From November 8th 2025 to December 19th 2025, the first exhibition of the Analoger Arbeitskreis (Analog Working Group) will take place at 11-Line in Potsdam.
11-LINE Potsdam — Gallery | Café | Bar
Charlottenstraße 119, 14467 Potsdam
https://11-line.de/
The Analoger Arbeitskreis Analog Working Group is a steadily growing group of people who are enthusiastic about analog, mechanical, and handmade photography. Since the beginning of the year, there have been regular meetings to discuss analog film and all its facets. At the end of the first year, we are now exhibiting a selection of works of eight of our members for the first time — without any guidelines or thematic framework. What connects us all is analog photography and the city of Potsdam.
But:
What is so interesting about a cumbersome technology that seems long outdated?
Analog photography can be considered a crucial precursor to modern digital culture, in which almost everyone is now equipped with pocket-sized cameras and accustomed to capturing moments in the cloud for later, for others, for fleeting profiles, reproductions, and for seemingly endless editing possibilities without immediate cost. Photography has not only evolved, it has transformed. Much of what constitutes the process of creating an analog photograph—then as now—no longer plays a significant role in today’s common digital practice and can be understood as a completely different form of expression, where only the result bears a somewhat similar appearance. But appearances can be deceiving. The play that Novalis once called «experimenting with chance» leads us in analog photography through a multifaceted landscape of emotions before we hold a tangible image in our bare hands, and moreover, to a form of appreciation for the ephemeral, the uncontrollable, and the unique. The snapshot becomes a precious commodity, unparalleled in its complexity, and its multi-stage process transcends the inhuman certainty and unbearable time between blindly taking a snapshot and capturing the finished image, while nature cooperates. Equipped with limited material resources, this creates an immediate connection, whether traveling abroad, in everyday life, or in the most intimate still life.
All magic happens in the dark, in the unknown; all light is crucial to the image—it can be used as a tool for creation with the bare hand, and every movement is forever decisive. Whether in instantaneous exposure, manual film development, or hand-printing in the darkroom, there is no turning back. Some may still remember this from real life.
All films have been exposed, processed (developed) and printed in the dark room by hand.
I am currently exhibiting 20 fully analog works, including:
- 6 analog color prints, including a negative layering, a double exposure, and a color solarization
- 2 cyanotypes: an infrared contact print on Khadi paper and a contact foil print with stencils and black tea toning
- 1 pastel print of a black and white motif (yellow)
- 11 black and white prints, including a ductography, a light leakage, an infrared print, a transgeographic double exposure in two cameras and two locations, a momentary double exposure, a medium-format triptych made from three 6×6 negatives, each double-exposed, and a cryography using ice as a lens (without a camera)
Many scans of the prints modified in the darkroom do not yet exist, only digitalised negatives:
Medium Format Double Exposure
Dark Room Black & White Print 20×20
C2 metal frame 30×30
Medium Format Double Exposure
Dark Room Black & White Print 20×20
C2 metal frame 30×30
Medium Format Double Exposure
Dark Room Black & White Print 20×20
C2 metal frame 30×30
Momentary Double Exposure: Black & White
Dark Room Print 30x40cm, wooden frame, mounted
Transgeographical Double Exposure: Black & White
Dark Room Print 30×40, wooden frame, unmounetd
(Photographer #2: Stanley Connell)
Dark Room Colour Print 24×30
C2 metal frame 30×40
Dark Room Black & White Print 30×40
old wooden frame
custom fitting
Negative Layering of two Colour Exposures
Dark Room Colour Print 24×30
C2 metal frame 30×40, mounted
Momentary Double Exposure: Colour Negative
Dark Room Colour print 24×30
C2 metal frame 30×40
Dark Room Black & White Print (Fibre Paper) 16×20
C2 metal frame 30×30
Black & White Infrared Negative
Dark Room Print in Postcard 10×14
Dark Room Colour Print 10×14
Tungsten Colour Negative
Dark Room Colour Print 24×30
C2 metal frame 30×40
Black & White Film frozen, manually exposed without Kamera
Excerpt from an entirely textured film
Dark Room Print 30×40
Wooden Frame 40×60
mounted
Vernissage
Es folgen einige Fotos von einem Taschengehirn (digital):
