My name is Peter Franck; I studied painting and free graphics at the Art Academies in Nürnberg and Stuttgart before being immersed in the world of photography.
I try to explore the elemental and expansive qualities of the medium, picturing a world aglow, one that feels known but is rarely seen.
Photography’s past restrictions meet the unlimited possibility of its presence, and in constructing his photographic world, he proves its existence.
I play with questions of time and light as well as perception and projection as I build a surreal but deeply recognizable world of possibilities.
Using photographs from various archives, I meticulously craft digital landscapes to build a sense of indeterminate time, drifting somewhere between past, present and future.
So my own and online archives play a crucial role. I try to build a bridge into the past and collaborate with long-forgotten photographers.
In order to supplement my work with concrete material, I mainly work with Sony in the digital area.
I have had a long-term collaboration with this company as I have successfully taken part in the Sony World Photography Awards several times.
I use the Sony Nex-7 which is older but always reliable, plus the Sony Alpa 6300.
I also have a Sony Alpa 7RII at my disposal.
Together with the Sony Zeiss FE 4/24-70mm and the Sony Zeiss 1.8/24mm lenses, that just about covers me.
Unfortunately, a large amount of my Canon equipment, including a Canon 5D Mark III with Biltz and lenses and a Canon 17-40mm f/1.4L, was stolen from me in a recent break-in at my store gallery.
Of course, analogue photography plays a crucial role in my work. For the 3D elements in my gifs, I use a 4-lens Nishika, which captures four shots on film at the same time and an old Kodak stereo camera with two lenses.
My work also includes a series that was made with a twenty-four by thirty-nine large format camera with a Rodenstock Aplanat f/1.8 32cm lens.
Here I experimented with wet plate collodion. As the technology needs sunlight, a Hensel Integra 1000 Flashlight was often used to provide the light source.
The tripod for the small digital cameras is a normal Manfrotto 141 RC; for the large camera, I have a vintage Gitzo Tripod.
The techniques that I use all come together using images from times long past in an Apple iMac and a good Imacon scanner.
I use an Apple iPad Pro when working outside of my studio.
All of the equipment that I have mentioned reflects my approach to creating my pictures. Old and new images and past and contemporary techniques are used equally, building on each other.
Without the brilliant work of past eras of photography, the current work would not be possible.
Maybe my work will form the basis and or the impulse for future works.