Towards a Hyperphotography

My first camera was analog and I spent many years working with film. The digital shift came with a bit of resentment on my part however, with four young kids and a constantly shifting homelife it was eventually embraced for what it was; immediate.

“Most digitally constructed photographs depend, as does analog, on the shutter’s release. But they use rows of pixels, each one defined in its color and hue as an integer, rather than a chemically processed grain.”

Fred Richin, After Photography.

Richin also goes on to say that the digital photograph can be looked at as a meta-image, a map of squares that could serve as a pathway to somewhere else. This is precisely how I like to work and I find direction in Richin’s words.

This will be explored with reference to a piece discussed in todays 1-1. Pixels are fascinating, since they could become the colour codes and swatches that I have to date, being hand mixing and painting. The image is right there and the pixels can give me those swatches. This is a pivotal moment that would not have occurred without the 1-1 meeting.

RITCHIN, Fred. 2010. After Photography. First paperback ed. New York, NY: Norton.

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