Karl Steinorth PHOTO [Deutscher Text: Seite 485] [Texte francais: page 495] Cover/Umschlag/Couverture: Phil Marco m Now firmly established as the annual guide to international applied photography, Photographis records the evolution of a medium which has gained substantially in recent years in its range and power of expression. The 1973 volume, a sampling of which we reproduce here, presents nearly 800 items in all, and for the first time for some years includes a section on experimental work. The accompanying text is by an authority on photography who came to it from a rather unusual quarter - the legal profession. For further particulars of the book, see page 444. Editor Photographis, heute fest begründet als jahrliches Hand- buch der internationalen angewandten Photographie, zeich- net die Entwicklung eines Mediums auf, das in den vergan- genen Jahren wesentlich an Tragweite und Ausdruckskraft gewonnen hat. Die I973er Ausgabe, aus welcher wir hier einige Proben wiedergeben, beinhaltet annahernd 800 Ab- bildungen und erstmals seit Jahren auch wieder ein Kapitel über experimentelle Photographie. Den Begleittext schrieb ein Kenner der Photographie von eher ungewöhnlicher beruf- licher Abstammung - der Rechtswissenschaft. Weitere Einzel- heiten über das Jahrbuch befinden sich auf S. 444. Redaktion m Bien établi en tant que guide annuel de la photographie appliquée, Photographis trace Involution d'un médium qui a fait des progrès frappants ces dernières années. L'édition 1973, dont nous reproduisons des exemples dans les pages suivantes, présente environ 800 travaux. C'est la première fois depuis quelques années qu'on a ajouté un chapitre con- sacré aux photos expérimentales. L'auteur du commentaire a choisi un chemin plutót exceptionnel - le droit - pour accé- der a la photographie. Pour de plus amples informations, voir page 444. La Redaction sik '(3( 7 ,Y1U it hivfi In the last ten years, having had to do with photography not eiy in 7 natural inclination but as part of my professional life, I have tajevsrl interest in the concerned photographer in general and in the advefes photographer in particular. The reason is simple: the latter has pr* gsri the motive force in the trend towards colour. Up to the beginning of the sixties colour was in general shut ormoria the photographer's world. The commonest explanation for this w|'3iiii colour photography and the reproduction techniques were by an t unable to offer us sufficiently high quality to establish the colour ,0.'o'o a satisfying equivalent of polychrome reality. A classic exposition tohtteo opinion can be found in the section on colour in Henri Cartier-Br foreword to the book Decisive Moments (1952). Others, it is tru.:ai i sidered that the refusal of colour was due to prejudice. They trac prejudice back as far as the first half of the nineteenth century, wl French painter and fashion patriarch Jacques-Louis David st opposed gaudy colours. And in the last definition it is understate!.: that those who had by the sweat of their brows mastered the mysti tvrn black-and-white photography were not particularly keen to plun; m new techniques presenting quite different problems. However that may be, the developments of the last ten years Usv mind show very clearly that black-and-white photography will jlirr. 71 course be almost entirely ousted by colour. This assumption of i, leaves room for the fact that black-and-white photography, trlqv Cartier-Bresson called a deformation, an abstraction, has been able tjpici: r a certain artistic claim for its future development precisely bee; ad this potential for abstraction. This is clearly documented by the nil sance of surrealistic photography in the United States. L. Fritz Gruber, collector of photographs and an authority (thob subject, regards black-and-white photography as a phase which wi v m: be closed. 'Colour photography, and the mastering of it, has aar. We shall get accustomed to it and finally esteem it. And blacjjfci br white? It will no doubt sink back more and more into the past.' jwtaq: It has fascinated me, as an observer of the photographic scene, vsnaoa to what an extent advertising photography has provided the imp mi the evolution towards colour. It was doubtless market researcher Him on the evidence of the eye-catching value of colour advertisemip iar revealed in their surveys - colour in fact draws a good deal more u.t tion than black-and-white - called for good colour shots from adve ?L'. r photographers. Since the quality of colour reproduction in trac» ni illustrated magazines improved considerably at about the same t foa®8 became essential for the advertising photographer to master the r mi: colour. Just how far he has been successful is today revealed by a into the pages of any big illustrated magazine, or in even more si feston» and convincing form by leafing through the volumes of Photogroi The pace-making function of the advertising photographer imif ïu a me most forcibly in portrait photography. For many years the o tkftibE 476

Graphis de | 1973 | | page 42