Book 1:
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Amelunxen et.al. (Eds.). (1996). Photography after photography: Memory and
representation in the digital age. G+B Arts, Amsterdam.
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"Digital photography provides images which only seem to be realistic, in which all kinds of image production techniques can be blended at will, in which there is no end to the possibilities for arbitrary manipulation: photography is the perfect painting of a digital surrealism, the image a naked surface on which the imagination can make subjective drawings. The photographer is no longer at the mercy of the object, the momentary light conditions, the existing colours. He brandishes a digital brush - at least in the post-production stage."
"Reality is not disappearing, we just know more about how, and that, it is possible to deceive us. What is being dismantled is just the naive belief in an immediate reality before our eyes, which itself is becoming more and more 'artificial' through having to be constructed by knowledge and mental processes."
"No distinction is made between the credibility of photographic and that of digitally-processed photographic images."
- From the essay 'Re: Photography' by Florian Rotzer.
"We are entering an era when no one will be able to say whether a picture is true or false. They are all becoming beautiful and extraordinary. Their... truth is slipping away from us."
"A world hovering between the truth and the false, a world about which the most we can say is what it looks like, but not what it is."
"'I understand what I see but I do not identify the material composing it'"
"We now have equipment capable of making a picture out of the imaginary, transmuting something that exists into another scene, and visually rendering an imaginary scene."
- From the essay 'Digital (R)evolution' by Jacques Clayssen
"In our image saturated society, our cultural myths and beliefs are daily reinforced through the numerous photographs we come across in advertising, the news, to family vacation snapshots. Photography's apparent transparency promotes a viewing experience that arouses pleasure without creating any awareness of its act of ideological constructing. It is easily accepted as a window on the world rather than as a highly selective filter, placed there by a specific hand and mind."
"With the digital image, whose construction could potentially be totally fictive, one can claim at most that the event represented 'could possibly be'"
- From the essay 'Image, Language, and Belief in Synthesis' by George Legrady
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Fire and Forget, #I-VIII. By Holger Trulzsch, 1992/93.
Digital remastered analogue-digital prints.
I really like the vibrant colours in these images and the way that the flames have created a texture. |
Book 2:
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Lipkin, J. (2005). Photography Reborn : image making in the digital era. Harry N.
Abrams, New York; London.
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Nudes YV16. By Thomas Ruff, 2000.
I like how the subject has been blurred so you can't tell who they are. |
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Untitled #100. By Simen Johan, 2001.
I think this image has really interesting lighting. |
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NO. 1 from the series 'Flight'. By Sally Grizzle Larson, 1999-2001.
I like how the artist has combined a photograph and a photograph of something they made. |
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Untitled (Mount Wilson). By Florian Maier-Aichen, 2002.
This image appears like it has been taken from space because of the lighting and colours. |
