770 Fotografie, Computerkunst
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We are not going back
(2006)
This article discusses how the formerly motionless and silent photographic image is set in motion and how this shift affects its usages. This turn is viewed under the changing conditions in production and circulation of social media platforms and the technical unity of photo and video camera. Various photographic practices and aspects will be adressed: the accelerated and ubiquitous production of images (capture and processing), which is dialectically related to the aesthetics of the images, their mode of reception (displays), their distribution and storage (platforms) and the (photographic) apparatuses, with which they are produced. The increase in photographic production is accompanied by a shift away from the decisive and composed single image. The unified apparatus of photographic and video technology is bringing both media ever closer together, which in turn supports the tendency toward the mobile and mobilized image. The article shows how communication has become immediate with digital photographs, how mobile, spatial images, people and apparatuses are related to one another as well as how they create and influence powerful realities; this has always been one of the most fundamental issues of photography.
A tendency has developed in recent times toward a close connection of the (photo) apparatus and the body. The GoPro, the “world’s most versatile camera,” as stated in the developer’s self-description, is often worn attached to the body, is held at a moderate distance from the body by means of a selfie stick, or is firmly mounted on helmets and sporting equipment. Regarding these cameras, a whole array of practices and technologies has evolved that strongly promote “self-shooting.” Thus, a new genre of the self-image has arisen: images of skaters, surfers, fliers, fallers, and the fallen, all capturing themselves in all circumstances up until death; it seems that the camera itself creates the risk to fall. This chapter focuses on the relationship of aesthetics, body, and apparatus that can be traced back to early examples of “falling photographers” and that is nowadays so impressively exemplified by the GoPro technique and its usage. Additionally, the text deals with the general leveling of the difference between the moving image (video) and the still image (photography) within the digital realm, specifically via the unification of both, technologies and practices, in one apparatus—like the GoPro.
Die eingefrorene Zeit
(2010)
Photography in the Digital
(2018)
Photography in the digitally created or digitized reality is an everyday activity that is rarely discussed in the context of photographic debates. This refers to practices such as in-game photography or, simpler yet, the screenshot. The paper focuses on their history, the specific status and materiality of these images of screens. Their (hi)story begins with screen image photography of measured data on cathode ray tubes and the photographic capture of x-ray screens. Screenshots and in-game photography can be seen throughout this context but they are cameraless and can therefore be understood and discussed within a long history of experimental photographic practices. Should we speak here at all of photography? If so, what is their photographic specificity? Which image of reality do they provide us?