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Open a larger version of the following image in a popup: Christopher Williams, Adapted For Use: Untitled Focal length: 210mm Aperture: f/11 Image ratio: 2.41:1 Distance lens to focal plane: 29.7cm Distance film layer to focal plane: 101cm Bellows extension: 50.6cm Depth of field: 1.289mm Studio Rhein Verlag, Düsseldorf November 20, 2016, 2019
Open a larger version of the following image in a popup: Christopher Williams, Adapted For Use: Untitled Focal length: 210mm Aperture: f/11 Image ratio: 2.41:1 Distance lens to focal plane: 29.7cm Distance film layer to focal plane: 101cm Bellows extension: 50.6cm Depth of field: 1.289mm Studio Rhein Verlag, Düsseldorf November 20, 2016, 2019
Open a larger version of the following image in a popup: Christopher Williams, Adapted For Use: Untitled Focal length: 210mm Aperture: f/11 Image ratio: 2.41:1 Distance lens to focal plane: 29.7cm Distance film layer to focal plane: 101cm Bellows extension: 50.6cm Depth of field: 1.289mm Studio Rhein Verlag, Düsseldorf November 20, 2016, 2019

Christopher Williams

Adapted For Use: Untitled Focal length: 210mm Aperture: f/11 Image ratio: 2.41:1 Distance lens to focal plane: 29.7cm Distance film layer to focal plane: 101cm Bellows extension: 50.6cm Depth of field: 1.289mm Studio Rhein Verlag, Düsseldorf November 20,, 2019
Silver Gelatine Print
74 x 72,5 cm
29.1 x 28.4 inches
Edition of 10 (#2/10)
B-CWILLIAMS-.21-0006
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“One of the most telling images in the Museum of Modern Art’s beautiful but demanding survey of the Conceptual photographer Christopher Williams represents an act of elegant iconoclasm. It lays...
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“One of the most telling images in the Museum of Modern Art’s beautiful but demanding survey of the Conceptual photographer Christopher Williams represents an act of elegant iconoclasm. It lays bare something most of us rarely see: the guts of a camera’s lens. It is an amazing sight....He is an ardently self-conscious artist who wants to let us in on his entire act. You feel his touch everywhere....There’s nothing that he hasn’t tweaked....All these details conspire to make us look harder, and the images feel a little like windows, an expansive effect.” —Roberta Smith, The New York Times
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