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Between 2003 and 2006, Olaf Otto Becker photographed the coastline of Greenland from a boat, covering thousands of miles over nearly four years. *Broken Line* gathers the results of this sustained encounter with an Arctic shore: a body of landscape photographs shaped as much by duration, access, and changing conditions as by geography itself. Published by Hatje Cantz in 2007, the book presents Greenland not as a catalogue of landmarks but as a terrain requiring patient, exacting attention.

Becker worked in the clear light of the midsummer night, often using long exposures. Shadows are reduced, distances become difficult to judge, and water, rock, and ice assume an unusually suspended presence. The photographs have been described as neo-romantic, with an affinity for the powerful landscape imagery of the nineteenth century. Yet their beauty is not simply found or reported. Trained as a painter, Becker constructs each composition deliberately, allowing observation and pictorial order to remain in productive tension.

That deliberation governed the pace of the project. Becker might wait for days until the required image or conditions appeared, producing only about twenty-five photographs in a year. The resulting pictures vary in form while retaining a consistently contemplative, melancholic register. Their significance lies partly in this refusal of scenic immediacy: the Greenland coast becomes both a specific place and a subject through which older traditions of the sublime are reconsidered by a contemporary photographic practice.

With Gerry Badger and Christoph Schaden named as contributors, *Broken Line* is also a considered publishing collaboration rather than a simple portfolio. For collectors concerned with landscape photography and the photobook as an authored form, this first-edition Hatje Cantz publication deserves attention for the coherence of its geographic project, the unusual conditions of its making, and Becker’s disciplined negotiation between documentary encounter and composed image.