182 / 11:11

DEAR READER,

AS PICTURE NO.182 of 182 HAS BEEN TAKEN, THIS PROJECT HAS FOUND ITS END.

YOURS,
NOBODY

FURTHER THOUGHTS ON THIS PROJECT

it is not the intention to produce "good" pictures [talking in terms of "composition", "technical perfection", "composition of light" or what soever].

neither is it the intention to produce "beautiful" or "interesting" pictures [as Roland Barthes would commend: non of the pictures shown here, have a "punctum"]

this project is not about photos which transport some sort of meaning or statement or "inner truth". in accordance to this: there is no need to analyze or interpret.

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as mentioned above:

it is the intention to capture a certain moment in time.

there is a certain, specific constellation of objects, subjects and actions at 11:11 every 24 hours, which is being captured.

a moment of time, frozen and banned on the chip of the camera; afterwards: shown here on this blog.

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what's being produced at 11:11, are somehow snap-shots which document what is happening in front of the photographer.

instead of composing, the photographer takes the camera at 11:11, puts it in front of him / her and pushes the button.

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still:

this is not about capturing "reality" [and what is "reality" anyway? ..] - although, there is, of course, something happening, something taking place, in front of the camera.

this is not about "photography as a product of mimesis" - although some of the things seen on the photographs look realistic, look similar to objects which do exist in the three-dimensional, "real" world which surrounds us; the ether. but this is not reality.

nor is it about transporting some sort of "inner truth", a statement, expressions, thoughts or meanings.

there is - without question - a index which inscribes itself in the picture. something, which did exist [in a way that it was breaking the rays of light, which, as a further consequence of it, where reflected and hit the lens of the camera and afterwards the chip in the camera] at a certain moment, which was manifesting itself, and now can be seen on the photograph.

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photographs are of course - always - in some way a product of a constructional process [starting with the technique itself, the machine, the camera itself; up to the point, that the picture itself is a cultural product, which may only be understood and read within that cultural radius or context.

a picture as a symbol, a index, having a form, transporting meanings, demonstrating a statement, being a tool for manipulation, etc. etc.]

out of this point of view, the photographs shown here are - of course (and how could they not be) - never neutral nor objective, but ever and always subjective, as the photographer is the one how is taking the picture by pushing the button [and the reader is the one who is reading]. the camera reproduces what is being seen by the photographer.

but - in in this case- it should be pointed out: as there is no intention of composing, there is no need to analyze and interpret.

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the only thing shown here is a situation; a constellation of objects, subjects, energies and actions at a certain moment - which is taking place in front of the photographer, which is seen by the photographer and which is captured by the photographer.

the other thing which can be seen here:

this is what pictures look like, if they are not composed; if they are shot without preparation.

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