work. So thousands of harvest hands come and go every year like birds of passage. GO TO WEBSITE

RECORD: 3,3 mil for 99 cents
As of February 2007, Andreas Gursky holds the record for the highest price paid for a photograph for his work 99 Cent II Diptychon which sold for GBP 1.7 million (USD 3.3 million):

strange SHOTS

dangerous IMAGES

Photojournalism @ work

Are images religious?

In The Future of the Image, Jacques Rancière develops a fascinating new concept of the image in contemporary art, showing how art and politics have always been intrinsically intertwined. Covering a range of art movements, and thinkers such as Foucault, Deleuze, Adorno, Barthes, Lyotard and Greenberg, Rancière argues that contemporary theorists of the image are suffering from religious tendencies. He suggests that there is a stark political choice in art: it can either reinforce a radical democracy, or create a new reactionary mysticism. For Rancière there is never a pure art: the aesthetic revolution will always embrace egalitarian ideals. (Verso books)

To see a world in a grain of sand and a heaven in a wild flower, hold infinity in the palm of your hand and eternity in an hour.

W. Blake “Auguries of Innocence” Alfred Stiegliz: Spiritual America

WEB: Image re - search

shown is the first image of the search

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The future of print-based media?

Even if screen-based media outperforms paper-based prints by thousands to one, that does not mean the end of the print. Why? Because in the near future we will be printing our screens.
Phillips and others have created technology that literally uses inkjet printers to print large active emissive displays. OLEDs (Organic Light Emitting Diodes) promise to make active screen-based media as cheap, flexible, and ubiquitous and as paper. The future may not be paper, but it will certainly be print.