There has been much written on the changing role and definition of photography since the introduction of digital forms and proliferation of images. Increasingly, a considerable amount of these writings discuss the new worlds in which the photographic artist now has to navigate and contribute within.

Over the last few months I’ve reflected on the more positive aspects of image saturation, specifically found on the Internet. I’ve come to realise the escalation of images has enabled me the opportunity to connect into and network within the global photographic community. As a photographic artist living in Australia, this is vital as I live far outside the more established photographic hubs of Europe and America.

Social media platforms, blogs and online journals have opened up relentless opportunities to explore, engage and discuss photography. New peers from around the world have been formed and friends have been made. Most surprisingly though has been an international art swap.

In 2012 photographs of mine were featured in the online journal Unless You Will. Not long after German photographer Peter Nitsch emailed to congratulate me on the photographic series. From this point forward we have kept in regular email contact, sought photographic advice from each other and have just completed an art swap.

Late in 2013 via Skype, Peter and I finally spoke for the first time. With the art swap in its final stages of completion, we both agreed the abundance of images on the Internet has led us to more connection and interaction within the global photographic community.

Never before has it been easier for a photographic artist to connect to online journals and blogs to publish work and link back to their websites. Other artists and enthusiasts can freely contact photographic artists to network and build rapport.

Most importantly, the art swap highlighted our ongoing appreciation for the materiality of photography. Experiencing a photograph in the context the artist wishes it to be viewed provides a renewed appreciation of the photographic print. The photographic paper quality and surface, inks / darkroom chemicals, the final size of photograph and framing - it all forms how we view a photograph as both image and object.

It’s interesting to also note how the art swap highlights a departure from the way collectors and their collections have originally been formed. Purchasing and owning art doesn’t now have to be an activity solely for those interested in maintaining private and public art collections. Rather than viewing an artwork in a local gallery lots of different people can now view artwork online and buy from artists located anywhere in the world.

Going back into history art collecting once was common among the wealthy in the Ancient World in both Europe and East Asia, and in the Middle Ages, but developed in its modern form during the Renaissance and continues to the present day. As a German photographer I consider that art collecting has been an area of considerable academic research in recent decades, having been somewhat neglected previously. „Owning“ art should not be left only to those who are private and public collectors (such as museums). Artists themselves should own art by and exchange art with other artists.

We will continue to navigate the masses of images available on the Internet. Through this navigation it will be interesting to see if more people take up the unique opportunity we now have to connect, purchase and collect photographic artworks through the Internet.

Peter Nitsch: www.peternitsch.com
Kate Robertson: www.kate-robertson.com