However, technology only allowed him to make archival pigment prints that match the color and intensity of the Kodachrome slide in the past decade.

In this respect, his photographs can be seen as an early indication of the "New Color" photographers of the seventies. That which we find, the work and the use of the people out there, it’s natural, that’s what ordinary people do, that interests me. Those images, taken through a camera that possessed only a primitive peephole viewfinder, were lost some years later as Herzog travelled to Canada on a rust-bucket ship that apparently nearly sank.

There’s defiance in the work of Herzog, whose images focused largely on the working class of Vancouver, Canada. This monograph brings together more than 230 recordings, many of which have never been reproduced before, and also includes contributions from celebrated authors such as David Campany and Hans-Michael Koetzle.

For more than 50 years, the Canadian photographer worked almost exclusively with Kodachrome slide film, and it is only in the past decade that technological advances have enabled him to produce archival pigment prints that match the extraordinary color and intensity of Kodachrome slides. In the 1950s and 1960s, many in the art world didn’t take color photography seriously, considering it amateurish and garish. They come from that process of walking and that intuitive, deductive reasoning of where to be and how to take a picture when you’re there,” said Andy Sylvester, owner of the Equinox Gallery in Vancouver. Herzog also had the vision, and courage, to shoot in color when virtually all serious art photography was in black and white.

What was striking to Herzog at this time was that he was beginning to identify a genre that had perhaps not yet found its definition: street photography. In his spare time, he walked the streets of Vancouver with his camera taking photographs of people, buildings and whatever scenes caught his eye. In this regard, his photography can be seen as a precursor to the New Color photographers of the 1970s. S., and Robert Frank, whose photographs were published in the influential book The Americans and who also died Monday.

Fred Herzog might not be a household name in the photography world, but his work holds its own against the likes of Walker Evans and William Eggleston, two photographers with whom Herzog shares an aesthetic. For over fifty years, the Canadian photographer exclusively used Kodachrome slide film, and only in the last decade have advances in technology enabled the production of archival pigment prints that faithfully match the remarkable color and vibrancy of the Kodachrome slides. Despite slight shifts in social, cultural and technological parameters, the world now looks much the same as it did in the ’60s and ’70s. Two of Herzog’s big influences were Walker Evans, who documented the effects of the Great Depression in the U.

It was the best film and most reliable development, although he had to wait an age for the results as he sent them to Palo Alto, California, or Rochester, New York. Digital inkjet printing has enabled Herzog to finally satisfactorily make prints from his slides and exhibit his important early color street photography.