Tags, printing
09.01.–05.03.2017
1. Image + After I: Photography as Print and as Scientific Instrument

There is a well-known theory on the left concerning British history known as the Nairn-Anderson thesis named after two of its protagonists. Tom Nairn and Perry Anderson traced the peculiarities of the British state to the failure of the country to complete its revolution. Perhaps something similar has to be said about photography. At many points in its history, photography has been on the brink of revolutionising the very concept of the image; and yet the old still maintains its place – like the British monarchy. mehr

Veröffentlicht: 09.01.2017
0 Kommentare
...
6. On Digital and Analogue Books and a Possible Scenario for the Future

(I will take the liberty here to describe my wildest fantasies).

Lorenzo Rocha and Andreas Langen in their discussion on September 24 and 25 raised an interesting point that I want to reflect on.

What could be the new medium for digital images? Do digital images need analogue manufactured books as a presentation medium, or something different or new? mehr

Veröffentlicht: 28.10.2014
0 Kommentare
2. What Works in the Photo Book World Today and What no Longer Works?

The photo book market faces the same challenges that most markets are facing these days. This includes overproduction (or "overpublishing," as we call it in our world), a shrinking customer base in the main markets (Europe, USA), changing distribution channels, discount wars, and competition from other media (e-books, online information, print on demand), to name just a few. The competition of the Rencontres d'Arles festival can serve as an example for the current overflow:

All the photo books that were submitted to the book award competition at Rencontres d'Arles, 2014. Only two of them will win awards.

mehr

Veröffentlicht: 23.09.2014
0 Kommentare
...
15.09.–31.10.2012
3. Still Searching: “the dark, repressed side”

My previous post briefly mentioned the negative as one crucial component of the identity of many photographs. It is, nevertheless, an aspect of that identity often ignored by histories of photography, where negatives are rarely reproduced or discussed at any length. Negatives, it seems, are truly the repressed, dark side of photography’s history. True, there is a conference (could it be the first?) on the negative being planned for Munich in February. But my interest is not in reviving the study of the negative as an object unto itself (although photographers in the nineteenth century did often exhibit their negatives, to display their technical prowess) but in pursuing the consequences of the reproductive economy that photographic negatives represent. mehr

Veröffentlicht: 01.10.2012
0 Kommentare