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Zur Glaubwürdigkeit der Fotografie

Zur Glaubwürdigkeit der Fotografie

          
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About the Book

Das Porträtbild im Ausweisdokument, die überlieferten Kriegsfotografien des ersten und zweiten Weltkriegs, Bildnisse verstorbener Ikonen der frühen Popkultur - das fotografische Bild wird in großem Einvernehmen als ein Abbild der Realität und Mittel zur Konservierung der Vergangenheit gehandhabt, dem gleichsam auch eine immense Verweiskraft auf das abgebildete Pendant zugeschrieben wird. Zu allen vorhergehenden Abbildungstechniken der Geschichte besitzt sie eine bemerkenswerte Novität: Die Fotografie wird der Realität in einem Maße gerecht, das bis dato nicht vorstellbar war. Die ersten, noch erhaltenen Fotografien datieren auf die 1820er Jahre, grobkörnige Schwarz-Weiß-Aufnahmen von Joseph Nicéphore Nièpce, der unter Zuhilfenahme einer Zinnplatte als Trägerschicht und lichtempfindlichen Silbersalzen Direktpositive entwickelte. Die technischen Voraussetzungen und Erkenntnisse, die für die Anfertigung dieser Fotografien nötig waren, können rückblickend als Gemeinschaftsarbeit großer Denker und Experimentatoren der Menschheitsgeschichte gewertet werden. Schon Aristoteles beschrieb Phänomene, die die Grundprinzipien der fotografischen Funktionsweise darstellen. Damit war die mechanische Komponente des Funktionsprinzips der Kamera bereits früh bedient; bis zur Anfertigung der ersten haltbaren Fotografie sollten allerdings noch rund 150 Jahre vergehen, da der chemische Aspekt der Fotografie noch nicht ausgereift genug war, um das Bild, das seit Jahrhunderten an die Wand der camera obscura geworfen wurde, nachhaltig auf einer Fotografie zu manifestieren, um schließlich die seit jeher bestehende Sehnsucht des Künstlers nach einer vollkommenen Widerspiegelung der Welt zu stillen. In dieser Studie soll vorrangig untersucht werden, wie viel realistische Verweiskraft in den Bildern der Fotografie zu detektieren ist und inwieweit die Digitalisierung der Fotografie am Vertrauen des Betrachters rüttelt. Zudem wird besonderer Bezug zu Bildmanipulation und Inszenierung hergestel
About the Author: Leon Benjamin Auris Engler, aufgewachsen in München, arbeitete als freier Pressefotograf in Wien, tutorierte dort an der Universität ein Seminar für Fotografie und sammelte wertvolle Erfahrungen als Assistant TV Producer bei den United Nations in NYC. Sein Studium der Theater-, Film- und Medienwissenschaften schloss er mit Auszeichnung ab. Zudem vertiefte er sein Studium an der Université Sorbonne in Paris, unter anderem unter Lehrtätigkeit Phillippe Dubois. Der Autor ist eigentlich in der Praxis verhaftet, wodurch seine Auseinandersetzung mit der Glaubwürdigkeit der Fotografie gleichermaßen präzise und eindringlich ist.


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Product Details
  • ISBN-13: 9783863414405
  • Publisher: Bachelor + Master Publishing
  • Publisher Imprint: Bachelor + Master Publishing
  • Height: 210 mm
  • No of Pages: 36
  • Series Title: German
  • Sub Title: Die Suche nach dem Wahrheitsgehalt im fotografischen Bild
  • Width: 148 mm
  • ISBN-10: 3863414403
  • Publisher Date: 07 Nov 2012
  • Binding: Paperback
  • Language: German
  • Returnable: N
  • Spine Width: 2 mm
  • Weight: 59 gr


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