Chris Killip Pirelli Work (26 results)

Condition: New.

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Condition: As New. Unread book in perfect condition.

Condition: new.

Hardcover. Condition: New. Brand new book, sourced directly from publisher. Dispatch time is 7-8 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Condition: New.

Condition: New. Num Pages: 88 pages, 57 illustrations. BIC Classification: AJB; AJC. Category: (G) General (US: Trade). Dimension: 280 x 260. Weight in Grams: 860. . 2015. Hardcover. . . . .

Condition: New.

Condition: Brand New. New. US edition. Expediting shipping for all USA and Europe orders excluding PO Box. Excellent Customer Service.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Brand New. 01 edition. 85 pages. French language. 11.50x10.75x0.50 inches. In Stock.

Hardcover. Condition: New. Special order direct from the distributor.

Condition: New. pp. 57.

Condition: New. Num Pages: 88 pages, 57 illustrations. BIC Classification: AJB; AJC. Category: (G) General (US: Trade). Dimension: 280 x 260. Weight in Grams: 860. . 2015. Hardcover. . . . . Books ship from the US and Ireland.

Hardcover. Condition: Brand New. 01 edition. 85 pages. French language. 11.50x10.75x0.50 inches. In Stock.

Hardback. [Author], Steidl Publishers. I wanted to show the manufacturing process as clearly as I could, and to do so in this factory meant it would have to be lit. Ironically, my stubbornness in trying to avoid lighting would now have its own unexpected rewards. Because of the desperate amount of time that I had spent there, I knew in a visual way the processes of the factory; the rhythms and cycles of the machines, the movement and steps that the op - erators had to take, the movement that the processes pre - determined for them. I began again, re-photographing the factory using lights, sometimes three or four lights triggered by remote control devices. The main light, which was the one balanced to light the subject, was often held on a pole by my friend, away from the camera, mimicking the fashion tech - niques that I knew from my past. I now understood and knew what I wanted to do. The workplace had become, in a real sense for me, a theater and I embraced the look of these new photographs with their relation to fashion, film noir, and even Soviet realism. For me this "look" seemed a more telling way to record and document this enforced ritual. Chris Killip. Hardback.…

4°, gebundene Ausgabe. Second edition.. 85 Seiten; 29 cm Das Buch ist in einem sehr guten Zustand. 9783869309613 Sprache: Englisch Gewicht in Gramm: 843.

Condition: New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

Condition: New. pp. 57.

Condition: New. pp. 57.

Condition: Very Good. Dust Jacket Condition: Very Good. 4to pp. 88, "Chris Killip, born in 1946 on the Isle of Man, is one of the most influential photographers and teachers to have come out of the United Kingdom. His work in the late 1970s and 1980s defined an era; it has received numerous prizes and is included in most major museum collections. Of The. book.…

Condition: Neuf.

Condition: Neuf.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. Cloth.

Condition: Wie neu. Steidl, Göttingen, 2006. First edition, first printing. Wonderful photobook by the maker of the legendary "In Flagrante" (Martin Secker and Warburg, London, 1988; Martin Parr, The Photobook vol 2, page 299. 802 photo books from the M. + M. Auer collection, page 675). Cloth with jacket. 350 x 208 mm. 128 pages. With 50 tritone illustrations. With an essay by Clive Dilnot. Text: english. Condition: Book inside and outside new, mint, unread. Dustjacket with slightest trace of use with no tears or other defects. Overall near mint, like new condition! "I wanted to show the manufacturing process as clearly as I could and to do so in this factory meant it would have to be lit. Ironically, my stubborness in trying to avoid lighting would now have its own unexpected rewards. Because of the desperate amount of time that I had spent there, I knew in a visual way the processes of the factory; the rhythms and cycles of the machines, the movement and steps that the operators had to take, the movement that the processes predetermined for them. I began again, rephotographing the factory using lights, sometimes three or four lights triggered by remote control devices. The main light, the one balanced to light the subject, was often held on a pole by my friend, away from the camera, mimicking the fashion techniques that I knew from my past. I now understood and knew what I wanted to do. The workplace had become, in a real sense for me, a theatre and I embraced the look of these new photographs with their relation to fashion, film noir, and even Soviet realism. For me this 'look' seemed a more telling way to record and document this enforced ritual."***************Steidl, Göttingen, 2006. Erstausgabe. Originalausgabe. Wunderschönes Fotobuch vom Macher des legendären "In Flagrante" (Martin Secker and Warburg, London, 1988; Martin Parr, The Photobook vol 2, page 299. 802 photo books from the M. + M. Auer collection, page 675). Hardcover mit Schutzumschlag. 350 x 208 mm. 128 Seiten. Mit 50 Fotos in schwarz-weiss. Mit einem Essay von Clive Dilno. Text: englisch. Zustand: Buch innen wie aussen neu, ungelesen, verlagsfrisch. Schutzumschlag mit nur leichtesten Gebrauchsspuren, aber ohne Mängel wie Risse. Insgesamt sehr guter, nahezu neuwertiger Zustand! "Ich wollte den Herstellungsprozess so genau wie möglich darstellen und in einer Fabrik bedeutet das, dass diese entsprechend beleuchtet sein müsste. Meine Starrsinn, der mich immer dazu veranlasst hat, künstliche Beleuchtung zu vermeiden, zahlte sich hier, ironischerweise, endlich aus. Ich verbrachte soviel Zeit in der Fabrik, dass ich die Abläufe, zumindest visuell, verinnerlichte: Der Rhythmus der Maschinen, die genauen Schritte, die deren Betreiber einhalten muss, zu denen sie von dem Prozess gezwungen wurden. Später fotografierte ich die Fabrik erneut, diesmal unterstützt durch künstliche Lichtquellen, manchmal drei oder vier ferngesteuerte Lampen zur gleichen Zeit. Das Licht, das zur Ausleuchtung des Hauptmotivs genutzt wurde, wurde oftmals von einem Freund an einem Stab weg von der Kamera gehalten, wie in den Modefotografien, die ich früher gemacht habe. Jetzt verstand ich, was ich tat. Auf eine gewisse Art hatte sich die Werkstatt in ein Theater verwandelt und ich nahm die Bilder dementsprechend auf, in der Tradition von Mode, Film Noir oder auch sowjetischem Realismus. Für mich funktioniert dieser "Look" perfekt als Dokumentation und Zeugnis dieser erzwungenen Rituale." (Chris Killip) Sprache: Englisch Gewicht in Gramm: 1600.…

Condition: Wie neu. Steidl, Göttingen, 2006. First edition, first printing. Signed by Chris Killip! Signatures by this artist are scarce! Mint, unread, new. Originally shrink-wrapped in publisher`s plastic foil; only opened once for signature! Wonderful photobook by the maker of the legendary "In Flagrante" (Martin Secker and Warburg, London, 1988; Martin Parr, The Photobook vol 2, page 299. 802 photo books from the M. + M. Auer collection, page 675). Cloth with jacket. 350 x 208 mm. 128 pages. With 50 tritone illustrations. With an essay by Clive Dilnot. Text: english. Perfect condition! Signed by the artist! Collector`s copy! "I wanted to show the manufacturing process as clearly as I could and to do so in this factory meant it would have to be lit. Ironically, my stubborness in trying to avoid lighting would now have its own unexpected rewards. Because of the desperate amount of time that I had spent there, I knew in a visual way the processes of the factory; the rhythms and cycles of the machines, the movement and steps that the operators had to take, the movement that the processes predetermined for them. I began again, rephotographing the factory using lights, sometimes three or four lights triggered by remote control devices. The main light, the one balanced to light the subject, was often held on a pole by my friend, away from the camera, mimicking the fashion techniques that I knew from my past. I now understood and knew what I wanted to do. The workplace had become, in a real sense for me, a theatre and I embraced the look of these new photographs with their relation to fashion, film noir, and even Soviet realism. For me this 'look' seemed a more telling way to record and document this enforced ritual."***************Steidl, Göttingen, 2006. Erstausgabe. Originalausgabe. Signiert von Chris Killip! Signaturen dieses Künstlers sind sehr selten! Neu, ungelesen, verlagsfrisch. Noch original-verschweisst in der Plastikfolie des Verlages; nur einmal geöffnet für die Signatur. Wunderschönes Fotobuch vom Macher des legendären "In Flagrante" (Martin Secker and Warburg, London, 1988; Martin Parr, The Photobook vol 2, page 299. 802 photo books from the M. + M. Auer collection, page 675). Mit einem Essay von Clive Dilnot. Hardcover mit Schutzumschlag. 350 x 208 mm. 128 Seiten. Mit 50 Fotos in schwarz-weis. Text: englisch. Perfekter Zustand! Signiert vom Künstler! Sammler-Exemplar! "Ich wollte den Herstellungsprozess so genau wie möglich darstellen und in einer Fabrik bedeutet das, dass diese entsprechend beleuchtet sein müsste. Meine Starrsinn, der mich immer dazu veranlasst hat, künstliche Beleuchtung zu vermeiden, zahlte sich hier, ironischerweise, endlich aus. Ich verbrachte soviel Zeit in der Fabrik, dass ich die Abläufe, zumindest visuell, verinnerlichte: Der Rhythmus der Maschinen, die genauen Schritte, die deren Betreiber einhalten muss, zu denen sie von dem Prozess gezwungen wurden. Später fotografierte ich die Fabrik erneut, diesmal unterstützt durch künstliche Lichtquellen, manchmal drei oder vier ferngesteuerte Lampen zur gleichen Zeit. Das Licht, das zur Ausleuchtung des Hauptmotivs genutzt wurde, wurde oftmals von einem Freund an einem Stab weg von der Kamera gehalten, wie in den Modefotografien, die ich früher gemacht habe. Jetzt verstand ich, was ich tat. Auf eine gewisse Art hatte sich die Werkstatt in ein Theater verwandelt und ich nahm die Bilder dementsprechend auf, in der Tradition von Mode, Film Noir oder auch sowjetischem Realismus. Für mich funktioniert dieser "Look" perfekt als Dokumentation und Zeugnis dieser erzwungenen Rituale." (Chris Killip) Sprache: Englisch Gewicht in Gramm: 1600.…