Photography
As Fotografik to about referred to the middle of the last century photographically generated images whose image-forming and image effect is based predominantly on graphical elements. Photography belongs to the field of artistic photography and was not previously shown separately (important representatives: Franz Fiedler ; Edmund Kesting ; John Heartfield ; Klaus Staeck ).
groups
Photography comprises four or five main groups that cannot be strictly limited in terms of form. The groups flow into one another and overlap.
- The first group are "normal photos" in which surfaces, lines, structures or colors predominantly influence the image.
- The form, and less a statement or content, determines the picture.
- Examples of graphic photos
- Photos that are subsequently alienated through photo-technical manipulation form the second group of photographs.
- Diverse possibilities of laboratory practice, and now digital image processing , change and / or compress tone and color values. The photographic origin of the pictures can often no longer be seen.
- This group also includes overpainting photos.
- Conversion of "normal" photos into photographs using photo-technical or digital processes
- The third group of photography consists of all combinations of photos with typography and / or graphics . The photo and the typography / graphics correspond to each other, whereby the photo is mostly optically defining the image.
- The commercial art uses this field of photography in many ways.
- Examples of the commercial use of photos
- The fourth group is made up of photomontages . Here the montages range from purely technically applied compilation of photos to artistic picture montages.
- John Heartfield and Klaus Staeck are probably the most important representatives who have used photo montage in the design of posters .
- Photomontage image examples
- Ultimately, the fifth group in photography could be described as the use of photos as a template for graphic designers. Here, photos are manually revised graphically in a wide variety of ways.
- Here mostly graphics are created without artistic value, which is why they can only be regarded as photographs to a limited extent.
literature
- Edmund Kesting, Will Grohmann: Dresden as it was. Rembrandt-Verl., Berlin 1955, OCLC 73495264 .
- Edmund Kesting: A painter sees through the lens. Fotokino Verlag Halle 1958, OCLC 3505911 .
- Edmund Kesting: A painter takes photos. Fotokinoverlag , Leipzig 1987, ISBN 3-731-10037-1 , OCLC 441130082
- Edmund Kesting; Guenter Roese; Heinz Schönemann: In the light of the north. Pictures of the sea and coastal areas, MCM ART Verl., Berlin 2003, ISBN 3-980-77342-6 , OCLC 248868231 .
- Katja Wedhorn: Light and Shadow: New Design Methods in Photography from 1920 to 1960 and Edmund Kesting's contribution. Tectum Verlag ., Marburg 2012, ISBN 3-828-82943-0 OCLC 799086637 .
- Helmut Grunwald: Franz Fiedler and his time; a study on the history of photography. Fotokinoverlag Halle 1960, OCLC 3303507
- Franz Fiedler: Elementary picture composition. Photokino-Verlag Berlin 1933. OCLC 27398964
- Klaus Staeck: Klaus Staeck - without an assignment: on the move in matters of art and politics. Steidl Verlag , Göttingen 2000. OCLC 313770304
- John Heartfield; Peter Pachnicke; Klaus Honnef; Helen Adkins; Karin Thomas ;: John Heartfield DuMont Buchverlag , Cologne 1991. OCLC 24457481
Web links
- Edmund Kesting at worldcat
- John Heartfield at worldcat
- Klaus Staeck at worldcat
- Klaus Staeck, homepage
Individual evidence
- ^ Deutsche Fotothek Dresden : Galerie Franz Fiedler 5 original photographs.
- ^ Deutsche Fotothek Dresden: Galerie Edmund Kesting 6 original photographs.
- ↑ http://www.staeck.de : posters and postcards