'Hufelandstrasse, 1055 Berlin' is Harf Zimmermann’s 1986–87 series of portraits of the people and places of Hufelandstrasse, a bustling neighborhood street in the heart of Berlin.
For over a year, Zimmermann photographed almost daily on the street with his large-format camera, asking shop-owners and residents if he could take their picture. Hufelandstrasse was then home to a varied cross-section of citizens of the German Democratic Republic
Everyone seemed to feel connected to the place and responsible for it, to be acting in tacit consensus and always working to save the diversity of their island from the sea of gray for as long as possible - Harf Zimmermann
Inspired by Bruce Davidson’s East 100th Street, his radical depiction of life on a block in East Harlem, Zimmermann set about documenting Hufelandstrasse where he also lived at the time.
As well as families, he concentrated on stores and workshops―from bakeries and cobblers, to a pet shop and even an atelier for repairing women’s stockings ― an uncanny concentration of private business which had otherwise been fazed out by the communist state.
"During the decline of the German Democratic Republic I felt like a final witness who was able to capture everything for the last time, before it would disappear forever. I spent the days on the street with my plate camera, and nights in my kitchen darkroom" - Harf Zimmermann
All images from the book 'Hufelandstrasse, 1055 Berlin' by Harf Zimmermann
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No need to rush online as it's now out of print, well, unless you've got a spare £320
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The Art of Album Covers
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Outtakes from the Pixies 'Monkey Gone to Heaven' cover shoot.
Photos Simon Larbalestier.
Released 1989
The Art of Album Covers
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The Stryga, arguably Notre Dame's most famous chimera.
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Used by @remhq on Chronic Town, released on this day in 1982.
Happy 40th birthday
The Art of Album Covers
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Red Square Girls, 1981.
"This was a tourist group from the provinces. I followed them for a while and caught this moment just before they visited the Lenin museum - Photo: Boris Savelev
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Used by Inspiral Carpets on How It Should Be, released 1993
Kate Simon was born in New York in 1953. She developed an interest in photography at an early age after her father gave her a Polaroid camera. In 1972, Kate moved to London and started work for various magazines and as a tour photographer.
Here are some of those images
The Clash, London, 1976
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“Bernie Rhodes asked me to take some photographs of these good friends who were The Clash. I went over to where they were rehearsing, and I'd no idea it was for the cover. They were natural subjects, so I really couldn’t miss.”
Debbie Harry on the roof of W 58th St, New York, 1977
Some of my photos from various indy get togethers have been used by @AUOBALBA in a 15 month calendar. If interested it can be bought via the link below.
📸🏴❤ auob.org/shop/calendar-…
I've had a few folks ask how this is gonna work, hope this clears it up.
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The archive I'm building is not a project for sharing on social media, i will post a few of the portraits on here to maintain visibility but only with agreement of those in the photograph.
In 1981, aged 25, Paul Graham started his first serious project. The concept was to travel up and down the A1, the 410-mile road that stretches the length of the UK from London to Edinburgh, and capture the people and places he came across.
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Here's some of those images
Cafe Assistants, Compass Cafe Colsterworth, Lincolnshire, November 1982.
Photo Paul Graham
Little Chef, St. Neots,
Cambridgeshire, May 1982.
Photo Paul Graham
Here's a few of Margaret Fay Shaw images of a traditional Hebridean Halloween, South Uist, Scotland in 1932.
Margaret was fascinated with local folklore customs and in 1932 she decided to take images, still and film, of the local children as they dressed up to celebrate Halloween or Oidhche nan Cleas (‘Night of Tricks’).
Sheepskins – including the scraped-out skull and ears – were commonly used to hide the identity of a guiser. The gìsears would carry lit peats to guide them from house to house, where they gave a song or told a fealla-dha (joke) in return for a treat, usually a scone or a bannock