Hilltop Trees by Michael Kenna. If I wasn’t a photographer, I’d still be a traveler.” With access granted to only a few, Kenna scaled to the very top for “Clin d’Oeil a Brassai” (1998), named after a Brassai photograph of Notre Dame. Genuine, authentic, wonderful photography!! When I look at this photograph, or any of his, really, I see what he means when he says, “Nothing is ever the same twice because everything is always gone forever, and yet each moment has infinite photographic possibilities.” First, he’d serve as an altar boy and attend seminary school (for seven years, until age 17), with dreams of the priesthood. The story Chris Pichler of Portland, publisher of Nazraeli Press based in Tucson, Arizona, tells is one of the “ghost-like presence” that he feels in Kenna’s work, especially his industrial landscapes. “I like the confrontation between the two,” he tells me. THANK YOU for a beautiful spotlight! Having been exhibited all over the globe and having travelled to numerous countries with rich natural beauty, It is interesting to learn that Michael Kenna was initially trained as a priest before he actually took up photography once moving to london. Instead, I like giving room to imagine yourself onstage, with the landscape as the place where your own dramas can unfold.” We feel thoroughly honored and blown away by his humbleness for him to have accepted our request. What he presents in the picture is suggested. It’s always moving, transforming and uncontrollable.” “I do have strong convictions and political opinions, but I don’t think it’s necessary to imbue my photographic work with them. In his photographs of historic rural landscapes, for example, there is an air of melancholy, which accompanies memories from the past. Michael Kenna has some wonderful books to his name, which are very compelling for any art and photography enthusiast. “There’s an ominous beauty, a little bit fraught with danger.” That shows in his photographs.” Instead of the lurk of shadows and clouds fraught with foreboding, a quiet buoyancy dominates in images like “Usoriyama Lake” (2002), in Osorezan, Honshu, with its seamless, opaline water and sky, interrupted only by a line of pilings, like sumi brush strokes on rice paper. Born (in 1953) and raised in the chemical manufacturing town of Widnes, Lancashire, Kenna grew up with five siblings in a poor, working-class, Irish-Catholic family. Chasing time and unexplainable silence just to be felt amongst a land of islands, a must watch video. See more ideas about Photo, Photography, Case study houses. The photo’s crepuscular temperament lends a temporal quality that is at once eternal and evanescent, as if it emergING from a dream. It’s no surprise that as a child Michael Kenna wanted to someday be a priest. I did not mention her under influences, but she has been a very powerful one. “I gravitate towards places where humans have been and are no more, to the edge of man’s influence, where the elements are taking over or convering man’s traces.”, “I do have strong convictions and political opinions, but I don’t think it’s necessary to imbue my photographic work with them. Michael Kenna fits into this rich historical vein of celebrated landscape artists who have worked in Abruzzo. “He has a clear sense about what he wants to put in them,” the 98-year-old Bernhard tells me by phone from her home in San Francisco. “The whole object of the game was to see how long it took before I went back to find them,” he says. It’s also well paid and has enabled me to work on other projects.” Occasionally, Kenna thinks of somewhere he’d like to visit, and three weeks later he’s there, like Easter Island. Kenna's interest in fine art photography was triggered after viewing "The Land" an exhibition at the Victoria and Albert Museum in 1975, curated by Bill Brandt. A Master Landscape Photographer of our era shows us what raw passion combined with sheer brilliance can deliver. His images of ruins stir up feelings of passing time, of the constantly evolving ties between history and nature. The more you get yourself out there, whether you wake up at 5:00 a.m. to pouring rain or not, the more you’re likely to experience the wonderful happenings that are going on all around you,” he says. Kenna tried his hand at Yosemite and Yellowstone, but his photos of them “didn’t add anything. “Commercial work is very challenging. It’s about the relationship between the exterior and the interior, a potent concoction in a creative human being.” Brandt’s subject matter also resonated with Kenna who recognized in his photos the English gardens and countryside landscapes, and the northern towns in which he had supported his local rugby league team. His photos concentrate on the interaction between ephemeral atmospheric condition of the natural landscape, and human-made structures and sculptural mass. Before that, my influences were European photographers. Which I believe only a few photographers have been able to achieve out of their own originality. Kenna’s style has something different from western landscape photography. His photographs of historic rural landscapes, for example, there is an air melancholy. Their energy and memories behind monochrome, your email address will not be published are very compelling for any and! I also like night light that creates shadows which contain secrets, details down! 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