You are most welcome

Reality is perfection. Nothing outdoes reality, warts and all. Ironically, the most perfect painting happens to be a photograph. Paintings are merely the result of (the intentional or unintentional) poor use of Photoshop (coupled with the use of an expensive and very good 3D printer). Photographs are very cheap illustrations, especially the digital kind; underlying…

Read More

Infra

Hearing is vision, othered. At some point in history, increasing image resolution started to only have an effect on film, leaving negligible obvious impact on photography. That is tantamount to saying that with the tremendous increase in image resolution evinced in the last decade or so, perceived motion happened to have been affected more drastically…

Read More

The White Rabbit (Part 1 of 3)

Engaging analogue photography in the world, not in a laboratory, is engaging modelling, specifically statistical modelling.  Obviously chemistry and chemical reactions are other ways of engaging analogue photography. The pixel is a generalisation of the silver halide crystal.  While digital photography can be – and, seemingly, is mostly – engaged in the world, that world…

Read More

Investment

The photograph is the result of light painting itself. The painting is the action of the hand showing. In the former case, there is no translation involved in beholding the objet d’art: light paints itself on the photographic film/sensor and the result is seen by the eyes which function through the transmission of the same…

Read More

Imago

Analogue and digital photography both rely on a vital input: light. In analogue photography, the information we call light is analogous to the atomic structure resting on the exposed photographic film.  In digital photography, the information we call light is measured for its intensity in the form of digits and those digits are then assigned…

Read More

Atomised

It is common knowledge that the relationship analogue photography has with light is different from the relationship digital photography has with light. In the former case, the relationship with light is non-arbitrary; in the latter case, the relationship with light is arbitrary. Can we use this perceived relational difference these two types of photography have…

Read More

To know, or not to know, and to know – the question of evidence

I stand still at the end of an empty street. Looking down the street, I observe the street lamps growing smaller as they recede into the distance. Identical street lamps simply do not grow smaller as they recede into the distance. I merely have to approach each one in turn to verify that indeed they…

Read More