10
month.
Finally I would say, the greater the intrinsic quality of a photograph, the
stronger its impact regardless of format. A first-class photograph, in a
small format and framed with sensitivity, possesses unsurpassable nobi-
lity. The large format integrates us into the pictorial event and has an
almost palpable effect on us. It finds its meaning in that it is shown and
viewed. A good collection contains all formats in the best quality and, if
the collector has first-class format, photographs of previously unknown
photographers.
NL - In your photographic work there are images that are purposely out
of focus. To what extent do you view image sharpness as an artistic
means and how does it influence the message of the picture?
WL
– The meaning of my photographic work is solely to convey to the
viewer my cognitive and emotional world. My aim is the same as a poet’s,
only on a visual plane. If focus is a prerequisite for understanding an
image, then I will use the known technical means to create sharp images.
Normally, however, I try to not to let the sharpness of my photographs be
the main appeal for the viewer. In the moment when a viewer approa-
ches my photographs and scrutinizes these up close like a gemologist, I
know that the content of my photographs has not reached him emotio-
nally. Ultra-high image sharpness is first and foremost a technical feature
which is helpful in conveying some kinds of pictorial content. For other
kinds of content, however, it is not effective in a good sense.
However: In the fine structure that is made visible of an object or of a
countenance, something is revealed to the viewer which remains hidden
in normal presentation. That apparently has something to do with a
heightened ‘truth of the object’ or also with the visible traces of the
ageing process, which we unconsciously perceive as a gain of informa-
tion. But this fine structure cannot be achieved through heightened
image sharpness alone. It also involves rendering the finest colour transi-
tions and nuanced shadows. I have experienced this effect especially
when looking at the photographs of Jean-Baptiste Huyn, who takes his
portraits with the 120 mmmacro lens of his Hasselblad.
As I mentioned at the beginning, however, using photographic unsharp-
ness has until now tended to interest me more than fine structure. (3). As
I said before, in my collection
Photo Varia I
occasionally work delibera-
tely in sculpture photography with implemented unsharpness in the
sense of blurred photo contours. This is how I attempt to evoke the
impression of movement. In other pictures, by contrast, I use unsharp-
ness to make the beholder focus on the content of the photo which I con-
sider to be essential.
Line Etchings byWin Labuda
14 - „Freyanar“
15 - „Warbari“
