Fixed shadows of three- dimensional objects on light- sensitive material

The photogram is the immediate result of a constellation of light, three-dimensional object and photosensitive material. Hereby the object is in partial contact with, or in a relative proximity to, the photosensitive material. In other words, there is no optical system between object and photosensitive surface. Processes of light-bending or refraction are at best caused by the objects themselves. All two-dimensional electromagnetic receptors function theoretically as photosensitive material. A source of light can be used as well as invisible rays such as microwaves, infrared light or x-rays. Conceptually, the photogram as a kind of light imprint differs fundamentally from lens-based photography. By its immediacy, its quality as index caused by the potential contact and the reversion of distance relationships, the photogram relates more to imprint techniques and shadow phenomena. Or to make it short: The photogram is a highly differentiated shadow picture fixed directly on a light sensitive surface. (Information from

Conceptually there is a controversy as to whether the photogram is merely an experimental camera-less branch of photography, or if it constitutes its own medium. The result differs greatly from a photographic image made with a camera. The photogram technique is at least as old as the existence of photosensitive surfaces. (app. 1802) (Information from

ANONYMOUS, PORTRAIT OF ANNA ATKINS, ALBUMEN PRINT, COLLECTION: MAJOR RICHARD W. EDMEADES. EQUISETUM SYLVATICUM. FROM: CYANOTYPES OF BRITISH AND FOREIGN FERNS. CIRCA, COLLECTION: J. PAUL GETTY MUSEUM

The real breakthrough for the photogram constitutes the discovery of x-rays by Conrad Röntgen. In the arts, the photogram was explored rather late, after the first World War. The name “photogram” was introduced and established by László Moholy-Nagy in With respect to Christian Schad and Man Ray who used the technique before Moholy-Nagy, sometimes the technique is also called “schadography” or “rayograph”. (Information from

Mapping the temporal balance between water and air in the form of unique bubbles - which emerge as a result of dynamic systems that do not follow linear and hierarchal patterns of organizational behavior - Fried charts the fundamental economy of networks in nature. In varying chromatic tones, Fried depicts strictly non-biological membranes that evoke a strong resemblance to primordial living cells or biotech test-tube creations, and remind us of just how strong yet corruptible the architecture of life is. Fried creates large gaseous vesicles in a totally darkened room using infrared goggles, and at the decisive moment, photograms them onto grainless color sheet-film. Specifically, he uses the shadows of objects – even transparent things - to make an image on photosensitive material using only light and the light sensitive material. No camera, no Lens. What we see in his enlarged c-prints are the latent shadows and spectral aberrations of these transparent forms. The title refers to Lucy (the early hominid Mother), to us (the Myth), and to Dolly-the-sheep (the Missing Link) in a dialogue that seeks orientation in a world in which man has moved from controlling the environment to the inescapable urge to invent our predecessors. Fried takes us on a biomorphical journey from the Cambrian sea to the artificial womb.

CONTEMPORARY PHOTOGRAMS CONSIDER YOUR CONTENT & LAYOUT…

SINGLE OBJECT COMPOSITIONS

COLLECTIONS AS COMPOSITIONS

OTHER CREATIVE SOLUTIONS

You can easily create your own photogram by placing an object on a photo-sensitive surface (like photo paper) inside a dark room. The paper is then briefly exposed to light and later developed.