What is an Animated kaleidoscope ? The way I made (and I ’m not the only one using this technique) is simply placing beside itself the same image, flipped vertically and/or horizontally so that its edges connect to themselves, as in a mirror, thus producing a continuous image (we do not see small thumbnails side by side, because of their reversals, their edges are fluid and difficult to discern as such, they produce an other form, as do images of the Rorschach test).įor the final image to retain the same proportions as the original image, kaleidoscope consists of 4 images, or 9, or 16, in my practice. The tool has become essentially different, so the act of shooting changes essentially.
It is fair to assume that we can not, at all, think the act of making pictures in the same way as before. It is not for me to regret a past that we would assume more “noble” than the present. But it is, conceptually, an easiness which, paradoxically, making us dangled immediate control, empty somehow the situation of shooting of its mystery, its imagination, its power. This has great qualities, it makes money, it prevents from surprises, we control (or believed control) much the image. Ie we can not really think the image, imagine the image, we are immediatly audience, immediately on the other side of the fence, so to speak. Since the advent of video cameras and digital cameras, we look through a screen that shows the image already reproduced (or almost) ie what will be the image seen by the future audience. So the photographer with Leica was had to imagine his image, and make a gesture with his master coming to progressively experience and an intimate knowledge of his machine. Besides the best camera in the world, Leica, was not even aiming reflex, ie the framing was a bit “judgmental”, especially for close shots, because of the is offset between viewfinder and lens. Similarly, when we took photos or movies with photographic film, we saw in the viewfinder of the camera an idea of framing, but the other settings should be made “blind”, with various aids (including photoelectric cell), and we discovered only after the development of the film, the brightness (or exposure), color rendering or black and white, contrast, color balance, in brief, the “material” of the image. A fortiori for carving, many steps, abstract, above the “occurrence” of the image. But in reality things are not so simple in painting, because there is all the work of the nature of the image itself, the result does not necessarily see it now.
Of course, this system works, it is the system of figurative painters, and its qualities are proven. This is the “WYSIWYG” Sytem (What You See Is What You Get), dear to the computer when it became “user friendly” with the advent of the Macintosh in 1984. Things as we see them in the camera are the same as the specateur will see. When we do the framing of an image with a camera, we often use the classical criteria of image composition, inherited from the tradition of figurative painting.
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