Geoffrey Batchen – författare

As its title suggests, Negative/Positive begins with the negative, a foundational element of analog photography that is nonetheless usually ignored, and uses this to tell a representative, rather than comprehensive, history of the medium. The fact that a photograph is split between negative and positive manifestations means that its identity is always simultaneously divided and multiplied. The interaction of these two components was often spread out over time and space and could involve more than one person, giving photography the capacity to produce multiple copies of a given image and for that image to have many different looks, sizes and makers. This book traces these complications for canonical images by such figures as William Henry Fox Talbot, Kusakabe Kimbei, Dorothea Lange, Man Ray, Seydou Keïta, Richard Avedon, and Andreas Gursky. But it also considers a number of related issues crucial to any understanding of photography, from the business practices of professional photographers to the repetition of pose and setting that is so central to certain familiar photographic genres. Ranging from the daguerreotype to the digital image, the end result is a kind of little history of photography, partial and episodic, but no less significant a rendition of the photographic experience for being so. This book represents a summation of Batchen’s work to date, making it be essential reading for students and scholars of photography and for all those interested in the history of the medium

As its title suggests, Negative/Positive begins with the negative, a foundational element of analog photography that is nonetheless usually ignored, and uses this to tell a representative, rather than comprehensive, history of the medium. The fact that a photograph is split between negative and positive manifestations means that its identity is always simultaneously divided and multiplied. The interaction of these two components was often spread out over time and space and could involve more than one person, giving photography the capacity to produce multiple copies of a given image and for that image to have many different looks, sizes and makers. This book traces these complications for canonical images by such figures as William Henry Fox Talbot, Kusakabe Kimbei, Dorothea Lange, Man Ray, Seydou Keïta, Richard Avedon, and Andreas Gursky. But it also considers a number of related issues crucial to any understanding of photography, from the business practices of professional photographers to the repetition of pose and setting that is so central to certain familiar photographic genres. Ranging from the daguerreotype to the digital image, the end result is a kind of little history of photography, partial and episodic, but no less significant a rendition of the photographic experience for being so. This book represents a summation of Batchen’s work to date, making it be essential reading for students and scholars of photography and for all those interested in the history of the medium

William Henry Fox Talbot, the English inventor of photography, created around 15,000 photographs in the nineteenth century, most of them attempts to produce compelling scientific documents or pictorial records of the world around him. However, among those that have survived are also prints in which an image has been obscured, obliterated or simply failed to register. Borrowing its intriguing title from a poem written by Talbot, this book features twenty-four of these prints, his most experimental photographs. Originally intended as test prints or creative exercises, all that remains on these shaped pieces of photographic paper are chemical stains or imprinted patterns or shapes. Offered to the reader as enigmatic physical artefacts, these failed or ruined photographs are here reanimated as objects of beauty, mystery and promise, as artworks that speak of photography’s most fundamental attributes and potentials. An accompanying essay illustrated with comparative images places these photographs in a broad historical context leading up to the present, revealing what relevance Talbot’s experiments have to contemporary concepts of the art of photography.

William Henry Fox Talbot is celebrated today as one of the English inventors of photography. He made early photographic experiments in the 1830s, released the details of his photogenic drawing process in January 1839, and introduced important innovations to the medium in the 1840s and 1850s. Drawing on archive material in the Bodleian Library, including three albums given by Talbot to his sister, Horatia Feilding, as well as his illustrated books, Sun Pictures in Scotland and The Pencil of Nature, this volume shows how Talbot was continually inventing photography anew. A selection of eighty full-page plates provides a thematic survey of Talbot’s work, reproducing images that document his travels, his home and his family, as well as his intellectual interests, from science to literature to ancient languages. An illustrated introduction places Talbot’s work within the context of a modernising Britain, as well as within his own social and intellectual milieu, and explores how the competing daguerreotype process spurred Talbot to improve his own techniques and seek new functions and uses for paper-based photographs. This evocative selection is testament to Talbot’s constant quest for new photographic advances, offering a compelling window into the archives of an extraordinarily determined and creative man.

British Conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. He has been making art since the 1970s, but achieved prominence relatively recently.In 2011, he had a retrospective at the Whitechapel Gallery, London, and, in 2012, he won the Deutsche Börse Photography Foundation Prize, even though he does not take photographs.Stezaker says collage is about ‘stuff that has lost its immediate relationship with the world’ and involves ‘a yearning for a lost world’. A collector, he works from an archive of out-of-date images — mostly old film stills, vintage actor head shots, and antique postcards. These images come in standard sizes and are highly conventionalised — all variations on themes.Art critic David Campany says, Stezaker ‘is drawn to that very slim space between convention and idiosyncrasy.’In addition to collages, Lost World includes poignant found-object-sculptures: a selection of antique mannequin hands, offering a repertoire of gestures. There’s also a film, Crowd, presenting hundreds of film stills of crowd scenes, each for one frame only, in a bewildering blur.

I Repetition och skillnad tar sig fotografihistorikern Geoffrey Batchen an frågan om fotografins historieskrivning utifrån reproduktionens figur. Trots mediets inneboende potential för reproducerbarhet och spridning, har just denna aspekt inte blivit föremål för någon mer omfattande uppmärksamhet; den har bokstavligen befunnit sig på mediets skuggsida. I denna bok belyser och utforskar Batchen effekterna av fotografins reproducerbarhet inom en mängd olika fotografiska discipliner: från Richard Avedon och Cindy Sherman till cartes de visite och amatörsnapshots; från fotografins konception till våra samtida praktiker. Fotografins reproduktion blir hos Batchen en optik som öppnar för ett annat sätt att betrakta fotografin, och som insisterar på nya former för dess historieskrivning.