For YET magazine ISSUE 2
yet-magazine.com

“White paper, or white leather, moistened with solution of nitrate of silver, undergoes no change when kept in a dark place; but, on being exposed to the day light, it speedily changes colour, and, after passing through different shades of grey and brown, becomes at length nearly black. The alterations of colour take place more speedily in proportion as the light is more intense. In the direct beams of the sun, two or three minutes are sufficient to produce the full effect.” Thomas Wedgewood and Humphry Davy, An Account of a Method, 1802.

As underlined by English scientists Wedgewood and Davy in the beginning of the nineteenth century, photography is a process of change, therefore we can consider it as the result of a metamorphosis and, translating literally from Greek, as a result of a mutation of forms: of light, of the silver halides and, in a broader sense, of reality itself - or rather, its reproduction.
When I was given the theme for this issue the first thing I thought was that, speaking of metamorphosis, I couldn’t not concentrate entirely on the photographic process itself, rather than on a photo-visual representation of the theme.

Analysing photography from this point of view, the passage from analogue to digital becomes a fundamental one. The structure of an image is no longer made up of millions of silver halides that transform depending on the intensity of the light, but of millions of numbers and figures which are translated and interpreted by just as many softwares and algorithms.

Hence, the photographic image becomes pure mathematics.

This consideration is the starting point for my project.

To explore this numeric nature, I have chosen amongst some of the most famous images in the history of photography (which in turn were scanned and digitally translated) and I’ve analysed them according to different processes and different algorithms, many of which have often been used in the scientific or medical field.

From the application of the Fourier transform, to 3D transformation, from the different file extension conversions to the graphic representation of tones and textures of the image, I wanted to explore the structure, the skeleton of photography, as it is translated virtually.
The result is a series of abstract images of the visual representation of these processes of analysis.

Once this “translation”, this “metamorphosis”, was made virtual, I wanted to find a way to convert the image again, back to the original photograph which I began with. This final transition is not visible on a computer screen, because the conversion is carried out using natural elements, like different wavelengths of light. If on the one hand it is impossible to show this process on an online magazine, on the other hand this intermediality allows us to at least show a video, with the intention of suggesting the visual experience that the project wants to offer.

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