A world without photography

The lights dimmed, and a voice that seemed to come out of the heavens said, “Welcome, now close your eyes, and just imagine… Imagine a world without photographs.”

About ten years ago, I attended “De Donkere Kamer”, or “the darkroom”, for the first and last time. I have very fond memories of that night and have wanted to return ever since. Photographers pitched their projects to a respectably sized audience, with seasoned ones being interviewed in between the pitches. The audience was asked to vote for the pitched projects, which gave an already inspiring event a charming interactive touch.

Yesterday I finally decided to go back. Through Instagram I saw that there were only a few places left. I jumped at the occasion and bought a ticket. When thinking about a world without photographs, as the voice asked us to do, I immediately felt an incredible relief, even before the voice had finished the question.

I kept on imagining what it would be like to look at the world with fresh eyes, without the filter of all the images photography has captured since its inception, which shape the way we look, see, and experience life. But also the weight of the cameras I carry with me, or the burden of having to maintain an ever-growing oeuvre and to carry that into the world every single day.

A figure now followed the voice, as Kaat Celis, the host, appeared on stage. Photography as a burden was not the point she wanted to make at the start of the evening. And for good reason: the photographers interviewed and those who pitched their projects were very inspiring.

Robin de Puy, whose work I have followed since her American road trip appeared in an article in De Volkskrant many years ago, and who inspired me to enroll in the Fotoacademie, talked about the relationship she has with the subjects she photographs. She returns to them throughout the years, despite the thousands of kilometers and the years that separate them. One of her striking images features a young child and what is probably the father, in a car. She explains that she was worried about his wellbeing but felt incapable of doing anything. Years later, she found out the boy had been adopted and was doing great. Of course, she went on to visit and photograph him.

It took me down memory lane, reminding me of the series I did on Syrian refugee children in Balat, Istanbul. Over the course of a few months, I would regularly visit the area and photograph the streets, its inhabitants, and mainly the children who flocked to the streets. Each time I returned, I brought small prints with me for them or their parents. But I have no idea how any of them are doing today. My street photography never really goes beyond the instant.

Children in Balat, Istanbul

The last pitch was the one I voted for. The voice-over was well performed, but the images were convincing on their own: a clear subject, consistent approach and execution, leading to a strong series that speaks for itself. The series shows the Dutch landscape, with its dykes and waterways. It shows civilization without showing the human figure, as the photographer himself put it, against the backdrop of accelerating climate change, an existential threat to a large part of the country. It will be published in De Standaard soon, so be sure to keep an eye out for when that happens.

Also that evening, Wilfried de Jong discussed his book Polaroidman, his friendship with Stephan Vanfleteren, his solitary walks with his SX-70 and, to be frank, also a little bit that burden. He described it as the exhaustion that follows hours of walking, seeking, looking. But he didn't fail to express how rewarding it is at the same time.

Don't get me wrong, photography might take its toll, physically, financially, and in many other ways, but there's no way I would ever consider stopping. It is too entwined with who I am by now. It's my most important way to express myself, but also to contribute something to the discussion on where we need to go as a society, in an ever darker world.

De Donkere Kamer’s next event will take place in Genk, Belgium on November 28th. You can get your tickets here.