untitled

gelatin silver print mounted on cardboard

In contrast to the pictorialists, Hugo Brehme opens up a completely different view for us only a few years later with a picture of an almost identical situation, like Floyd Butler Evans before him (see pages 88-89). With the "New Vision," as a photographic counterpart to the style of New Objectivity in painting, photographers created an image as close as possible to reality starting in the 1920s. Technical improvements, such as better lenses, allowed for greater detail and more light-sensitive emulsions for shorter exposure times. The New Vision emerged simultaneously with photographic experiments in which the abstract possibilities of imaging by means of a camera (or even without one) were tested. The New Vision has often been described as a self-reflexive moment in the history of photography: Photography reflects on its means.
(Christoph Fuchs)