The Photographic Eye

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The Photographic Eye

 

Most of this deluge of pictures seemed formless and accidental, but some achieved coherence, even in their strangeness. Some of the new images were memorable, and seemed significant beyond their limited intention These remembered pictures enlarged one's sense of possi¬bilities as he looked again at the real world.

 

-John Szarkowski-

 

Introduction to the catalogue of the exhibition, The Photographer's Eye, 1966

 

The series The Photographic Eye works with organized coincidences and how photographs connect diverse representations of reality. In a world, which we build from fragments, photography has an ability to unite and preserve impressions and expressions. Autumn 2010, I handed out instamatic cameras with an unexposed film expired in 1988 to people I have come to know within the artistic field. I had found the film rolls on the internet from a warehouse in Canada a few years before. When I later received the exposed films from each participant, I mixed them together before development in order to be uncertain which photographer had been shooting which roll of film. Thereafter, I made contact sheets which I gave to an artist with the instructions to select approximately 30 pictures. Then I copied the full negatives of the selected images in the darkroom. Finally, I asked a curator to write a free reflection about the project from a small selection from the series, which should be an entry to the series or an additional layer.

 

The aim of the project is to define different aspects of the photographic process and assign them to diverse actors. The photographers had no control over either the final results or the exposures of the films, as the film and its qualities had changed during the years and the camera is a simple point and shoot model. But they had the opportunity to choose what, and how, to photograph. The photographer merely chooses the motif and presses the button. Seeing the large quantity of the images together brings forth an aesthetic and becomes a meaningful construction of what was in front of the cameras. The selection of photographs was made from contact sheets where each image is 2 x 2 cm. The person choosing the exposures has expe¬rience in looking at and make selections from contact sheets, but had no knowledge of the photographers taking the pictures.

 

Participants in the project The Photographic Eye:

 

Hannes Anderzen (S), Una Margret Amadotrir (Is), Kirsti Taylor Bye (No), Linda Cordius (Dk), Hans Ekelund (S), Anders Engstrom (S)Joachim Fleinert (Dk), Minna Forssberg (S), Hakan Hallberg (S), Martin Jacobsson (S), Froydi Laszlo (No), Ida Lehtonen (Fin), Valdemar lindekrantz (S), Christine Sjoberg (S)Jesper Ulvelius (S), Lars Wallsten (S) and Laura Mott (US).

 

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