Tacita Dean
[Artist, b. 1960, Canterbury, England, lives in Berlin.]
I don’t know if we will have the same level of longing for a digital iPhone picture as we will for a gelatin-silver print.
Roni Horn
[Artist, b. 1955, New York, lives in New York and Iceland.]
A non-analogue image has an extremely compressed life. It starts as
this and, in increasingly short time spans, becomes
that.
Geoffrey Batchen
[Photohistorian, b. 1956, Australia, lives in Wellington, New Zealand.]
Everyone concedes that photography is now a medium of exchange as much as a mode of documentation.... photographing has become “the visual equivalent of cellphone chatter.”
The main difference seems to be that, whereas photography still claims some sort of objectivity, digital imaging is an
overtly fictional process. As a practice that is
known to be capable of nothing but fabrication, digitization abandons even the
rhetoric of truth that has been such an important part of photography’s cultural success.
Bill Jay
[Photographer, writer, and curator, b. 1940, Maidenhead, England, d. 2009, Samara, Costa Rica.]
Photoshop makes it easier to do all the things you didn’t need to do before Photoshop.
Lev Manovich
[Artist, theorist, and critic, b. 1960, Moscow, lives in New York.]
... the reason we think that computer graphics technology has succeeded in faking reality is that we, over the course of the last hundred and fifty years, have come to accept the image of photography and film as reality.
David Maisel
[Photographer, b. 1961, New York, lives in San Francisco.]
The limits of photography have always existed in a changing, fluid dynamic form. Cameras, lenses, papers, films, and, yes, digital technologies come and go. They are the current on which photography rides, but not the substance of what makes a photograph a worthy work of art.
Jean Baudrillard
[Writer and theorist, b. 1929, Reims, France, d. 2007, Paris.]
Digital production erases the image as
analogon; it erases the real as something capable of being ‘imagined’.
