| | | |  | | | Harold Edgerton
Milk Drop Coronet, 1957
Dye transfer print, printed later
46.5 x 33.8 cm (50.5 x 40.3 cm) | | | | | | Photographs from the Gerd Sander Collection | | | | 17 May – 26 July, 2025 | | | Opening: Saturday, 17 May, 11 a.m.
Internationale Photoszene Köln 2025 | | |  | | | | | | | | | |  | | | Harold Edgerton
Wes Fesler kicking a Football, 1934
Gelatin silver print, printed later
45 x 35.9 cm (50.3 x 40.7 cm) | | | | | | | "I'm an electrical engineer and I work with strobe lights and circuits and make useful things.” Harold Eugene Edgerton (1903 - 1990) once responded to the question of how he defined his work with this understatement, which was as tangible as it was modest. During his work at the Massachusetts Institute of Technology (MIT), which spanned more than six decades, he worked as an engineer, educator, researcher, entrepreneur - and as an extremely innovative photographer. Not only did he revolutionize his medium with the development of the modern electron flash. With his sensational high-speed photographs, he created some of the most famous photographic images of the 20th century. The delicate crown created by a drop falling into milk (Coronet, 1936 and Milk Drop Coronet, 1957), the projectile that smashes through an apple (Shooting the Apple, 1964), the tennis player whose motion sequence during the serve becomes visible in numerous individual moments (Gussie Moran, 1949) - they are all now firmly part of the canon of photographic history. | | | | | |  | | | Harold Edgerton
Shooting the Apple, 1964
Dye transfer print, printed later
35.8 x 45.9 cm (40.7 x 50.8 cm) | | | | | | | The photographer Edgerton - or "Papa Flash", as his long-time collaborator, the deep-sea explorer Jacques-Yves Cousteau, called him - aimed to make visible phenomena that would otherwise remain hidden to the human eye due to their high speed. While Edgerton's photographs reflect both his scientific spirit of discovery and his unerring sense of visual aesthetics, they were published early on not only in a scientific context, but also in popular magazines such as LIFE magazine. In addition, they quickly found their way into museum exhibitions and collections due to their visual expressiveness. As early as 1937, Beaumont Newhall presented six of his works in New York's Museum of Modern Art - a presentation that was to be followed by many more in this and other museums and galleries worldwide. | | | | | |  | | | Harold Edgerton
Atomic Bomb Explosion, late 1940s
Gelatin silver print, printed later
46 x 36.3 cm (50.8 x 40.7 cm) | | | | | | The photographs now on display at the Julian Sander Gallery, which include small-format vintage prints of lesser-known motifs in black and white as well as later, color-intensive dye transfer prints of his best-known images, are largely from the estate of Gerd Sander. Since the late 1970s, his gallery has worked closely with the photographer and with Gus Kayafas, a friend and former student of the "Doc", who was not only responsible for producing the prints, but was also entrusted with publishing the portfolios and organizing the exhibitions, thus making a significant contribution to establishing Edgerton in the art world.
A catalog will be published to accompany the exhibition. | | | | | |  | | | Harold Edgerton
Bullet through Rubber, c. 1971
Vintage ferrotyped gelatin silver print
24.7 x 20 cm (25.4 x 20.7 cm) | | | | | | unsubscribe here
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