Thinking Pictures by Dominic Elchler
… “focusing instead on the guiding of light onto photosensitive surface. When Tillmans’s abstract pictures depict something via traditional photographic means (whether analogue or digital) the artist then subjects them to various kinds of manipulation or image interruptions”…
Laszlo Moholy-Nagy proposed the idea of a photography free of the camera and negative.
Photography has never been the mirror of reality .
Nor ever will be .
Rather, it is an effective and immediate means of expression, both universal and personal, never objective, but always tied to a particular point of view.
What we see in a photograph is what the photographer wanted and knew how to show us; perhaps taking a cue from the objective reality, but always filtered and reflected in such a wayas not to be more “reality”.
Retrieved from http://www.millenuvole.org/Fotografia/Fotografi-ungheresi
The Mystic Mundane
In addition to chiaroscuro, László Moholy-Nagy also identified several other unique abstract qualities he believed were inherent to photography, all of which he sought to express in his work. One is the ability to transform something mundane into something magical through the manipulation of formal elements like exposure and composition. All around us, imagery exists that, if we were able to see it from a certain perspective we would appreciate its surreal, dreamlike, or even mystical aesthetic properties. But our true experience of the world limits our perspective and inhibits us from selecting what we see and how we see it.
A camera inherently sees reality from an edited point of view. It can freeze a moment and extend it forever in time. Photography also exploits the fact that the human mind instinctively perceives anything the eye sees in a photograph as reality. Even though a photograph shows us only a partial view of the world, one that has been manipulated by the artist, our mind still interprets it as true. This can cause something familiar to seem unfamiliar, or vice versa, and that uncanny experience can create a sense that what we are seeing somehow transcends the natural.
because we acknowledge that the object being photographed is not the subject, but that the subject is an idea, in this case the idea of lightness and darkness.
“An invitation to re-evaluate our way of seeing.” http://www.ideelart.com/module/csblog/post/293-1-laszlo-moholy-nagy.html
THE MIRACLE OF ANALOGY, OR THE HISTORY OF PHOTOGRAPHY, PART I
Stanford University Press, 2015
“The Miracle of Analogy is the first volume in a three-volume reconceptualization of photography. It argues that photography originates in what is seen, rather than in the human eye or the camera lens, and that it is the world’s primary way of revealing itself to us. The photographic image is able to perform this function because it is an analogy, rather than an index, a representation or a copy, and because this analogy is an ontological extension of its so-called “referent.” Analogy governs every other aspect of photography, as well; a positive print analogizes the negative from which it is generated, every other print that is struck from that negative, and all of its digital “offspring.” Photography is also unstoppably developmental. It began with the pinhole camera, which was more found than invented, morphed into the optical camera obscura, was reborn as chemical photography, and lives on in a digital form. It moves through time, in search of other “kin,” some of which are visual, but others of which may be architectural, philosophical or literary. Finally, photography develops with us and in response to us; it assumes historically-legible forms, and when we divest them of their saving power, as we always seem to do, it goes elsewhere. The Miracle of Analogy starts with the camera obscura, and ends with Walter Benjamin’s “Little History of Photography,” but it is primarily focused on the nineteenth century and a few of its contemporary progeny.”
Retrieved From http://www.kajasilverman.com/publications-archive/
Vera Lutter “One Day brings that sort of trouble-free, contemplative activity to mind. In it, time drifts by; the image doesn’t change, except as a function of light”
Tillman- Tillman works was in his Abstract Pictures, the images that contain no human. In these works Tillman “uses the viewers insistence that it must be something” and because of peoples desires the works that do not have figurative image’s then become figurative.