Losing Photography

What would we lose if school darkrooms closed? A question from early 21st century. Would photography end? What type of knowledge would be lost; why?

At that time we just had ideas of what would happen; however, after 20 years we know what was lost; more, we can see why.

As academic art programs shifted to provide useful current procedures, they began replacing darkroom space with lightroom systems. This was in response to anticipated growth of art practices which have always relied upon industry — as a source of material, and as a destination of graduates.

In 2002, a group of teachers wondered, and worried about the loss of darkrooms along with the knowledge of those processes. It was considered that we would lose the industrial secrets. The industrial lab system would also decline. Would it be useful to record some of that material?

As knowledge domain moved from the weekday world to the weekend hobby layer, we certainly lost information; about process along with details and depth of experiences. What would be forgotten?

Instead, that transition from work-horse to hobby-horse knowledge keepers was used as a banner, actually more a sash for craft badges by the internet forum folk. Could they be counted on to examine or expand claims, keeping the craft knowledge alive, healthy? Not really

gossip rules the hobby shop

It wasn’t forgotten, it was covered over in gossip. The hobbyists are more concerned that they’re losing influence not that knowledge is being lost.

In an effort to shout each other down, they’ve lost the ability to talk.

Landscape Division

Activity gaps: things we do that we seem to share, instead they show our difference. The gap between what, why, how of those that do a thing as a casual undertaking and those for whom that same thing is what drives meaning in their life. Art addiction, or deriving personal satisfaction.

When you think about photography, is it about the hobbyists you know; their shared aspiration of appreciation of mastering a skill. Or, is it about inclusion among those of the artworld. Do you say that in mature voice, or in smug contempt — you are above such things — you float above the world, as a god!

this, today: two landscape books from those who make books, and show in galleries.

HC
Beate Gutschow: Relieving the Contingency

and:

http://www.dafnatalmor.co.uk

“‘Constructed Landscapes’ is an ongoing project by photographer Dafna Talmor that consists of landscapes created through a process of collaged and montaged colour negatives shot in different locations. While reconfiguring the images, she generates a space that defies specificity; transient landscapes that blur place, memory, and time in a conflation of reality and the imaginary. These reference historical processes, such as early pictorialist tendencies of combination printing and modernist experiments with the materiality of film, yet her work also engages with contemporary discourses on manipulation, the analogue/digital divide, and the effects these have on photography’s status.”

Making books is the way of preserving concerns and concepts; a way of talking to the future. Exhibits have impact that is short lived. Exhibit catalogs have been the resting place of great ideas for decades. They seems to have been the support income for both photographer and writer.

Become a viewer of both to become a maker of both.