ir Er n inbandgestaltung und typogratie: jan tschichold, munchen # foto des einbands: el lissitzky, selbstbildns reliure et typogratie: jan tschichold @ photo de la reliure: el lissitzky, portrait de Vartiste par lur-méme @ chichold @ design of book cover and typagraphic arrangement by jan t photo on the cover by el lissitzky (picture of himself) @ ruck von heincich fink, stuttgart @ copyright 1929 by akademischer veriag dr. fritz wedekind & co, st wachdruck 1973 reprodultion, druck und einband: passavia, passau ag ernst wasmuth tu unveranderter bingen pyright by de. juliane roh und jan tschichold franz roh: medhanismus und ausdruck ——_seite écanisme et expression page 8 ‘medianism and expression page 14 fotos — photographies — photoes 19 wir dackeu hersn uo! frau soe io susgar, dew Liven dee we dies buch eckbundausselluog sil und foto" suteguet 19% fur ie tie mihile bb, 36 wugde nach der wosheusrft las assert bla feankfor¢ am mai, abb, 50 mad einem ‘huse wolff werlage mundhen ab 70 pach sem ywelepiegel” (verlag rudolf move, besin) repro au Klis verdanken wie abbe AT (aus dem bushe ,weisuagen der vogeladhex” von Kk hebranner) dem verlag georg dw: calves we nda abo.) der retadnift wie wmsdiu fenkfurt am mai, abb dem medisiisden arenas gmbh frankfurt tn malo, sf ral 91, sb. 68 dem verlag wa neue Tamkfurt’, frankfurt am main 5nit Bn Hit aa rin) > (cathe te (aa chabrns wt wre! mechanism and expression the essence and value of photography franz rok the history of plotograply hitherto shows (wo culminating periods, the first at the begining of development (daguerre), the second at the ‘nud (see the photoes uf this volume sud smaniy “ano mous” pietures pubs Jisheit ia dllustrated papers). the greatest part of what has been prod ced between this beginning aud end is questiouable, because a frank oe lisguised attempt was made (o iauitate the dharu that belongs either 10 minting of to gruphie art, this of course was a deviation Irom the proper task of plotograplly, a task witieh, though one eaunot e rely eseape Ue of his time and will aiways show a cervain Kinship w ‘outemporuneous att, ought never to have stink wo imitation. the pres Hhloom has uot spread widely enough, for, alter the aisharvests of the hineteonth century, the ideals of visual Lorimation in the broad public are still tainted. yet it may be taken Jor grated that true visual vulture sill expand more and more, and that (possibly in ten years already) we shall encounter ay Little sembiance, pretence and biull, us in mediaes.al intinting and graphic wrt, where no “kitsch” ist inet with, two circumstances are decisive wheneser eultural table in several places nd at the sume tine single volcanoes mist smoke, new pictorial ideas upon the land, sowing fertilizing lava the levinting soil must be of a kind to absorb and amalgamate manure. the supposition Irom above is alveady realized by single photographers such as upper in this book, the condi on from below is also given: the ap: Dliauers of new photographie technique are se simple Ut iar principle everybody can hnundle then. the technique of graphic art (Wo keep cou parison on the plane of black-and-white formation) was so complicated and slow, Uiat up to the present time people were met with, who though falwolutely possessing the Visual power of torming, yet had neither lei- uure nor perseverence nor shill to learn the way ol Fealization. the rela tion between conception and the medium of exps ated. from this viewpoint i is dharacteristie that in this book mon-pro: ssion wats too copli- lossionals get a hearing, samatour signifies “one wlio loves the thing”, wil dletiante meaus “one who delights in the thing.” the german werhbund eshibition “fil and photo”, 1929, this most important eveut i the visual Held iu the Jast few year sional photograph a renewed proof tit reyuvenescene aud elevation in vasious realms of ders, showed nest to uothing by so-called probe IS, who s0 often petrity in conventiouality of manner life, of art, and also of seieutific researdh, often proceed from 0 wh remained impartial. thus this new bloom of photography also be longs largely to the field (now tilled by me) of misjudged history 0 ge eral uon-protessional productivity the importance t the history of mankind of development of instru imettty stich ay the camera, lies in obtauing increasingly couples results while the handl fe simple. tf the apparatus becomes more aud tn miintoin that “short cuts” by velieving him of all effort, lead but to mau router dulness and laziness, is romanticism ia the uiinor key. the field OL mental struggle is but danged to another place. the “raphscls without hands” can now become productive, for it was likewise rom time ia the wjor hey), (o assert that everyone who hus ing it, only when the tedinieal edlia hase become so simple that everybody ean Fearn to apply then, will they become a keyboard for the expression of many tiie statement is right, that not to be able to handle a camera will soon something 40 sity will Hind a way of Ine looked upon as equal to illiteracy. 1 eveu believe that in stiools the instruction in photography will soon be introduced in the so-called drs ing lessons (while antiquated brandies are dropped, let us hope). peda gogies — though of necessity coming after — always inelude ia the pro: ram of instruction the tecliiques that begin to become a general secon lishment of adults. ian the days of dtarlemugue only the sdholar could rile, some centuries later all cultivated people mustered uke toda: tue; nl still later exery dhikd, a similar process iv more limited space al Hine in M00 the typewriter wats Found ony in remote special offices