Book of Days

Home

 

 

The Sun finally reaches the kitchen

<|| To Beginning || <= Yesterday ::::: Tomorrow =>

038 06 March 2004

Earlier there was a transparency in photography where the essential aesthetic was a fascile pleasure derived from viewing a straight forward description of a scene. An auteur selected the moment in time and place, coordinated the spherical angle of view and after various adjustments, offered the mise en scene to the instrument to record the tonal values of the view onto film.

This latent film image would, by subsequent chemical "processing", reveal the substance of the auteurs vision as a negative image in silver. Variously described by artists as a "score" this negative could, in skilfull hands, be interpreted in a dark room to produce a photographic print - of an apparent eye witness view.

These sequential processes made photographs the first examples of machine art, the apparent instaneity and perceived lack of surface texture coupled with the seeming objective rendering of the scene also gave the method an honesty of approach, unlike the sleight of hand of drawing, the photographic method was transparent.

Viewed on screen contemporary photographic transparency, unlike film and video, finds rejection in its lack of patina and non objectness; retreating into textured ink jet papers is not an option. The qualities of any medium combine to create it's unique aesthetic appeal, by definition photography is not drawing.

liverpool 2004

 

:: Site Map ::

Home