Val Bregaglia | 2016
Photographs should be more than a virtual illusion on a computer or smartphone screen. Trapped in a display, they are usually ineffective. Like a toothbrush on television. That's why I make a lot of my work on real photographic paper. That way they come alive. Your child can draw a picture on the back of the photo and you can send it to your father. Or burn them. And you can put them in a box in the attic, forget about them and find them again by chance. Virtual photographs, on the other hand, are condemned to an eternal life between being and nothingness. Mostly untraceable and lost forever on the World Wide Web.
Authenticity and factuality are important to me, just as they were in the days of analogue photography. All my photographs were discovered with my eyes and taken with my camera. And not composed in a computer. They show what I personally saw through the viewfinder. All my photos were taken without AI image generators.
The photos of "Verzasca River II" and "FreeJazz with Niki" were also 100% taken with my camera. The artistic effects are based solely on movements with the camera during the shooting. Without the help of Photoshop. This technique is called FreeJazz photography.
The photos of "Verzasca River II" and "FreeJazz with Niki" were also 100% taken with my camera. The artistic effects are based solely on movements with the camera during the shooting. Without the help of Photoshop. This technique is called FreeJazz photography.
Development and post-processing are done in Photoshop. This is done with the aim of achieving light intensities and colour tones that allow me to express my vision. The vast majority of my images do not contain elements from other images. No relevant image content has been removed.
My inkjet prints are produced on premium photo artist papers. With the special touch and feel of real art paper. These 100% cotton fine art papers have an ultra-smooth surface texture. Guaranteed to meet international archival standards.
Up to A2 size, I print myself on the Epson SC-P5000 or SC-P900. Larger formats are produced by a certified digital fine art print studio in Switzerland. Most of my colour work is taken with high resolution digital medium format cameras. This allows for the finest tonal gradations even in very large image formats.
COLOUR
Edition of 5. AP: 1. HC: 3. Signed and numbered on verso. Standard size: 413 x 578 mm (A2). Sizes up to 150 x 200 cm are available.
Up to A2 size, I print myself on the Epson SC-P5000 or SC-P900. Larger formats are produced by a certified digital fine art print studio in Switzerland. Most of my colour work is taken with high resolution digital medium format cameras. This allows for the finest tonal gradations even in very large image formats.
COLOUR
Edition of 5. AP: 1. HC: 3. Signed and numbered on verso. Standard size: 413 x 578 mm (A2). Sizes up to 150 x 200 cm are available.
B/W
Edition of 5. AP: 1. HC: 3. Signed, stamped and numbered on verso. Or on reverse of passpartouts. Standard size: 329 x 483 mm (A3).
Edition of 5. AP: 1. HC: 3. Signed, stamped and numbered on verso. Or on reverse of passpartouts. Standard size: 329 x 483 mm (A3).
8 x 10"
Limited edition: I also have a series of contact prints from the 90s. Taken with my Toyo Field 8 x 10" camera on Kodak T-Max 400 film. Locations: Val Verzasca / Switzerland, Bretage /France, Norway. Developed on the legendary Agfa Record Rapid Baryta paper. They also give me great pleasure. And they serve as a reference for the tonal range.
Limited edition: I also have a series of contact prints from the 90s. Taken with my Toyo Field 8 x 10" camera on Kodak T-Max 400 film. Locations: Val Verzasca / Switzerland, Bretage /France, Norway. Developed on the legendary Agfa Record Rapid Baryta paper. They also give me great pleasure. And they serve as a reference for the tonal range.
6 x 6 / 6 x 7
I also have an archive of medium-format analogue photographs. Places: Seychelles 1997, Tuscany 1997, Alaska 1998, Brittany, France 2000, Morocco 2003. Cameras: Yashica MAT-124 G, Mamiya 7 II. My archive of analogue 35mm photos - from 1973 - is unfortunately incomplete. Cameras: Kodak Retina IIIC, Leica M3.
I also have an archive of medium-format analogue photographs. Places: Seychelles 1997, Tuscany 1997, Alaska 1998, Brittany, France 2000, Morocco 2003. Cameras: Yashica MAT-124 G, Mamiya 7 II. My archive of analogue 35mm photos - from 1973 - is unfortunately incomplete. Cameras: Kodak Retina IIIC, Leica M3.
Occasionally I print my photos on very large PVC canvas. The resolution and color accuracy are amazingly good. Big, even bigger? Yes, anything is possible.
Val Verzasca | 1997