Abstract
The leaders of the photographic avant-garde in Russia were engaged primarily in experiments in photographic form, seeking maximal abstraction and employing a limited number of elements, avoiding pictorialism in the same way that happened earlier with painting, sculpture, and graphics. Characteristic features of Futurism and Dadaism, such as visual shock, montage, and alogism, were also found in experimental photography, the difference being that it did not occur within the traditional genres of landscape, portraiture, or reportage but in the one-step photographic process of the photogram, an image created by light falling on photographic paper, on the surface of which transparent and non-transparent objects are placed. Light and shadow are the main means of expression in this camera-less form of the photographic process.
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