#41 postdigital photography
Few theorists of photography have a complex vision of the whole world of photography and the need not to confine this medium in discrete bubbles or groups of supporters. Filip Láb was one of these. He took part in debates during the preparation of issues of the magazine; he belonged to the editorial board. Filip left this world prematurely. His exceptional capacity to span photojournalism and to reflect on contemporary art was unique, and it is precisely this type of understanding and openness that helps to merge bubbles instead of reinforcing our confinement in them. We will all miss it.
The intention of this issue is to develop the legacy of Filip Láb and his latest book of the same name, Postdigital Photography. Filip’s contributions consisted both in an interest in the medium of photography and the technological aspects of its further development, as well as in observing the media world and uncovering the manipulations that photography can facilitate in a way that is even dangerously brilliant. We will start on post-digital photography with the first digitally edited image in the world, John Knoll’s depiction of his girlfriend Jennifer in Tahiti. Artist Constant Dullaart dedicated an entire project to Jennifer using Photoshop filters with the ability to comment on both the recent past and ask questions about the future development of image making. Another paradigmatic example that Filip would rave with enthusiasm about is the case of photojournalist Jonas Bendiksen, whose book full of post-produced films is written about by Adam Mazur. What is postdigital photography? In this issue, it is a spectrum of approaches, contexts, and technological aspects. From DeepFace and use of artificial intelligence for automatic image retrieval, through the (un)hidden carbon footprint of data, fake news and the notion of post-truth, to manipulation through post-production, to artistic approaches from home-office desktop documents or wild post-internet aesthetics or lapidary mixing of photos into liquid mucus. A rich selection.
Markéta Kinterová, editor-in-chief
#41 postdigital photography — Profiles
Filip Láb

Filip Láb, who died unexpectedly and prematurely in May 2021, was not only a prominent theorist and teacher of photography, but was also one of a generation of artists that dealt with the shift in political polarities and radical changes in the photographic paradigm…
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Eva and Franco Mattes

Two recent works by Eva and Franco Mattes – Personal Photographs (2019) and Nostalgia May 3, 2021 (2021) – invite us to see photographs, and their authors, as online platforms see them…
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Agnieszka Sejud

Apart from studying law in Wroclaw, the Polish author Agnieszka Sejud also studied at the Institute of Creative Photography in Opava. Her training, therefore, is in photography, even though she presents herself more as a visual artist and activist in her work, often as a member of the art duo KWAS, which she forms with her ICP classmate Karolina Wojtas…
Read moreTaste Fotograf #40
#41 postdigital photography — Profiles
Bára Mrázková

We see something, we don’t exactly know what. We want to find out; we enter the image into the search engine. It finds something, we don’t know exactly how, usually more or less the right thing…
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Sanaz Sohrabi

Although it might sometimes seem that way, photographs never exist in themselves. And this is doubly true of those made by machines or for archival or documentary purposes. As the art of Sanaz Sohrabi demonstrates, images (and particularly reproduced images) are part of often unwanted testimony embedded into dense nets of relationship…
Read moreContent
- ––– Poem
- Audun Mortensen
- ––– Intro
- Audun Mortensen
- postdigital photography
- ––– Topic
- Do Algorithms Dream of Portraits of Their Own Mothers?
- ––– Wanted
- Yulia Krivich
- Katarína Dubovská
- Jiří Procházka
- ––– Project
- Sonja Nilsson
- Oskar Helcel
- Karel Slach
- ––– Profiles
- Sanaz Sohrabi
- Lawrence Abu Hamdan
- Bára Mrázková
- Chloé Galibert-Laîné
- Agnieszka Sejud
- Eva and Franco Mattes
- Look at This Macedonian
- Filip Láb
- ––– Interview
- Beyond any difference:
- ––– Theory
- the horrors of postdigital photography
- ––– Events
- ScreenSaverGallery
- ––– Institution profile
- Harun Farocki Institute, Berlin
- ––– Exhibition
- Critical Zones: A Hauntological Extrospection of the World
- ––– Book reviews
- Myšlení hranice / hranice myšlení
- Myšlení hranice / hranice myšlení
- Slanted #37: Artificial Intelligence
- Theater of the Street
- Capitalism and the Camera
- Pause. Fervour. Reflexions on a Pandemic
- Photography Off the Scale: Technologies and Theories of the Mass Image
- ––– Artist's Books
- Fortepan Masters. Collective Photography in the 20th Century
- I Am Warning You
- Pass It On. Private Stories, Public Histories
- Flower Smuggler
- Mirrored
Archive
- #35 living with humans
- #34 archaeology of euphoria
- #33 investigation
- #32 Non-work
- #31 Body
- #30 Eye In The Sky
- #29 Contemplation
- #28 Cultura / Natura
- #27 Cars
- #26 Documentary Strategies
- #25 Popular Music
- #24 Seeing Is Believing
- #23 Artificial Worlds
- #22 Image and Text
- #21 On Photography
- #20 Public Art
- #19 Film
- #18 80'
- #17 Amateur Photography
- #16 Photography and Painting
- #15 Prague
- #14 Commerce
- #13 Family
- #12 Reconstruction
- #11 Performance
- #10 Eroticon
- #9 Architecture
- #8 Landscape
- #7 New Staged Photography
- #6 The Recycle Image
- #5 Borders Of Documentary
- #4 Intimacy
- #3 Transforming Of Symbol
- #2 Collective Authorship
- #1 Face