Author Oliver Grau in his book Virtual Art: From Illusion to Immersion notes that the creation of artificial immersive virtual reality, arising as a result of technical exploitation of new inventions, is a long-standing human practice throughout the ages. Such environments as dioramas were made of composited images.
The first and most famous mid-Victorian photomontage (then called combination printing) was “The Two Ways of Life” (1857) by Oscar Rejlander, followed shortly by the pictures of photographer Henry Peach Robinson such as “Fading Away” (1858). These works actively set out to challenge the then-dominant painting and theatrical tableau vivants. Images location.
Photomontage is the process (and result) of making a composite photograph by cutting and joining a number of other photographs. The composite picture was sometimes photographed so that the final image is converted back into a seamless photographic print. A similar method, although one that does not use film, is realized today through image-editing software. This latter technique is referred to by professionals as “compositing”, and in casual usage is often called “photoshopping”
text source
text source
Fantasy photomontaged postcards were popular in the Victorian and Edwardian periods.[citation needed]The preeminent producer in this period was the Bamforh Company, in Holmfirth, West Yorksihire, and New York. But the high point came during World War I, when photographers in France, Great Britain, Germany, Austria, and Hungary produced a profusion of postcards showing soldiers on one plane and lovers, wives, chldren, families, or parents on another. Many of the early examples of fine-art photomontage consist of photographed elements superimposed on watercolours, a combination returned to by (e.g.) George Grosz in about 1915. He was part of the Dada movement in Berlin which was instrumental in making montage into a modern art-form. They first coined the term “photomontage” at the end of the war, around 1918 or 1919. The other major exponents were John Heartfield, Hannah Höch, Kurt Schwitters, Raoul Hausmann and Johannes Baader. Individual photos combined together to create a new subject or visual image proved to be a powerful tool for the Dadists protesting World War I and the interests that they believed inspired the war. Photomontage survived Dada and was a technique inherited and used by European Surrealists such as Salvador Dalí. The world’s first retrospective show of photomontage was held in Germany in 1931. A later term coined in Europe was “photocollage”; which usually referred to large and ambitious works that added typography and brushwork or even actual objects stuck to the photomontage.
Other methods for combining pictures are also called photomontage, such as Victorian “combination printing”, the printing of more than one negative on a single piece of printing paper (e.g. O. G. Rejlander, 1857), front-projection and computer montage techniques. Much like a collage is composed of multiple facets, artists also combine montage techniques. Romare Bearden’s (1912–1988) series of black and white “photomontage projections” is an example. His method began with compositions of paper, paint, and photographs put on boards 8½ × 11 inches. Bearden fixed the imagery with an emulsion that he then applied with handroller. Subsequently, he enlarged the collages photographically.
The 19th century tradition of physically joining multiple images into a composite and photographing the results prevailed in press photography and offset lithography until the widespread use of digital image editing. Contemporary photo editors in magazines now create “paste-ups” digitally. Creating a photomontage has, for the most part, become easier with the advent of computer software such as Adobe Photoshop (see figure below).
No comments:
Post a Comment