Bernd and Hilla Becher : Artist Profile

Bernd and Hilla Becher, a collaborative force in the world of photography, embarked on a project that redefined the very notion of photographic representation. Their work, a meticulous and dispassionate cataloguing of industrial structures, transformed the way we perceive both the landscape and the camera's capacity to document it. They were not, perhaps, artists in the conventional sense, but rather chroniclers, driven by an almost scientific impulse to classify and preserve a disappearing world. Their black and white images, devoid of dramatic lighting or sentimental framing, presented blast furnaces, water towers, grain elevators, and other functional structures with an austere beauty that resonated far beyond the realms of documentary photography.  


The Bechers' project began in the late 1950s, a time when photography was moving beyond the pictorialism that had dominated its early years. They were influenced, perhaps, by the New Objectivity movement in German art of the 1920s, which championed a realistic and unidealised representation of the world. One might also detect echoes of August Sander's ambitious project to document the German people through portraiture, though the Bechers' focus was on the industrial landscape rather than the human face. They sought, as they often stated, to create an objective record, a typology of industrial forms. “We don’t have any message,” Bernd Becher once said. “We are only interested in the object.” This seemingly simple statement belies the profound impact of their work.  


What is important about the Bechers' work lies precisely in this self-imposed limitation. By stripping away subjective interpretation and focusing on the pure form of their subjects, they revealed the inherent beauty and complexity of these often-overlooked structures. They presented these industrial behemoths not as symbols of progress or pollution, but as objects worthy of attention in their own right. Their photographs, often presented in grids of similar structures, emphasised the variations within a type, revealing the subtle design choices and functional adaptations that shaped each individual building. This typological approach, reminiscent of scientific classification, allowed viewers to see the underlying logic and evolution of industrial architecture. “We wanted to make the object speak,” Hilla Becher explained. “We didn’t want to add anything.”  


The Bechers' work evolved over the course of their career, though their fundamental approach remained consistent. They refined their technique, achieving a remarkable clarity and depth of field in their images. They also expanded their geographical scope, documenting industrial structures not just in Germany, but also in other parts of Europe and North America. Their early work focused primarily on the heavy industry of the Ruhr Valley, the heartland of German industrial production. Later, they turned their attention to other types of structures, such as water towers and grain elevators, broadening their survey of the industrial landscape. While their subject matter expanded, their photographic style remained remarkably consistent, a testament to their unwavering commitment to their chosen method.  


The Bechers published a number of influential books throughout their career, each one a meticulously crafted collection of their photographs. Anonymous Sculpture (1970) was an early and important work, showcasing their typological approach to industrial structures. Other significant publications include Blast Furnaces (1971), Water Towers (1988), and Grain Elevators (1997). These books, with their stark black and white images and minimal text, became essential references for architects, artists, and anyone interested in the built environment. Their exhibitions, too, were significant events, often featuring large grids of photographs that transformed the gallery space into a kind of industrial museum. One recalls the austere beauty of their installations, the sheer number of images creating a powerful cumulative effect.  


The Bechers' work occupies a unique place in the history of photography and art. It challenged the traditional notions of artistic expression, blurring the lines between documentary photography and fine art. Their influence can be seen in the work of many contemporary photographers, particularly those who explore the relationship between landscape, architecture, and industrialisation. Their work also resonated with artists working in other media, influencing conceptual art and minimalism. One might argue that their detached, objective approach paved the way for a new kind of photographic practice, one that prioritised concept and documentation over subjective expression. As the art critic and curator Douglas Fogle noted, "The Bechers’ photographs are not simply documents of industrial structures; they are also meditations on the nature of representation itself."  

The Bechers' influence is vast and continues to grow. They have inspired generations of photographers to look at the world with fresh eyes, to see the beauty in the mundane and the significance in the seemingly insignificant. Their students at the Düsseldorf Art Academy, including photographers such as Andreas Gursky, Thomas Struth, and Candida Höfer, have gone on to become major figures in contemporary photography, each developing their own distinct style while sharing a common interest in the objective representation of the world. While not explicitly acknowledging the Bechers as an influence, one can see a certain kinship in the work of these artists, a shared commitment to clarity, precision, and the exploration of the contemporary landscape.  


The Bechers' legacy lies in their profound impact on the way we perceive the world around us. They taught us to see the beauty and complexity in the industrial landscape, to appreciate the ingenuity and functionality of the structures that shape our lives. Their work is a testament to the power of photography to document, to classify, and to reveal the hidden order of things. They transformed the way we think about photography, moving it beyond the realm of personal expression and into the realm of objective observation. "They are not artists in the traditional sense," wrote the critic and curator Jeff Wall, "but their work is art, of a very high order." This assessment captures the essence of the Bechers' contribution, their ability to transcend the conventional categories of art and photography and create a body of work that is both aesthetically compelling and historically significant. Their photographs, with their stark beauty and unwavering focus, stand as a powerful reminder of the industrial age and its enduring impact on the world we inhabit.

The Evolution of Photographic Lighting Techniques: Past, Present, and Future

Photography is an art that has been shaped by light since its inception. From the earliest days of the camera obscura to the modern era of high-speed LED lighting, the techniques used to illuminate subjects have evolved significantly. The history of photographic lighting is a testament to human ingenuity, scientific progress, and the ever-growing desire to capture the world in its best light. This essay explores the journey of photographic lighting, from its humble beginnings to the innovations of today and the exciting possibilities of tomorrow.

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Early Lighting Techniques: Natural Light and Simple Enhancements

In the early 19th century, when photography was in its infancy, natural light was the primary source of illumination. Photographers relied on sunlight streaming through windows or outdoor settings to capture their subjects. The first photographic processes, such as the daguerreotype, required long exposure times, sometimes lasting several minutes. This meant that early photographers had to carefully position their subjects in well-lit areas and use reflective surfaces, such as mirrors or white walls, to bounce light onto the subject.

As the demand for portrait photography grew, studios were designed with large north-facing windows to provide soft, even light. The use of diffusers, such as sheer curtains, helped control the intensity of sunlight and reduce harsh shadows. However, this dependence on natural light limited the flexibility of photographers, especially in poor weather or at night.

The Advent of Artificial Lighting: Oil Lamps and Gas Lights

In the mid-19th century, photographers began experimenting with artificial lighting. One of the earliest forms of artificial illumination was the use of oil lamps and gas lamps. These provided a consistent light source, though they were dim compared to sunlight and required long exposure times. The quality of light was warm and flickering, often producing an uneven illumination that photographers struggled to control.

The introduction of magnesium flash powder in the 1860s revolutionized artificial lighting. This highly combustible mixture produced an intense burst of light when ignited, allowing photographers to capture images in much shorter exposure times. While effective, flash powder was hazardous, producing smoke and posing a fire risk. Despite these dangers, it remained a popular lighting solution until safer alternatives were developed.

Electric Light and the Rise of Studio Photography

The late 19th and early 20th centuries saw the advent of electric lighting in photography. The invention of the incandescent light bulb by Thomas Edison in 1879 provided photographers with a more stable and controllable light source. Studios began incorporating tungsten lamps, which emitted a continuous warm light that could be adjusted in intensity.

The 1920s and 1930s marked the golden age of studio photography, with Hollywood and fashion photography leading the way in lighting innovation. Large, powerful arc lamps and tungsten floodlights allowed photographers to achieve dramatic, high-contrast images. Three-point lighting—comprising a key light, fill light, and backlight—became a standard technique to sculpt and define subjects.

Chiaroscuro Lighting and its Influence on Hollywood Portraiture

Chiaroscuro lighting, a technique originating from the Renaissance era and famously used by painters like Caravaggio and Rembrandt, found a significant place in photographic portraiture. The method, which emphasizes strong contrasts between light and dark, creates a dramatic effect that enhances depth and emotion in an image.

In Hollywood's Golden Age, chiaroscuro lighting was extensively used by portrait photographers such as George Hurrell and Clarence Sinclair Bull, who crafted iconic images of silver-screen legends like Marlene Dietrich and Humphrey Bogart. The interplay of highlights and shadows in their portraits gave the subjects a mysterious and glamorous appeal that became synonymous with classic Hollywood photography.

Today, many contemporary photographers continue to employ chiaroscuro techniques in innovative ways. Photographers like Dan Winters, known for his moody and cinematic portraits, and Gregory Crewdson, whose meticulously lit scenes resemble stills from film noir, use dramatic lighting to create depth and emotion. Their work demonstrates the enduring power of chiaroscuro lighting in modern photography.

The Evolution of Flash Photography

Flash technology continued to evolve, with the introduction of the flashbulb in the 1930s. Flashbulbs contained magnesium or aluminium filaments that burned in an oxygen-filled glass bulb, producing a brief but intense burst of light. This innovation eliminated the dangers of flash powder while offering more predictable results.

By the 1950s, electronic flash units became widely available. These strobes, powered by capacitors, could be triggered instantaneously, making them ideal for freezing motion and capturing sharp details. The development of portable flash units enabled photographers to work outside of studios and document fast-paced events such as sports, journalism, and street photography.

The Rise of Ring Flash Photography

The ring flash was developed in the 1950s by Lester A. Dine for use in dental photography, providing even, shadow-free illumination for clinical images. However, its unique aesthetic—a striking, shadowless look with a halo-like catchlight in the eyes—soon caught the attention of fashion and portrait photographers.

By the 1970s and 1980s, the ring flash had become a popular tool in high-fashion photography. It was championed by photographers such as Helmut Newton and Richard Avedon, who used it to achieve a crisp, high-contrast look that emphasized facial features and skin texture. The technique became synonymous with edgy, hyperreal portraiture and has remained a staple in fashion and beauty photography.

Contemporary photographers such as Rankin and Juergen Teller continue to use ring flash to create bold, direct, and sometimes surreal images. Its signature aesthetic—flattening the subject while producing a bright, stark quality—makes it a favourite for editorial and commercial work.

The Influence of Disposable Cameras and Snapshot Aesthetics

The rise of cheap disposable cameras in the late 20th century led to a raw, spontaneous style of photography that emphasized imperfection, overexposure, and high contrast. This unpolished aesthetic, once considered amateurish, became a deliberate choice in fashion photography, where it was used to capture candid, intimate moments that felt authentic and unfiltered.

In the 1990s and 2000s, photographers such as Terry Richardson and Corinne Day popularized the snapshot aesthetic in high fashion. Richardson’s direct-flash style, often shot with compact point-and-shoot cameras, became a defining look for campaigns by Gucci and Supreme. Meanwhile, Corinne Day’s documentary-style images of Kate Moss in the early ’90s helped redefine beauty standards in fashion, favouring naturalism over polished perfection.

Today, this aesthetic continues to be influential, with photographers like Juergen Teller and Petra Collins incorporating elements of the snapshot style into editorial and advertising work. The accessibility of smartphone cameras and social media has further cemented the appeal of this raw, unfiltered look in contemporary visual culture.

The Return to Naturalism: The Dusseldorf School

The late 20th and early 21st centuries witnessed a resurgence of interest in natural light and a more straightforward approach to photography.

1 This shift was significantly influenced by the Dusseldorf School, a group of photographers who emerged from the Kunstakademie Düsseldorf in the 1970s and 1980s.

Figures like Andreas Gursky, Thomas Ruff, and Thomas Struth, among others, championed a style characterized by a cool, almost clinical aesthetic. They often employed available light, eschewing dramatic studio setups and artificial illumination. Gursky, for example, captured vast landscapes and architectural structures with a stark, almost documentary-like approach, emphasizing the inherent beauty of the subject matter rather than manipulating it with elaborate lighting. Ruff's portraits, meticulously composed and often shot in daylight, sought to strip away artifice and reveal the underlying essence of his subjects, whether they were self-portraits or portraits of strangers.

This return to naturalism reflected a desire to move away from the artifice and manipulation often associated with commercial and fashion photography. The Dusseldorf School sought to establish photography as a more objective and documentary form of art, emphasizing the inherent truthfulness of the image. Their work challenged the prevailing trends of the time, which often involved elaborate staging, heavy retouching, and the use of artificial lighting to create idealized and often unrealistic representations of reality.

The influence of the Dusseldorf School can be seen in the work of countless contemporary photographers. Their emphasis on natural light, careful composition, and a focus on the inherent beauty of the subject matter has become a significant force in contemporary photography, inspiring a new generation of artists to explore more authentic and less manipulated approaches to image-making.

Future Innovations in Photographic Lighting

As technology continues to progress, the field of photographic lighting is undergoing exciting transformations. LED lighting has become increasingly popular due to its energy efficiency, adjustable colour temperatures, and portability. Photographers like Lindsay Adler and Jake Hicks are known for their creative use of coloured LED lights, producing bold and dramatic imagery that pushes the boundaries of traditional lighting techniques.

Other innovations include the use of programmable lighting setups, such as DMX-controlled LED panels, which allow for dynamic, cinematic effects that were once only possible in high-end film production. Additionally, photographers like Erik Almas and Benjamin Von Wong are experimenting with unconventional light sources, including neon lights and fibre optics, to create unique visual aesthetics.

Looking ahead, advancements in AI-driven lighting, holographic projection, and even bioluminescent sources could revolutionize the way photographers shape and manipulate light. As technology continues to evolve, the future of photographic lighting will be defined by an ever-expanding palette of creative possibilities, allowing photographers to craft images that are more immersive and visually striking than ever before.