Cutting Out


  • Photographer
    Cuno Graf von Hahn
  • Prize
    Honorable Mention
  • Date of Photograph
    08.10.2014
  • Technical Info
    FUJI X-PRO, FUJINON 14mm

As a consequence of the digital revolution and the associated possibility of manipulation, the phtography must withstand continuous questioning. If the viewer of a photpgraphic image had to be assured that the seen had not been subject of manipulation in the traditional sense, one would expect a correct representation of reality. But what happens when the grammar of seeing is not similar to the grammar of the image? What happens when the viewer is thrown back to the act of seeing itself and can not rely on his experience of perception? »Cutting Out« breaks viewing habits, through composition and drawing with light. The »Cutting Out«, meaning the isolating of parts of an image, opens up new perspectives. The parts of a previous whole now transform from reality into supposed objectivity. What remains is composition, shadow, light, and perhaps even more importantly – darkness, respectively the absence of light – questions.

Story

Photography implies the physical process of creating images of the environment as well as the result of that very process.
The product, i. e. photography in the second sense, is an expression denoting the stored image of reality. In contrast to painting, it is possible to produce realistic images directly with
photography. You could even call it a copy of objective reality. In the 19th century, various schools of science increasingly examined the issue of objectivity in the photographic process.
Scientifically speaking, the method must be accurate, reliable and detailed. Furthermore, objectivity means keeping a distance to feelings and avoiding perception errors. Analogue photography thus seems to be ideally suited for the correct representation of reality. Not least because of that, the photographic process in stand and moving images remains the most powerful tool of documentation and education up to this date.

As a consequence of the digital revolution and the associated possibility of perfect manipulation, the photographic image must withstand continuous questioning. If the viewer of a photpgraphic image had to be assured that the seen had not been subject of manipulation in the traditional sense, one would expect a correct representation of reality. But what happens when the grammar of seeing is not similar to the grammar of the image? What happens
when the viewer is thrown back to the act of seeing itself and can not rely on his experience of perception? »Cutting Out« breaks viewing habits, through the traditional photographic craft, through composition and drawing with light. The »Cutting Out«, meaning the isolating of parts of an image, opens up new perspectives. The parts of a previous whole now transform from reality into supposed objectivity. What remains is composition, shadow and light, and perhaps even more importantly – darkness, respectively the absence of light – questions

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