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Like hardly anyone else Ballhause has a sense of proletarian life as not only a deformed, negative one, but in the poverty and uniformity of the environment he tracks down forces and hidden reserves. [...] So he lets his gaze rest on a line of row houses or he takes in streets in symmetrical axes, which despite the smallness of the buildings have a peculiar charisma.

(Beicken, Peter, in: Solidarisches Sehen oder Weimars Ende in Hannover. Der Arbeiterfotograf Walter Ballhause, in: Die Horen, 27th year, vol. 2 (1982), issue 126, p. 63–70)

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