Photograms

are analogue photographs without a camera, are a direct exposure on photosensitive material.

Models and/or objects are placed directly on the photo paper, which is then exposed with one or more light sources. The exposed paper is subsequently developed in a special laboratory.

This means that the photo paper always creates a unique piece that is the same size as the exposed motif.

When using film, the size of the objects is limited by the format of the film, but a negative is created from which prints can be made in any size and edition.

The exposure process always takes place in complete darkness. There is no delete key, no mass production. Each image is a unique work of art. Photograms are the result of a fusion of photographic skill and creative vision. Nevertheless, it always remains exciting, there is a certain element of surprise and to quote Henri Cartier-Bresson (1908-2004):

"Of course it's always luck."

What looks so ultra-modern is based on one of the oldest of all photographic techniques. It was first developed in the mid-19th century and, since the early 20th century, artists such as Man Ray, Christian Schade, Lászlo Moholy-Nogy, El Lisitzki, Kurt Schnitters and Raoul Hausmann have created world famous masterpieces with photograms.

“Is photography an art? There is no point in trying to find out whether it is an art. Art is old-fashioned. We need something different.”
Man Ray (1890-1976)

the Aston Martin photogram is exposed in complete darkness.
With different color flashes and other sources.
...and finally comes out of the developing machine. 
Pretty exiting moments before one could see the result:

Bernhard Schmidt

was born in Munich.

He studied Photography and communication design at the Folkwang School in Essen.

He works with great passion and love for photography. Anywhere necessary and in his studio.

He has experimented with photograms throughout his professional career. This technology continues to fascinate him to this day. Because of the uniqueness of the pictures, because people or objects touch the paper directly and because there is always a certain secret to it.

You can see the outlines, you can see an unbelievable sharpness in the places where there was direct contact with the photo paper. At the same time, there is enough leeway to imagine what the whole thing looked like, what happened before and after the exposure.

His work has been shown in many exhibitions and has been manufactured as commisioned work for large companies and institutions

Interview published by Circle Foundation of the Arts, after having been awarded to artist of the month, May 2024. © CFA Press

What themes does your work involve?

Very diverse, an incredibly wide range. Anything motionless. Natural objects, musical instruments, memories, seasons, technology, various forms and manifestations of positive feelings.

Describe your creative process.

I usually get ideas when I’m fascinated by a person or an object Creating photograms is a complex process. It begins in a completely darkened room.  After positioning the light sources often covered with colored foils and adjusting their brightness the light-sensitive material is then taken out of its packaging in the dark, fixed to a flat surface.The person and/or objects are placed in position using a night vision device or by touch. Then my concentration is at its utmost and the shutter is released, the photogram has been exposed.The final step is development, which takes place in a special laboratory, The moment of truth comes afterwards. I’m either happy when I see the result, or annoyed when the photogram doesn't meet my expectations and all the work was in vain.

What influences your work? What inspires you? Why do you make art?

I studied photography at the Folkwangschule in Essen because I was so impressed by Otto Steinert's work. Then, of course, there are Floris Neusüss with his body photograms and the classics by Man Ray, László Moholy-Nagy and Christian Schad. These days I’m inspired by all kinds of things, museums and exhibitions, but also, as I said, by the many forms nature takes on, but basically the idea of ​​how something will look in direct contact with photographic paper or film when when you only see the form and the contours. When you express something out of that. I “make art” because I can't help it. Maybe it’s in my genes. In any case, it’s an inner urge that I have to follow.

What is good art? What makes a piece of art great?

“Good art” is whatever makes me do at least a double take, what touches me, engages me and kidnaps my thoughts, whether it be visual art, sculpture, photography, performance, or film. Am I leaving anything out? I like whatever grabs you and doesn't let you go. When it creates a certain tension, makes you curious, provokes you or maybe just radiates sublime calm and harmony.

What is the role of the artist today?

I'm an artist because I just can't help it. I want my work to spread positive vibes. Artists offer people pieces that inspire, fascinate and move them. Their work is soul food, so to speak... The role of artists today is not much different than it always has been: they provoke, they heal, they unite, they resist.

Photograms

are analogue photographs without a camera, are a direct exposure on photosensitive material.

Models and/or objects are placed directly on the photo paper, which is then exposed with one or more light sources. The exposed paper is subsequently developed in a special laboratory.

This means that the photo paper always creates a unique piece that is the same size as the exposed motif.

When using film, the size of the objects is limited by the format of the film, but a negative is created from which prints can be made in any size and edition.

The exposure process always takes place in complete darkness. There is no delete key, no mass production. Each image is a unique work of art. Photograms are the result of a fusion of photographic skill and creative vision. Nevertheless, it always remains exciting, there is a certain element of surprise and to quote Henri Cartier-Bresson (1908-2004):

"Of course it's always luck."

What looks so ultra-modern is based on one of the oldest of all photographic techniques. It was first developed in the mid-19th century and, since the early 20th century, artists such as Man Ray, Christian Schade, Lászlo Moholy-Nogy, El Lisitzki, Kurt Schnitters and Raoul Hausmann have created world famous masterpieces with photograms.

“Is photography an art? There is no point in trying to find out whether it is an art. Art is old-fashioned. We need something different.”
Man Ray (1890-1976)

the Aston Martin photogram is exposed in complete darkness.
With different color flashes and other sources.
...and finally comes out of the developing machine. 
Pretty exiting moments before one could see the result:

Bernhard Schmidt

was born in Munich.

He studied Photography and communication design at the Folkwang School in Essen.

He works with great passion and love for photography. Anywhere necessary and in his studio.

He has experimented with photograms throughout his professional career. This technology continues to fascinate him to this day. Because of the uniqueness of the pictures, because people or objects touch the paper directly and because there is always a certain secret to it.

You can see the outlines, you can see an unbelievable sharpness in the places where there was direct contact with the photo paper. At the same time, there is enough leeway to imagine what the whole thing looked like, what happened before and after the exposure.

His work has been shown in many exhibitions and has been manufactured as commisioned work for large companies and institutions

Interview published by Circle Foundation of the Arts, after having been awarded to artist of the month, May 2024. © CFA Press

What themes does your work involve?

Very diverse, an incredibly wide range. Anything motionless. Natural objects, musical instruments, memories, seasons, technology, various forms and manifestations of positive feelings.

Describe your creative process.

I usually get ideas when I’m fascinated by a person or an object Creating photograms is a complex process. It begins in a completely darkened room.  After positioning the light sources often covered with colored foils and adjusting their brightness the light-sensitive material is then taken out of its packaging in the dark, fixed to a flat surface.The person and/or objects are placed in position using a night vision device or by touch. Then my concentration is at its utmost and the shutter is released, the photogram has been exposed.The final step is development, which takes place in a special laboratory, The moment of truth comes afterwards. I’m either happy when I see the result, or annoyed when the photogram doesn't meet my expectations and all the work was in vain.

What influences your work? What inspires you? Why do you make art?

I studied photography at the Folkwangschule in Essen because I was so impressed by Otto Steinert's work. Then, of course, there are Floris Neusüss with his body photograms and the classics by Man Ray, László Moholy-Nagy and Christian Schad. These days I’m inspired by all kinds of things, museums and exhibitions, but also, as I said, by the many forms nature takes on, but basically the idea of ​​how something will look in direct contact with photographic paper or film when when you only see the form and the contours. When you express something out of that. I “make art” because I can't help it. Maybe it’s in my genes. In any case, it’s an inner urge that I have to follow.

What is good art? What makes a piece of art great?

“Good art” is whatever makes me do at least a double take, what touches me, engages me and kidnaps my thoughts, whether it be visual art, sculpture, photography, performance, or film. Am I leaving anything out? I like whatever grabs you and doesn't let you go. When it creates a certain tension, makes you curious, provokes you or maybe just radiates sublime calm and harmony.

What is the role of the artist today?

I'm an artist because I just can't help it. I want my work to spread positive vibes. Artists offer people pieces that inspire, fascinate and move them. Their work is soul food, so to speak... The role of artists today is not much different than it always has been: they provoke, they heal, they unite, they resist.