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Dieser Workshop findet in englischer Sprache im Swiss Camera Museum in Vevey statt.
The daguerreotype is the first commercially successful photographic process. The positive on-of-a-kind image, with it‘s mystic silver mirror effect, is still fascinating after 180 years.
Swiss Camera Museum, Grande-Place 99, 1800 Vevey, Switzerland
THU 10. – SAT 12. May 2018, 9:00 – 17:00 H
During the first day you will receive an introduction to the process (Bequerel-method). The following two days, you will be able to make two own plates 3¼" x 4¼" (83 x 108mm) with the assistance of Jerry Spagnoli. If time permits, you may be able to make an additional plate at a little extra cost.
Jerry Spagnoli, born New York 1956
Jerry Spagnoli is one of the worlds principal practitioners of the daguerreotype process. His work is held in the collections of various museums like the Whitney Museum of American Art in New York. His recent books "Daguerreotypes" and "American Dreaming" were puhlished by Steidl. Jerry Spagnoli is widely known for his collaborative work with Chuck Close and Karl Lagerfeld. www.jerryspagnoli.com
Jerry Spagnoli On The Daguerreotype
(excerpt from: Photography Beyond Technique. edited by Tim Persinger, Focal Press 2014)
When photography was first introduced in 1839, it was hailed as a great tool for science. It was thought that at last there was a reliable, neutral reporter on everything under the sun. e possibility that it was a medium for art came later. Photography’s rst talent was thought to be its objectivity, its ability to present the facts. The photographic image, was considered free from the intervention of the artist. It was thought to be empirical and reliable. Created automatically, by a machine, it was free of the inevitable distortions found in the work of the human hand (and mind).What I’'ve found since I saw my first daguerreotype is that the content of the work I'’ve produced can increasingly be found within the materials and methods I utilize and the medium’s relationship to the world. It'’s at that point where the functional metaphors of the work are operating. The subjects of my images are straight-forward documents, but are nuanced to a greater or lesser extent by the medium’s own ways of perceiving the world.
Photography, for me, is a mechanical demonstration of consciousness, with all it's limitations and richness. It is this historical reputation for objective reporting that I use as a starting point when considering how to approach a project, and which photographic technology to employ. I think that it is perfectly obvious that objectivity is a condition which is impossible to achieve. We are the products of innumerable impressions. Our schooling shapes us. Our talents and de cits turn us in particular directions. Even our senses have been demonstrated by science to be limited severely when it comes to conveying all of the various stimuli that bombard us throughout the day. Even with all of those points well understood, we all persist in believing that we have a grasp on the objective truth of our situation. our relationship with the world can best be described as fuid. Our knowledge and understanding of the situations that we encounter is constantly shining and changing as new information is received and as our appreciation of the complexities of particular circumstances develops. At some point you may reach the conclusion that the only thing you can know for sure is that you can’t know anything for sure. In this world of flux and uncertainty stands photography, freezing moments, and allowing us to examine the information contained in a fragment of time from a particular point of view.
Language / tutorial
The workshops will be held in english.
Material & Equipment
Material and a tutorial is enclosed.
If you‘ are a fast worker, you may buy additional silvered plates during the workshop at an little extra cost.
Cameras and equipment will be provided by Fotokultur.
CHF 1‘600 without accomendation
The workshop will be held with min. 6 max. 10 participants.