EXPERIMENTAL PHOTOGRAPHY

Events emerging from their surroundings


Our sense of vision fails to grasp many events which are too slow, too indistinct or too difficult to see within their surroundings. What would our world look like, if we could see events detached from their surroundings? A question I had asked about 10 years ago is answered in my photos in surprising ways. Not retouching, but using the TIME factor in an innovative way plays a key part. Therefore, I call this kind of photography and graphical editing CHRONOGRAPHY.


Initial experiments with the camera, light, time and image processing have grown into several comprehensive “imaging methods” that are also applied in combination. My photos are compiled from a range of takes and the computation of their differences, I do not retouch or use effect filters. The passing time creates the image and determines its meaning.


Apart from taking the photographs and developing the complex methods of image editing, the creative part of my work is mainly my intuitive and sophisticated handling of characteristics, such as brightness, contrast, focus or chroma. This way I create compositions ranging from intense to harmonious, much like a painter or a musician, only using different instruments.


Each subject is a new challenge to visualize its particularity. This produces images evoking graphics or even paintings, which both originate from photography and the special use of

 

An overview on my photographic experiments:

 

Alles was zu sein scheint ist nur ein Zwischenstadium - hier sichtbar sind Änderungen die sich innerhalb weniger Minuten ereignen.

CHRONOGRAPHY-Tec
Focus on Activity


“CHRONOGRAPHY” is my first and still most important “method” to make movement visible. Changes and activities appear highlighted and in contrast to their stylized environment.
An event by itself forms the main message of the composition. 
Events literally appear in a new light:
Informative, innovative, and surprising.

 

 

Alles was zu sein scheint ist nur ein Zwischenstadium - hier sichtbar sind Änderungen die sich innerhalb weniger Minuten ereignen.

CHRONOGRAPHY-City
Focus on Activity


“CHRONOGRAPHY” and City

Real - surreal World

 

 

Illusion oder Modell?  Bisher war es unmöglich, die reine Form ohne hell-dunkel Eigenschaften des Materials fotografisch abzubilden.

LIGHTSHAPING
Shapes made of light
A new way of photographic imaging!


Contrary to scenes with moving objects, it is solely the lighting that moves in this case. Any moving objects in a scene will also be pictured concisely, but here, they play a minor role.


The change of lighting defines the surface of an object, yet without the properties of the material such as color and dark-light contrast. The results are images of the surface, independent of the material, which recall plaster models or 3D rendering. Moreover, the colors of the incident light are made visible. For these effects I do not use any retouching, but the CAMERA, LIGHT, and TIME. Strictly speaking, this method is a revolution of photography - but who can judge this and who may claim this?


My work has received much praise by open-minded art lovers and academics. I may remark here, that those are most apt to judge my doings who engage in state-of-the-art digital imaging. The ability to discern between quickly created random effects and a more profound approach is mandatory for this matter and the digital image market could certainly benefit from this. Unfortunately, this kind of competency is rarely found in the management of culture and art institutions.

 

 

Ist Gesehenes zu begreifen?  Zu wissen, es ist eine Illusion, reicht nicht - Das Auge sucht im Anfassen nach Bestätigung.

RELIEF
Intangibles  
The “Relief” method is based on taking only one photo.


The illusion of a three-dimensional surface follows the brightness. Bright areas are rendered domed, dark areas are rendered recessed. This is the reason for the mismatch with the three-dimensional objects. It creates a startling optical deception and many viewers feel compelled to touch the picture to prove what their vision tells them. I often use this illusion in combination with other methods, for example in “Burgblick” (Nuernberg Castle View, all sold in the meantime) and “Unter den Linden” (Boulevard “Under the linden trees”, Berlin) General Note: My works are strictly limited to editions of 6 each.

 

 

Gezeichnet aus millionen Jahre alte Strukturen

STRUCTURE

Lively and rich in detail


I find the “structure” method fascinating because of its historising effect and the scope of the light-and-dark dynamics. It creates images that are unparalleled in their liveliness and level of detail. These are based on a number of images (bracketed series). They are split into numerous layers, undergo sophisticated editing, and are finally recomposed to form one image.

 

 

Kostbar und beständig:  Weil sich Wasser mit anderen Stoffen leicht verbindet und doch immer wieder rein wird, ist es für die Natur so wertvoll.

GOLD-WATER


A combination of the CHRONOGRAPHY, RELIEF, and STRUCTURE methods


The most valuable element of our biosphere has amazing properties. For example the ability to rise to the top of a mountain in the shape of a cloud, cool your drink as a cube, then absorb other substances and still be able to become pure again - contrary to gold. Water represents vitality and life, it is cherished by all living things. At all times, it has been popular to create imposing fountains as a status symbol and I have turned their sparkling jets of water into liquid gold.

 

 

Sowohl sehr langsame als auch sehr schnelle Ereignisse entziehen sich normalerweise unserer Wahrnehmung.

SHADOWS


Paintings of time


Numerous individual takes are the basis for the picturesque image of moving shadows. The unnaturally bright colors result from the editing process and are not influenced by me. Blue shadows are created by the hue of the sky and recall reflections on a water surface.

 

 

Gezeichnet aus millionen Jahre alte Strukturen

EXPERIMENTS

Photography and graphics


Here, I enhance a characteristic of the image by adding graphic elements. I reference the present elements and properties. I consider this just another method to highlight the unspectacular.