Jens Hirsch - Photographik

Makroglas

2012-01-14T16:01:00.001-08:00

Photographik-Kalender 2012

2011-12-19T18:09:00.000-08:00

Einfach die Nummer des gewünschtes Motivs für jeden Monat in die Liste unten eintragen. Bitte bedenken, dass der Kalender im Hochformat gedruckt wird und querformatige Bilder das Kalenderblatt nicht vollständig ausgefüllt wird (es bleiben oben und unten weiße Ränder). Bitte geben Sie an, falls/welche querformatige/n Bilder zu Hochformat gedreht werden sollen.

Bestellformular: http://uploaded.to/file/8me9bomg

Übersicht über Motive als PDF: http://uploaded.to/file/mk9t15e5

Ausgefüllte Datei einfach an jens.hirsch@gmail.com senden.

Preise: DinA4: 15 € DinA3: 20€

Gurke

2011-12-13T16:21:00.001-08:00

Colourful lights

2011-11-26T17:14:00.000-08:00

Regensburg Postkarte

2011-11-26T14:56:00.000-08:00

Frank O. Gehrys Peix (Fish) in Barcelona

2011-11-23T03:06:00.000-08:00

Barcelona - Bac de Roda Bridge (Santiago Caltrava)

2011-11-17T07:31:00.000-08:00

Singapore Republic Plaza 1

2011-11-17T07:30:00.000-08:00

London III-V

2011-10-26T16:33:00.000-07:00

London II

2011-09-29T15:08:00.000-07:00

Artistic skateboard decks / Skateboard art

2011-09-15T16:21:00.001-07:00

Hostel Rosemary - Praha

2011-09-08T16:19:00.000-07:00

London I: 30 St Mary Axe a.k.a. The Gherkin a.k.a. Swiss-Re Tower

2011-08-19T06:32:00.000-07:00

Thistles

2011-07-11T14:43:00.000-07:00

Thistles I

Thistles II

JDJ

2011-07-04T15:21:00.001-07:00

It eats her head

2011-07-03T08:51:00.000-07:00

Sancti.Spíritus.21.929448,-79.443922,5.6.04.23.26MESZ

2011-05-24T12:20:00.000-07:00

Photographik-Collage

2011-05-24T12:09:00.000-07:00

"Osthafen Regensburg I" + "Poppy à la Christopher Wool" + "Dani Porsche" + "Cloth"
=
Photographik-Collage

Pop Art II

2011-04-27T15:30:00.001-07:00

Ohrange

2011-04-16T07:32:00.000-07:00

Click on the image to learn more about Ohrange

Obatzde Büldln

2011-04-15T06:42:00.001-07:00

Details

Pop Art Typophotographik II

2011-04-14T02:27:00.000-07:00

still inspired by David Carson

Isolated Art: Monet's Nympheas (Water-Lilies/Seerosen)

2011-03-19T12:59:00.000-07:00

Isolated detail of Claude Monet's Nympheas (1915, Neue Pinakothek Munich/München).
See the original: Monet's Nympheas

Osthafen Regensburg

2011-03-12T14:13:00.000-08:00

Osthafen Regensburg I

Osthafen Regensburg II

Plakat-Vandalismus

2011-02-19T05:01:00.000-08:00

I: Vandalismus am Plakat?
II: Vandalismus durch Plakate?
III: Kunst durch Plakat-Vandalismus (plakat-vandalisierte Wände als Input für Photographik)?
IV: Kunst auf Plakat-Vandalismus (Photographik auf plakat-vandalisierten Wänden)?

Abstrakt

2011-02-13T05:55:00.000-08:00

Pop Art

2011-02-07T16:42:00.000-08:00

Pop Art Typophotographik

Inspired by the inevitable work of David Carson.

See him on:

http://www.ellelovesart.com/2010/03/09/artist-of-the-day-david-carson/
http://www.ellelovesart.com/wp-content/lg-gallery/03%20David%20Carson/carson-004.jpg
http://www.ellelovesart.com/wp-content/lg-gallery/03%20David%20Carson/carson.jpg
http://www.ellelovesart.com/wp-content/lg-gallery/03%20David%20Carson/carson3.jpg

http://www.davidcarsondesign.com/
http://www.davidcarsondesign.com/top/img/IMG_0598-.jpg
http://www.youtube.com/watch?v=7y7DbirNazM&feature=player_embedded

http://www.chadneuman.com/publishedclips/david_carson_on_work_and_play.php

Self portrait à la Lichtenstein

2011-02-07T16:39:00.001-08:00

abstract expressionistic photographik collage with digital cloth in acryl

2011-02-04T13:18:00.000-08:00

30x40 cm, acryl and photographik

Poster Grave / Plakatgrab

2011-01-04T02:46:00.001-08:00

Bunte Raster / Colourful pattern

2010-12-24T13:22:00.000-08:00

REGENSBURG-KALENDER 2011

2010-11-09T05:11:00.000-08:00

Garantiert nicht irgendein weiterer Städte-Kalender mit den immer gleichen Touri-Motiven. Stattdessen erhalten Sie mit dem REGENSBURG-PHOTOGRAPHIK-KALENDER-2011 ein individuelles Stück Kunst für Sie daheim, zum Verschenken oder selber Behalten. Bestellung per Mail (jens.hirsch@gmail.com) oder telefonisch (0176/62269603). Alles weitere unkompliziert nach Vereinbarung.

Linus

2010-09-09T12:10:00.001-07:00

Some Artwork for my friends of Linus from Regensburg. Linus = Sebastian (vocals), Christoph (percussion) & Klaus (guitar).

Berlin II

2010-08-22T09:31:00.000-07:00

Berlin I

2010-08-19T04:25:00.000-07:00

Adele Bloch-Birzer I - VI

2010-07-08T10:13:00.000-07:00

Inspired by: Daniela Birzer

Flower à la Sigmar Polke

2010-05-29T04:34:00.000-07:00

for RGBjpg

Cloth

2010-05-08T19:03:00.000-07:00

Magnolia

2010-05-02T02:40:00.000-07:00

Magnolia, Cherry, Balsamico...

2010-04-24T01:43:00.001-07:00

for RGBjpg

Dani VII

2010-04-16T04:05:00.000-07:00

for RGBjpg

Branches I & II

2010-03-29T20:24:00.001-07:00

For RGBjpg (Facebook-Photographik-Group)

Bloom

2010-03-29T16:11:00.000-07:00

Poppy/Mohn

2010-03-18T04:56:00.001-07:00

Gabi

2010-03-06T08:20:00.000-08:00

Television tower Ratisbon

2010-02-28T17:46:00.000-08:00

* * *

2010-02-24T16:24:00.000-08:00

Regensburg

2010-02-18T21:40:00.001-08:00

Ohrange

2010-02-15T10:47:00.000-08:00

Two logo-modifications for my friend Manulo from the band Ohrange, Regensburg/Ratisbon Ohrange's homepage
Ohrange on myspace

DJ NY

2010-01-25T08:25:00.001-08:00

Irises

2010-01-10T04:25:00.000-08:00

Daniela

2010-01-04T19:42:00.001-08:00

Dictators & terrorists

2010-01-04T18:48:00.000-08:00

Just a subjective selection (top to bottom, left to right):
Joseph Stalin, Osama bin Laden, Slobodan Milosevic, Gudrun Ensslin, George Bush Jr., Walter Ulbricht, Mahmoud Ahmadinejad, Fidel Castro, Saddam Hussein, Vladimir Putin, Adolf Hitler, Mohamed Atta, Kim Jong-il, Andreas Baader, Napoleon I)

Frohe Weihnachten aus dem besetzten H2, Uni Regensburg

2009-12-20T16:25:00.000-08:00

Anna

2009-12-14T15:56:00.000-08:00

Original Photographik

Painted (acryl) Photographik

Making of

no title

2009-11-16T16:20:00.000-08:00

"Abstrakt", Acryl on Photographik

Demonstration on Uni Regensburg for better education

Colour-modifications of abstrakt photographik

Mykonos

2009-10-23T17:51:00.001-07:00

Click on the picture to see full resolution (5000 x 3750 px)

Portrait

2009-10-05T07:12:00.000-07:00

Poppy à la Christopher Wool's "Kidnapped"

2009-09-01T13:59:00.001-07:00

A new Photographik, inspired by Christopher Wool's "kidnapped" shown in Museum Brandhorst (Munich, enamel on aluminium 228 x 152 cm)
See the original work of Christopher Wool: http://farm3.static.flickr.com/2705/4447277903_e1c25bf379.jpg

Andy Warhol Museum Brandhorst Munich

2009-08-22T10:48:00.000-07:00

The Museum Brandhorst in Munich shows the collection of modern art of the Brandhorst foundation. The building was designed by the architecture office Sauerbruch Hutton from Berlin. Parts of its facade, consisting of thousands of coloured ceramic bars, slipped in this Photographik just like a self portrait of Andy Warhol, that can be found in the exhibition, too.

Poppy with Ventilanze

2009-08-12T11:56:00.001-07:00

Poppy with Laser caustic

2009-08-06T18:52:00.000-07:00

Laser caustics

2009-08-06T16:34:00.001-07:00

Poppy

2009-07-27T18:55:00.001-07:00

Take Picture 1
Difference with Picture 2
Colorize with Picture 1
Add Picture 2 if lighter
Subtract Picture 1
Finally reduce the saturation in a selected spectrum of colour (here from cyan to blue about minus 50)
Voilà

no title

2009-07-20T17:05:00.000-07:00

freitimer

2009-07-09T17:44:00.000-07:00

Some intership work for my friends of freitimer, supporting their appearance at Jazzweekend Regensburg (Besten Dank nochmal an Vroni für die schönen Saxophone):

www.freitimer.de

"Wer wir sind und was wir machen
freitimer ist der erste mobile Freizeitplaner in Deutschland. Nutzer können jederzeit und überall per Web und Handy (mobiles Internet) auf den kostenlosen Dienst zugreifen und bekommen (je nach Ort, Zeit und Situation) passende Freizeit-Tipps.

So kann sich ein Nutzer unterwegs auf seinem Handy Freizeitinformationen in seiner Nähe anzeigen lassen; dabei werden jedoch nur aktuelle und relevante Freizeit-Tipps vorgeschlagen. Beispielsweise wird ein Biergarten lediglich bei schönem Wetter angezeigt und ein Restaurant nur wenn es noch geöffnet hat.
Findet der Nutzer eine interessante Freizeitaktivität, so kann er sich per Web oder Handy mit wenigen Klicks mit seinen Freunden verabreden und die Aktivität in seinen Terminkalender speichern."

Fabian Angerer, freitimer GbR

Art for you

2009-06-24T07:19:00.000-07:00

1. Just mail me your photo(s) and ideas
2. Choose out of several concept sketches
3. Receive your personal and unique peace oft art

Your holiday photo

Your portrait

Dripped Photographics

2009-06-18T03:30:00.001-07:00

Abstract

2009-05-23T06:59:00.000-07:00

Abstract

Abstract?

Dom / Richter

2009-05-23T04:12:00.000-07:00

Shell-Haus & dandelion

2009-05-19T17:58:00.001-07:00

Emil Fahrenkamp's Shell-Haus in Berlin (1930-32)

2009-05-10T16:38:00.000-07:00

Geography of art II

2009-05-08T17:08:00.001-07:00

Useful method

2009-05-06T03:23:00.000-07:00

Often it is neccessary to manipulate a photo before you can aplly it to your picture. If you want to alienate a picture step by step, without making the motive unknowable, one method is, to add "thin" layers of adequate photos from your "pool". You can do this by making these photos almost black with some remaining structures in a more or less dark grey tone. Then you can apply them to your picture with the difference-function. Below you see a number of accodingly manipulated photos:

Geography of art

2009-05-04T16:06:00.000-07:00

Regensburg

2009-04-19T13:18:00.000-07:00

Above: Several views of the Dome in Regensburg (Ratisbon). You already know the procedure...
Below: By the way it was developed during the work on a job whose result you can see here:

Exercise

2009-04-11T03:57:00.001-07:00

Easy procedure, nice result.

Structures

2009-04-05T14:08:00.000-07:00

After reading some quite scientific texts about Gerhard Richter’s paintings (especially the abstract ones) my attention while analyzing my own pictures shifted away from cooking analogies to music analogies. Most of the works consist of a varying number of normal photographs like a piece of music consisting of different instruments, everyone giving his special nature to the entire work. Visualizing the structures between the several works shaped up as a difficult but also very enlightening task. My first attempts to show how the pictures are related with each other ended in a quite confuse clutter that could not show which operations led from one point to another. Furthermore it seemed hardly possible to show all pictures without “mentioning” several ones at least twice. Aside from this the method somehow lacked the ability to give an sequential impression.

It was not very surprising how few works had to be arranged without any connection to the main system, where each picture is connected with at least one other picture. Making more and more works the situation became more and more difficult and this system would be very hard to complement in the future, especially without showing any picture again (as you can see, I could not even comply with this constraint in the method shown above). So I tried to find a method that is able to show more precisely the relations between several pictures and accepted willingly that the focus shifted from the a visualization of a whole oeuvre to the one of smaller groups of works. Tracing such a method and enhancing it may lead to a way of showing a bigger part of the whole oeuvre later, too. The new method has a more obvious focus on the processes that led from one picture to another, but still doesn’t show the precise operations. Here you can see the second method of visualization on the example of three works I made for an acquaintance, that wanted some special views of the Dome of Regensburg.

To be really consequent some things should be changed but this sketch already gives a good impression of the second method’s manner to visualize the work. The numbers next to each picture indicates the number of photographs that have flown into it (= picindex). Although this method was more flexible than the first one it was still too connatural to show what I really want to show, namely some standard procedures (a sequence of more or less well defined operations) used quite often. The great affinity between the two methods becomes obvious when we try to connect the two graphs with each other. It works quite well:

Now you realize the possibility of visualizing the whole oeuvre by making separate graphs for many groups of works and linking them with each other later. But this would end in a confusing clutter even if you might be able to discover some clusters in the oeuvre composed of some pictures being used again and again like a good spice or mixture of spices often used in a number of several dishes. This is a quite simple application of one basic picture and some other simple photographs (the one in the middle consists of two). The basic picture already consists of at least ten single photographs (I will hand in this process later). The other photographs have been prepared a little bit before the two operations of Difference and Colorize combined them with the basic picture (the pixindices are 11, 12 and 11). Richard Meier - Museu d'Art Contemporani de Barcelona (MACBA), Santiago Calatrava - Pont Bac de Roda, Frank O. Gehry - Peix:

When I listened to a piece of music that was slowly developing by adding more and more layers (many songs do so), I had the idea to try a third method of visualization, evocative of a musical score (“Partitur”).

Now it was possible to show standard procedures like the one shown above: Difference-Colorize-Difference. This special case is already a bit more complicated because it consist of four single pictures (one of them actually consists of three singe pictures itself). But you can even imagine more complex schemes of combining a certain number of pictures. One aim could be to compose a long chain of variations of one theme that entertains for a certain (some counterpoint here, some triad there…) time like J. S. Bach entertains us in his Goldberg Variations, the Well-Tempered Clavier Once developed this scheme can be applied on several other pictures.

Every row of the score stands for another operation and the one at the bottom shows the momentary collective sound. You can divide the score in several bars, each of them consisting of one more or less autonomous creation of one special sound. Sometimes two sounds “look” quite similar and only the fusion of these two single sounds by the operation of difference shows that there is a difference between them (5. Bar). You may imagine a method where every picture applied has its own row like the instrument in a score. I should try this too, but here every row/instrument stands for a special operation and every picture can be seen as a different way of playing this instrument. Finally this is a score (almost a tiny symphony), including the three golden pictures above, some other photographs used quite often (“spices”) and the development of a standard spice mixture. Attend the use of some standard procedures and its variation.

Art Cuisine

2009-02-20T07:09:00.000-08:00

Today I want to post some notable statements of Jürgen Dollase, the genuine philosopher of art cuisine/culinary art/Kochkunst/gastrosophy and author of the book "Kulinarische Intelligenz". Roughly speaking Dollase doesn't analyze what is so specific about the art of cooking, but what cooking has in common with the traditional arts - of course in its very special way. Some of his ideas can be easily applied on the peculiarities of Photographik (please excuse my lousy translation from Kunstzeitung Nr. 150, thanks to leo.org):

"In principle aesthetically advanced cooks are bricklayer and architect in one person. The profession's specific problem is, that some bricklayer considers himself an architect and that some architect insists on being only a bricklayer. Some grandmaster of Kochkunst as well as all kinds of additional job critics even affirm persistently, there would only be bricklayers in this business. In the case of many guests the mere meeting with a tender piece of meat, makes them consider all cooks architekts."

Thus much to the prejuedices against digital art (concerning for example Ruud van Empel you have to decide by yourself, if you regard him as a bricklayer or an architect).

"Many problems during ranking their culturell achievements rest utterly upon grave gaps in the audience's and the meadia's knowledge and the inevitable resulting misconceptions. Till this day Kochkunst is considered in many cases the 'old', completely from handcraft developed form. [...] If, in consideration of this, a good cook says, that cooking is handcraft and not art, one can only agree. No, this kind of well exercised execution is indeed no individuell, aesthetic formulation. With a further developed comprehension, that conceives the art of cooking as a extremely complex, communicative process, emerges a completely other view, that - maybe a little bit disturbing some observers - exposes especially in the last years in shortening intervals again and again new facets in this subject. Today almost the whole internation elite cooks dishes with an expanded and puzzled sensoric structure, broadly transcending what the 'classic' cooking bestowed to us. One is engaged in aspects of textural deconstruction and will probably become aware very soon, how important a kind of aromatic reorganisation und irritation of the eater can be and to what extent directedly anticipated psychological processes can play a role during reception. All this is a product of questioning the culinary piece on its function and its 'charge' with possible information."

The very special ability of Photographik is this deconstruction Dollase describes. One the one hand, you can create something, that looks very familiar, but indeed consists of completely unexpected elements. On the other hand you can go out, take a photograph of something very familiar and by transfusing for example only its colours to one of your other works, you deconstruct it. Your possibilities to find material/ingredients in your ambience are endless. Let's return to the picture that just emerged by transfusing the colours from one photo to another one (let's call them pic1 and pic2; we gave the colours from pic2 to pic1). Maybe you have another picture (pic3), that could be merged in our previous composition (comp1). If we only transfuse colours again, for example from the first composition to pic3, we would only obtain a resulting composition of two pictures, because comp1 only contains colours of pic2 and only these colours are transufed to pic3. A possibility to merge all three pictures would be forming the "difference" (Photoimpact-slang) between comp1 and pic3, let's call it comp2. If pic3 was only a homogeneous white, comp2 would be just the negative of comp1. But our pic3 contains structures, colours...

Now you will be able to understand what I mean, if I talk of "spices" or "mixtures of spices" concerning Photografik. If you keep yourself busy with Photographik for a while, you will soon discover that there are some photographs (spice) or some compositions (mixtures), you can use again and again to improve your work. I will accomplish the idea of spices some other time, give you just an example of one of my standard spices with one application and close with another quotation of Jürgen Dollase:

"It would be nice and very reasonable, if the classic world of art would once have a look on the case of Kochkunst sine ira et studio, without hybris and with a structural understanding of the coherences between art, individuum and society."

Welcome

2009-02-16T04:06:00.000-08:00

You are invited to see some of my works in this blog, that will be updated very occasionally. You will have the chance to learn a little bit more about how such Photographik comes into being, too. If you ask what Photographik is, it isn't easy to give you an answer. First of all I used the common german word, used to describe this special kind of making new pictures out of normal photographs transcending usual photomanipulation. Consequently the word Photographik is no adjektiv but the appellation of a modern style of art. All the works (I usually call them "pictures") shown in this blog are made ("painted") with ulead photoimpact, but like when cooking, the result depends more on the ingredients and the converting than on the equipment. It doesn't really matter if you use an electric or an inductive cooker, photo-impact or -shop. Every now and then I will post some ingredients and converting-instructions instead of completed dishes. You will see that a dish is never completed but only tasteful. First of all there will always exist some special spice that will fit additionally and furthermore some parts of an old dish can be used in a new one. If this sounds a little bit unappetizing, I can appease you. It is possible to transfuse only the colours or only the structures of one picture into another one. If this sounds too well-established to your ears, have a view on this first sample and come back next time.