As the evolution of digital image editing eliminates the distinctiveness of the visual vocabulary, the viewer of photographic images is increasingly confronted with drably uniform visual languages.
Digital post-editing today allows repairing virtually every mistake and achieving any desired aesthetic result, but at a great cost. Where any result can be produced from any original image, seeing and sensual perception lose their value and significance, as does the technical and manual process of capturing an image.
Josef Dreisörner rejects this current approach to the photographic workflow radically. His analogue black and white photographs fascinate due the maverick aesthetic composition of the subject and the effective interplay of distinct sharpness and blur. His portrait shots yield perspectives of the human visage with downright surgical precision – an aesthetic approach which may feel alien at first, but is intentional in its expressiveness.
Such pictures are only possible with a technical tool that was originally not intended for the subjects captured by Josef Dreisörner: A Klimsch Praktika repro camera built in 1957, used with special 50×60 cm black and white photo paper with direct exposure. Since this method does not create a negative, the recorded image cannot be reproduced, and there’s no option of analogue or digital post-editing. The uniqueness of these portrait shots is part of their appeal as works of art.