Einfach das Leben: Zur Ausstellung in den Opelvillen, Rüsselsheim, 2018, (Lost & Found) - Hardcover

Hardcover

ISBN 10: 3960700245 ISBN 13: 9783960700241

Verlag: Hartmann Projects Verlag, 2018

Inhaltsangabe

(Please scroll down for english version) Die Kamera begleitet das Leben des Ingenieurs Peter Dammann (*1936). In den 1960er- bis 1990er-Jahren fotografierte er neben Menschen, Situationen, Orten, Landschaften oder Tieren vor allem seine Familie. Es entstanden Tausende von Bildern bei Familienfeiern, Ausflügen, Geburtstagen oder Beerdigungen. So entwickelte sich eine fotografische Familiengeschichte wie sie viele kennen, die aber in ihrer Bildsprache und Konsequenz bemerkenswert ist. Sein Interesse galt weniger der Dokumentation, sondern der Herstellung von „guten“ Bildern. Wie andere Amateurfotografen orientierte sich Dammann an etablierten, bekannten Fotografen und schulte sein Auge an ihren Bildern. Er bevorzugte die Schwarz-Weiß-Fotografie und vergrößerte seine Negative in der heimischen Dunkelkammer selbst. Von jenen Bilder, die Dammann für die besten hielt, stellte er Vergrößerungen im Format 18 x 24 cm her, die er in selbst gebastelten Holzboxen lagert. Sein letzter entwickelter Schwarz-Weiß-Film trägt die Nr. 422 und stammt aus dem Jahr 2007. Die letzten 89 Schwarz-Weiß-Filme digitalisierte er selbst und bestellte von den Daten Bilder beim Fotoservice. Seit 2002 fotografiert und archiviert Dammann digital. Trotz gestalterischer Ambitionen hatte Peter Dammann nie den Ehrgeiz, seine Familienchronik veröffentlichen zu wollen. Sein Sohn, der Künstler Martin Dammann (* 1965), ermutigte den Vater, seine privaten Fotos zum ersten Mal in dieser Publikation und in der Ausstellung in den Opelvillen öffentlich zu zeigen. Ausstellung: Opelvillen, Rüsselsheim, 2. Mai bis 29. Juli, 2018, als Partnerprojekt der Fototriennale RAY 2018 The camera was a constant companion in the life of the engineer Peter Dammann (born in 1936). Between the 1960s and 1990s he not only photographed his family, but also people, situations, landscapes, and animals. He produced thousands of images of family celebrations, excursions, birthdays, and funerals. In this way he created a family history of the sort that will be familiar to many. Yet he was more interested in creating good images than in mere documentation. Like many other amateur photographers Dammann looked to established, known photographers and trained his eye with their pictures. Dammann prefered black-and-white photography, and he made his own prints. In his different apartments over the years he had a darkroom in the bathroom, in a storage room, and later in a basement room. He collected everything in orderly, labeled binders, boxes, and crates, carefully organized in plastic sleeves and stored together with the corresponding contact sheets. Those photographs that Dammann considered the best were enlarged to a format of 18x24 centimeters, which he stored in homemade wooden crates. The last roll of black-and-white film that he developed bears the number 422 and is from the year 2007. He digitized the last eighty-nine rolls of black-and-white film himself and then ordered prints from a photo service. Since 2002 his photography and archives are digital. In spite of his creative ambitions, Peter Dammann never intended to publish his personal family chronicle. His son, the artist Martin Dammann (*1965), encouraged his father to publically show his private photographs for the first time in this publication and in the exhibition at the Opelvillen. Exhibition: Opelvillen, Rüsselsheim, May 2nd – Juli 29, 2018, as partner project to the International photography triennial RAY

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This new photo book(let) series presents analogue photographs and picture archives. Intuition, pure chance, odd encounters, and the slow passage of time helped in discovering the images and archives. All of them have their own remarkable stories: the story of the individual photographer, the story of the photographic subject, the story of each archive and its discovery, and not least the visible story of the unavoidable deterioration of analogue photographs, caused by production, use, and storage. All of the images are reproduced unretouched and thus bear the traces of their history, from the depths of their emulsions to their surfaces.

The camera was a constant companion in the life of the engineer Peter Dammann (born in 1936). Between the 1960s and 1990s he not only photographed his family, but also people, situations, landscapes, and animals. He produced thousands of images of family celebrations, excursions, birthdays, and funerals. In this way he created a family history of the sort that will be familiar to many. Yet he was more interested in creating good images than in mere documentation. Like many other amateur photographers Dammann looked to established, known photographers and trained his eye with their pictures. Dammann prefered black-and-white photography, and he made his own prints. In his different apartments over the years he had a darkroom in the bathroom, in a storage room, and later in a basement room. He collected everything in orderly, labeled binders, boxes, and crates, carefully organized in plastic sleeves and stored together with the corresponding contact sheets. Those photographs that Dammann considered the best were enlarged to a format of 18x24 centimeters, which he stored in homemade wooden crates. The last roll of black-and-white film that he developed bears the number 422 and is from the year 2007. He digitized the last eighty-nine rolls of black-and-white film himself and then ordered prints from a photo service. Since 2002 his photography and archives are digital.

Details zur Ausgabe

• Verlag: Hartmann Projects Verlag
• Erscheinungsdatum: 2018
• Sprache: Englisch
• ISBN 10: 3960700245
• ISBN 13: 9783960700241
• Einband: Gebundene Ausgabe
• Auflage: 1
• Anzahl der Seiten: 48
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: preigu; mail@preigu.de; ; Lengericher Landstr. 19; Osnabrück; 49078; Deutschland