Deeper Shades

"Deeper Shades NYC - Tokyo"by Andreas H. Bitesnich

From 21/03 > 19/05/2012


The the first volume in a series of limited edition books, in which Andreas H. Bitesnich explores urban locations.

Anyone aware of Andreas H. Bitesnich’s travel photography, in particular his stunningly beautiful INDIA book, may, on an initial viewing, be a little surprised by this first ‘Deeper Shades’ volume. Can these apparently naive images really be the work of the master of technical perfection? A closer look soon reveals that Bitesnich has achieved something extremely clever. Through the grain and blur is an underlying sophistication of both the techniques employed and the artful composition. With his perfectionist’s eye, he has simply managed to free himself from the constraints of socially accepted beauty, and discovered it in a new language among the chaos of this quintessential urban landscape. 

As with INDIA, this is not a pretty travelogue, no tourist guide to the coolest locations. Deeper Shades NEW YORK captures the mood of the city, as it is lived and felt on the street. Slightly disturbing, ironically humourous, and vastly fascinating, these images are a refreshing new homage to a much loved city.


After New York, in his continuing book series DEEPER SHADES, Andreas H. Bitesnich turns his camera on Tokyo.

“The flawless and the raw” are Andreas H. Bitesnich’s defining elements of Japanese culture, and the way it is reflected in his own work. Certainly, anyone who has followed Bitesnich’s impressive 20 year career will recognize both these elements in the nude male and female work for which he gained an international reputation. In the context of his new book ‘Deeper Shades #02 Tokyo’ these aspects take on new and surprising form. 

A master of the controlled studio composition, Bitesnich demonstrates that he is equally at home producing perfect compositions from random street situations.

The rawness of bare flesh is replaced by analogue roughness thrust over the bare bones of urban living. Images which in themselves are surprising, almost surrealistic, become even more bizarre through the book’s use of juxtaposition, lending meaning, distorting meaning, or as with most street photography, like life itself, leaving meaning entirely open to the interpretation of the individual. Is Bitesnich presenting us with an apocalyptic nightmare, or a fond and touching representation of humanity? The choice, he seems to suggest, is yours.

For Andreas H. Bitesnich Biography, click here


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