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and the new media was considered elementary. According to the majority of the authors, ‹photography after photography› – if it was seen that way at all, could only be defined as thoroughly changed. Discussed less frequently, however, was how visible the similarities between analog and digital technical methods in image-making practices really were. Precisely this question has remained relevant up until today, whether one declares photography dead and then speaks of only the ‹photographic,› or else holds to the term photography.  Since especially in the art context – perhaps even more strongly than in private photography and journalism – dealing with electronic image processing is interpreted as the continuation of well-known strategies, and this article will portray it in that light.
But what exactly is being discussed when the subject is photography or post-photography? The used terms and categories are often vaguely divided from one another, and differentiating between them is
essential to analyzing the images.
The common difference between analog and digital media arises from a conceptual simplification described in the following text as only the fundamental, technical differences of nature of two image structures. Because of the image-media painting and photography, their elementary, material connectedness marks them analog media, while using the term ‹digital media› addresses those technologies which generate binary-structured images. In this connection, the term analog explains basic technical differences of nature in the materialness of imagemaking methods such as photography and painting as opposed to the digital code, but without meaning a similarity between the object and what it depicts: while the analog media are casually connected with the factuality of a carrying material, with regard to a data supply in the digital media, no reference can be made to an essential connection to a carrier.
In the given context another highly relevant distinction concerns the terms ‹digital photography› and ‹postphotography›. In contrast to the definition of analog photography, always described so clearly in an