Summary of Otto Steinert and German Post-War Photography
Otto Steinert: Shaping German Post-War Photography
Introduction
Otto Steinert (1915–1978) is among the most influential figures in German post-war photography. He combined the avant-garde principles of "New Vision" and the Subjective Photography movement (Subjektive Fotografie), breaking documentary conventions and developing experimental techniques that transformed the visual language of photography.
Definition: Otto Steinert was a German photographer and educator who, from the late 1940s onwards, advocated for a subjective and experimental approach to photography, emphasized the print as the final image, and utilized a wide range of darkroom techniques.
Context and Historical Background
Life Overview
- Born in Saarbrücken in 1915.
- Originally studied medicine and worked as a doctor during World War II.
- Since 1947, he has pursued photography professionally.
- From 1948, he taught at the Saarland State School of Arts and Crafts.
- From 1959–1979, he taught at the Folkwang Schule in Essen, where he mentored many notable students.
The Fotoform Group and Subjective Photography
- In 1949, Steinert founded the Fotoform group with the aim of revitalizing the avant-garde of the 1920s and Bauhaus methods.
- The group was presented at Photokina 1950; critical reception highlighted a new direction in German photography.
- Between 1951–1958, Fotoform organized exhibitions under the motto "subjective photography," which promoted photography as an artistic medium.
Definition: Fotoform – a group of photographers founded in 1949, focused on formal experiments, abstraction, and a subjective approach to photography.
Techniques and Aesthetics of Steinert's Work
We'll break down the main principles into easily digestible parts.
1) The Print as the Final Image
- Steinert considered the negative as source material; the final print is the ultimate product.
- Methods: repeated printing, post-exposure, negative montages, solarization.
Definition: Solarization – a partial inversion of tonal values resulting from repeated brief exposure of film or paper during development.
Practical Example: A photographer takes one negative and in the darkroom creates several variations from it using varying intensities of burning, montage, and tonal inversion; each variation is original and difficult to replicate.
2) Abstraction and Composition
- Strong tension in composition, tight cropping, and an emphasis on rhythm and structure.
- Frequent use of black-and-white reduction and high-contrast areas.
Table: Comparison of Compositional Approaches
| Element | Conventional Documentary Photography | Steinert's Approach |
|---|---|---|
| Cropping | Wider frame, context | Tight cropping, fragmentation |
| Tonal Range | Natural shadows and highlights | High-contrast black-and-white, inversion |
| Intent | Documenting reality | Expressing subject and emotions |
3) Luminograms and the Principle of Chance
- Luminograms: creations of light traces on photographic paper without a lens, often created by camera movement during long exposures.
- Steinert's luminograms incorporate chance, impulsivity, and rhythmic "drawing" with light.
Practical Example: During an exposure in a dark room, the photographer moves the camera around a light source; the resulting lines and shapes become an abstract image, which can be further modified by negative printing.
4) Uniqueness of the Print
- These techniques ensure that identical reprints cannot be easily produced from a single negative; each copy is unique.
Definition: Luminogram – an image created by the direct action of light on light-sensitive material without the use of a camera.
Analysis of Iconic Works
"Mask of a Dancer" (Maske einer Tänzerin, 1952)
- Significance: Chosen as the cover of the catalog for the first Subjektive Fotografie exhibition; it became an icon of Steinert's work.
- Technique: Negative duplication (two negatives copied one over the other, placed side-by-side), overlapping eyes, tone inversion for a
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Otto Steinert's Photography
Klíčové pojmy: Otto Steinert championed the print as the definitive artistic image., He established the Fotoform group in 1949 to revitalize the avant-garde and New Vision., Subjective photography prioritizes personal artistic intent over mere documentation., Techniques include solarization, post-exposure, negative montages, and repeated copying., Luminograms are made by drawing with light, without a camera, and incorporate the principle of chance., Mask of a Dancer (1952) is an iconic work, often featured as an exhibition cover., His teaching at Folkwang Schule (1959–1979) influenced generations of photographers., Uniqueness of prints: from a single negative, it's possible to create originals that are difficult to replicate., Practical exercise: creating three different print variations from a single negative., Steinert's work was exhibited internationally, including in São Paulo in 1955.