Jerry Uelsmann (1934-2022) is one of the most influential photographers of his generation, because he did not only challenge with his montages the prevailing canon of his chosen medium, but he also anticipated an image language that came only into fruition in this perfection with the rise of digital imaging and photo editing technologies a few decades later. Since the 1960s, Uelsmann composed surreal visual worlds and narratives in long hours of tinkering with a selection of different negatives in his darkroom. With his light-sensitive photo paper in hand, he would march down a row of up to seven enlargers in order to manually expose one picture element after the other into the pre-visualized motif. Thus, the resulting dream landscapes, fantasies or nightmares are basically all unique prints, even though Uelsmann always tried to produce ten comparable prints of each image.

Roger Humbert, born 1929, began creating photograms in the darkroom in the mid-1950s. Humbert and his photographic contemporaries were looking for a new modern, experimental visual language - a photography without a camera. He denied the image, detached himself from the object and understood light as a decisive, image-generating element. Using experimental light sources and form elements, Humbert created photograms from the 1950s to the 2000s. In recent years, Humbert has transferred his work in the darkroom to the digital image space, creating digital Concrete Photographs. Like its analog predecessors, the focus lies on the mysterious quality of light. This is now being explored using new, digital photographic techniques. In 2021, Fabian & Claude Walter Galerie already honored Humbert as one of the masters of Concrete Photography. The artist returns this year with some of his most recent works, which are grouped under the title Quant.