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The history of photography in some sense is the history of progressive constitutions, including the progress from black and white to color, analog to digital, darkroom to digital darkroom, and optical to computational. Finally, photography is the history of its complexification of itself. So, photography is deceptive for its conceptual significance. 

For much of the history of photography, bigger meant better. A film, with a larger frame, could capture more visual detail, but that meant a bigger camera body. Bigger lenses offered more, but that meant more weight. However, with the emergence of digital photography cameras became lighter and pixels became the ultimate unit. From a few million pixels now the technology has evolved to hundreds of millions of pixels and the fever of high-tech devices overwhelmed the users to adapt and react.

“Post Analytical” is a speculative exploration of the features embedded with the intrinsic impure nature of photography itself and their interactions with each other. It's an attempt to point out the impure nature of photography. Photography is often granted the quality of being a pure medium, unlike cinema. But the complex nature and journey of a photograph just begin with the very incident of capturing light. Photography runs and progresses with many other features like a computer, LED screen, digital darkroom, dodge and burn, screenshots, and so on. These features are very silently and politely present in any photograph. “Post analytical” engages with the silent features of photography, beginning with a digital photograph, photographed without any lens, exposing a digital sensor to a source of light to provide a pallet, to invite the silent features on the stage to play their role. Instead of being a photograph consisting of 17915904 pixels, the photograph is devolved to a photograph with 48600 pixels. It deals with an iterative process of evolution-devolution where dodge and burn, computer screen, pixels, and screenshot plays and interacts with each other to initiate engagement. Moreover, this particular body of work intends to start a conversation with the unconscious of both creator and viewer, or rather in a crude sense, it deals with the consciousness about the “un”, probability, and cognitive pattern recognition capability of the human brain. 


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Debashish Chakrabarty
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