#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
#43 collecting — Intro
Collecting – special 20th anniversary issue

This edition departs from our series of thematic issues, as it is a celebration of the magazine’s twentieth birthday. As is usually the case with birthday celebrations (particularly such important ones), memories of the past intersect with the future…
Read more#43 collecting — Topic
The Infinity of Lists

An incomplete calendarium of Czech photography 2002–2022
Even though history is not obedient and does not unfold from a given date to another, instead passing by in an unbroken continuum, it is our habit to single out various epochs and phases…
Read more#43 collecting — Wanted
Adam Evans

The digital collage Hledání mentefaktu (Finding the Mentefact, 2018) was created as an intuitive illustration for a performative research expedition at the site of a former landfill where a friend and I were staying…
Read moreTaste Fotograf #40
#43 collecting — Collecting special
The Beginner Collector’s Guide to Photography

Over the past fifty years, the photography market has seen significant development and growth. The rarest photographs sell at auctions for prices on a par with major works of contemporary art…
Read more#43 collecting — Interview
Interview with Sven Eisenhut, the Director of Photo Basel

In mid-June 2022, I visited Photo Basel, a charming boutique fair dedicated to photography that takes place during the Art Basel week. It is a stop worth making as the fair’s approach is different in comparison to others…
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
- Photographing Flavors
- 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
- #42 food
- #41 postdigital photography
- #40 earthlings
- #39 delight, pain
- #38 death, when you think about it
- #37 uneven ground
- #36 new utopias
- #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