Helmer-Petersen, Gursky and Fontana – rediscovering of the composition, through the introduction of new media.

Keld Helmer-Petersen received his first professional camera as a graduation gift and started taking photographs with his Leica in 1938. Around the 1940s he got hold of "U.S. Camera Annual" and developed a vivid interest in German inter-war period photography. Two of the German visual schools that influenced him most are the Bauhaus the Neue Sachlichkeit (The New Objectivity) movement.

Fast-forward 10 years marked in the European history among other things by the WW2 and we have Helmer-Petersen publishing his début album in 1948, in form of the bilingual book "122 Farvefotografier/122 Colour Photographs".

Franco Fontana (born in 1933) starts exhibiting his works in 1968 and since then works on numerous commercial and artistic projects. What seems interesting in his case is the fact that he isn’t shy to produce his advertising credits alongside artistic ones. His art is an example of abstract landscapes and the prominent use of colour. He is also not using any computer-processing.

Andreas Gursky is the photographer fully immersed in the new media. Since late 1990s, after graduation from Duesseldorf school he works as a professional freelance photographer to establish himself fully towards the tail end of the 1990s.

Both Gursky and Fontana embark on quest to rediscover photography as imaginary canvas and bridge to invite the audience to connect with and participate in the creative process on their respective individual levels of experience.

Viewers engage through known forms that still make space to be repopulated by their individual experience and taste. The influence of Helmer-Petersen is also vivid in both artists. In colour and light in the same measures as in the composition and framing the statements.