This caterpillar will one day become a beautiful butterfly.
A photo from my wildlife collection:
http://www.jorgbecker-art.fr/animals-album-3.html
http://www.jorgbecker-art.fr/art-photo-das-schoene-monster.html
about current work of our members at strkng.com
This caterpillar will one day become a beautiful butterfly.
A photo from my wildlife collection:
http://www.jorgbecker-art.fr/animals-album-3.html
http://www.jorgbecker-art.fr/art-photo-das-schoene-monster.html
When you look at a photograph like the one of Maria, my most popular work on strkng.com, what do you see? Beyond the striking subject and the careful composition, there's a story of process, of deliberate choices, and of a deep engagement with the very essence of image-making. This particular image, like much of my work, is a product of large format analog chemical photography, a practice I've dedicated myself to since 2018. It embodies my commitment to handcrafted tools, sustainable methodologies, and a philosophy that champions the human touch in an increasingly automated world.
Maria – 13x18cm x-ray film reversal processed with Caffenol and Peroxyacetic Solution. © Photographer J Saidler
Crafting My Own Tools: Innovation and Sustainability in Practice
My journey into chemical photography is intrinsically linked to the tools I use, many of which I develop and construct myself. This isn't merely a hobby; it's a fundamental part of my research and artistic expression. I meticulously craft cameras, accessories, and optical systems, often repurposing materials not traditionally associated with photography. This approach, using simple tools and unconventional materials, allows me to imbue each piece of equipment with an innovative and sustainable character. It's a direct challenge to the notion that high-quality photographic instruments must be mass-produced or commercially acquired.
This handcrafted methodology is driven by a philosophical stance: to demonstrate that reliable, beautiful, and effective photographic tools can emerge from unexpected sources. This commitment to accessible and sustainable practices is particularly vital in contexts like Brazil, where access to traditional photographic supplies can be severely limited. My goal is to democratize large format photography, creating methods that yield high-quality images capable of competing with commercial processes, thereby opening up this art form to a wider community.
My Distinctive Process: X-ray Film and Alternative Inversion Techniques
One of the defining characteristics of my photographic research is my exclusive use of X-ray films. This choice is not arbitrary; it's a deliberate exploration of unique visual aesthetics and a push against conventional boundaries. The transformation of these films into positive images is achieved through an alternative inversion process, a technique I've refined to lend a distinctive and captivating effect to my final works. This method not only produces unique visual results but also highlights my ongoing exploration of photographic possibilities that extend beyond established norms, constantly pushing the boundaries of traditional chemical processes.
A Commitment to the Human Element: My Artistry in Portraiture
Beyond the technical innovations, my approach to chemical photography serves as a powerful statement against the increasing influence of automation and artificial intelligence in artistic creation. I believe passionately in the affirmation of human capabilities and the intrinsic value of manual labor. My conviction is that the true essence of creation resides in the artist's unwavering control over each stage of the process, from crafting the tools to developing the final image.
Within my studio, my primary focus is on portraiture. Here, I explore the human form with precision and creativity, with meticulous attention to the careful manipulation of light and the nuanced direction of my models. A key aspect of my studio practice is my commitment to a single exposure per pose. This deliberate constraint introduces an additional layer of complexity and singularity, ensuring that each image is not only technically refined but also profoundly unique, a direct result of my focused artistic intention and skill.
Fostering Collaborative Creation: The CAM-LAB Project
Inspired by this spirit of hands-on creation and my dedication to sharing knowledge, I extend an invitation to those who are inspired to delve into the world of building their own photographic equipment. The CAM-LAB project embodies the principles of accessibility and self-reliance that are fundamental to my photographic research, offering a structured pathway for individuals to engage deeply with the craft by constructing their own tools. This initiative fosters a deeper understanding of the photographic process and empowers participants to unlock new creative possibilities through their own ingenuity and collaborative exploration. Discover the profound satisfaction of creating with your own hands and join me in pushing the boundaries of chemical photography. Learn more and pre-register at: https://lab-cam.jsaidlerfotografia.com.br
The series 030815-240325 will form part of the finalists' selection at this year's Langhe Photo Festival.
The exhibition presents the 17 finalist projects selected for the Open Call LanghePhotoPrize 2025, promoted by the LAC cultural association.
https://langhephotofestival.com/mostre-2025/mostra-collettiva-langhephotoprize-2025/
The festival runs from 6th July till 2nd November in Neive, Italy.
Was verdeckt ist, wirkt umso präsenter.
Was sich nicht zeigt, fordert Aufmerksamkeit.
Dieses Bild erzählt von der Kraft des Moments davor:
dem Zögern, dem Übergang, der bewussten Unsicherheit.
Es geht nicht um Enthüllung, sondern um Präsenz –
darum, gesehen zu werden, auch wenn man sich nicht ganz zeigt.
Ein Porträt zwischen Nähe und Distanz,
zwischen Selbstschutz und Offenheit.
Still, aber bestimmt.
Model-Call
Ich erweitere aktuell meine fotografische Serie Birds, in der Körper, Bewegung und organische Elemente wie Federn, Schatten und Licht zu poetischen, oft paradoxen Bildwelten verschmelzen. Die Arbeiten bewegen sich zwischen Anmut und Auflösung, zwischen Selbstinszenierung und Maskerade.
Dafür suche ich Modelle (m/w/d), die Lust auf ein sensibles, künstlerisches Arbeiten haben – mit Offenheit für Akt, Bewegung und experimentelle Konzepte. Vorerfahrung ist willkommen, aber keine Voraussetzung – wichtiger ist Ausdruck, Präsenz und ein gemeinsames Interesse am kreativen Prozess.
Wenn du dich angesprochen fühlst oder Fragen hast, freue ich mich über deine Nachricht mit ein paar Zeilen zu dir und ggf. Bildmaterial oder Portfolio.
1) »Maryam« © Photographer Behnam Khorramshahi
2) »Dorsal« © Model Miss Souls with marc von martial
3) © Photographer Michael Hemingway
4) »cat part1 I/V | rue | tanzsaal | 2o24« © Photographer Willi Schwanke
5) »Emma« © Photographer Kai Mueller with Riel Life
6) © Photographer Ash Day Participants: Irina ludosanu
7) »Gemma« © Photographer Jürgen Neitsch
8) »Julia« © Photographer s_pro
9) »Posture« © Photographer Yeh Shu Yu
Use only one number in the comment.
Only one vote per person. Thank you!
Voting ends Tuesday 17th June 23:55h MET
Publication covers so far….
https://strkng.com/en/publications/
Teilnehmer: Fotograf Ash Day / Fotograf Behnam Khorramshahi / Model Irina ludosanu / Fotograf Jürgen Neitsch / Fotograf Kai Mueller / Fotograf marc von martial / Fotograf Michael Hemingway / Model Miss Souls / Fotografin Riel Life / Fotograf s_pro / Fotograf Willi Schwanke / Fotografin Yeh Shu Yu
It’s a poor sort of memory that only works backwards
(Lewis Carroll)
Doch was, wenn alles zugleich geschieht –
Erinnerung, Spiegelbild, Verschwinden?
Ein Gesicht, halb da, halb fort,
flimmert zwischen gestern und gleich.
Der Raum atmet Stille,
der Blick sucht Halt im eigenen Schatten.
Hier ist Zeit nicht Linie,
sondern Fläche –
verwischt, gespiegelt,
offen nach innen.
Current mainstream seems to prefer black & white. However the real world comes with colors. So why is black & white liked better?
The reason is probably simple: It is easier to create B&W as it is easier to digest B&W.
For photographers: B&W doesn't ask for managing colors, doesn't require respecting messages which colors automatically bring, doesn't contain color-intrinsic moods (e.g. red for love, red for aggression).
B/W focuses on a picture's structures but subordinates the message of the scene.
Color does similarly – just the other way round.
For viewers: It's ways easier to detect the structures, the geometry of a picture by not being distracted by additional information coming from colors or the scene. B&W is much easier digested. It's fine for the quick glance, but it runs the risk for becoming boring when being watched intensively.
This series of pictures tries to show the B&W baseline (drawing) which makes the foundation for the final picture (painting).
Choose by yourself.