Pinhole structures developed as a contribution to imaging, “generative” photography on a systematic-constructive basis. The first 8 series (Program 3.1-3.8) consist of 8 and 17 pictures taken from the 12th through the 30th of January, 1967 exposed on color and B/W material (paper and film): unique prints on color paper (series 3.1 and 3.2) and on film, where a wide diversity of prints were made available. The B/W series 3.8 represents a first stop, as the last image in the series, number 14, formed the basis for further modifications through photo-specific design parameters. It was named “3.8.14 A” and was the outcome of nearly 200 derived pictures: clearly, a key image of this topic.
Pinhole structures owe their origin to the initial principle of optical imaging, the camera obscura (pinhole camera). From here, it was developed into a complex optical unit, i.e. a variable multi-pinhole camera. This was an apparative system to design geometric patterns, after a programmed and traceable, generative image-grammar was available. First works were shown in 1968 as part as the Generative Photography Exhibition in the Kunsthaus Bielefeld. The show united works from Breier, Cordier and Gravenhorst with text by Herbert W. Franke and Gottfried Jäger.
First Exhibition: Generative Photography, Kunsthaus Bielefeld, February-March 1968. Exhibition flyer.
First publication: Gottfried Jäger: Generative Photography, in: Foto Prisma, Düsseldorf, No. 10, 1969, p. 458-460.
Further important publications: (1) Gottfried Jäger: Pinhole Structures. Generative Photographic Works 1967-1974, in: Pinhole Journal (San Lorenzo, NM, USA), Vol. 5, No. 2, Aug. 1989, p. 22-32; (2) Reprint in: HyperSpace. Japan Society for Hyperspace Science, Kyoto, Japan. Vol. 7, No. 2, 1998, p. 51-61.
First collections: (1) Collection Etzold, Program-Zufall-System, Städtisches Museum Abteiberg Mönchengladbach; (2) Collection Peter C. Ruppert: Concrete Art in Europe after 1945, Museum im Kulturspeicher Würzburg; (3) Photography Collection in Museum Folkwang Essen.