We see photography as an objective documentation, esspecially with realization that the image is captured by the machine itself. The creator’s function is limited to the activation of the apparatus and framing the cutout of the world as Vilem Flusser puts it:

The photographer’s gesture as the search for a viewpoint onto a scene takes place within the possibilities offered by the apparatus. The photographer moves within specific categories of space and time regarding the scene: proximity and distance, bird- and worm’s-eye views, frontal- and side-views, short or long exposures, etc. The Gestalt of space–time surrounding the scene is prefigured for the photographer by the categories of his camera. These categories are a priori for him. He must ‘decide’ within them: he must press the trigger.                                                                                              
Vilem Flusser

Because we believe in photography as a reality capture method so much, all 3d modelling softwares can render virtual scenes viewed through the lenses with all optical imperfections we know from the camera - its blurring, focal distance, lense distortion.

I decided to go back to traditional techniques of silver gelatine process photo development to render virtual landscapes and beings created in 3d modeling software. The real and unreal in this relation questions the understanding of the mimetic representation of the reality, the way of seeing, the faith in the power of technical image.