Since adolescence, the French director Sébastien Lifshitz has been collecting amateur snapshots discovered at flea markets. Seventeen of his finds are featured in an exhibition currently at Photo Elysée in Switzerland.
Photograph by Murielle Michetti-Baumgartner courtesy Photo ElyséeSince adolescence, the French screenwriter and director Sébastien Lifshitz has been collecting amateur snapshots discovered at flea markets. He is seduced not by evidence of lost time or vanished souls but by the “fascinating strangeness” of failed images. Seventeen of Lifshitz’s finds are featured in “Blur: A Photographic History,” an exhibition currently at Photo Elysée, in Lausanne, Switzerland.
Cameron is an example of a tendency toward blur that distinguishes British photography from the hard clarity favored in France. It was partly a matter of competing processes: the paper-based calotype produced hazier images than the daguerreotype. But as photographic techniques improved, certain practitioners adhered to a softness that seemed better to mimic how the eye saw.
There are still artists for whom the purity of optical blur—a tiny depth of field with a single detail picked out, or total lack of focus across the composition—says something important about the limits of perception, or usefully frustrates a viewer’s expectations.
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