The influence of technology on the formation of the photographic image: a series of photographs by Michal Rovner "Outside"

Michal Rovner (1957) is a contemporary Israeli artist who combines various mediums in her artistic practice, particularly photography. The focus of this research is the series of works by Michal Rovner titled "Outside," created in the early 1990s, and the subject of the study is the influence of technological processing on the formation of the photographic image. Despite the fact that each photographic image is the result of specific actions by the photographer, each shot undergoes processing by the camera. This article attempts to draw attention to this gap in photography. One of Michal Rovner's early works was chosen as a case study. For several years, the artist photographed a Bedouin hut located in the desert. Subsequently, the images underwent processing, resulting in a series with a special rhythm. The process of editing these images plays a key role. The methodology of this research is based on the intersection of two issues: the theory of photography and the theory of the photographic image. The article conducts a visual analysis of the series "Outside." Drawing on theoretical reflections from representatives of photographic discourse (W. Benjamin, S. Krauss, S. Sontag, etc.), the text presents various viewpoints regarding the technical component in photography. The scientific novelty of the article lies in examining the series "Outside" from the perspective of the technical side of photography. Rovner's photographic works, seen from this angle, appear not only as aesthetic phenomena but also as examples of a unique artistic practice. The dynamics of the photographic image depend directly not only on the specifics of the viewer's perception but also on the technical process underlying the photograph. In her artistic practice, Rovner hyperbolizes this aspect of photography, bringing the technical side to the forefront. She alters the colors of photographs, makes elements blurry, and disrupts the structure of the original photograph. The issue of the relationship between technique and photography becomes particularly relevant in the late 20th century, when the technological component of photography begins to change – digital images replace analog ones. New technologies have made it much easier to create technical images, leading to a significant increase in their production. This circumstance compels us to again turn our attention to the technical side of photography.

photography, technique, photographic image, modern art, Michal Rovner, image theory, camera, photographer, phenomenology, visual studies