=PoisonedPure

Photography

On August 19th 1839, in Paris, it was announced that Louis Daguerre had discovered a way “to capture the image in the camera obsura by the action of light itself”. He had developed a suitable light sensitive material that could record an image direct.

In it’s early days, photography was largely regarded as a recording medium. In fact, the artistic world expressed some alarm that photography might replace painting in areas such as portraiture and landscape. Photographers tried to apply the subjects and themes of the “higher” arts to their work, while the recording power of photography was one of the factors that caused artists to turn to more abstract, interpretive styles causing the “Impressionist” movement.

By the middle of the 19th century most people still used photography largely as a recording medium. Interpretive effects were felt to be too technical for anyone but experts. Even amongst experts, creative works were rare.

At the same time that camera technology was simplified by means of automating many of the technical controls, photography became accepted as a creative medium. It is recognised now that photography and painting are two quite different arts, each with their own discipline and potential.

As a method of recording, photography can be used by everyone- it does not require either drawing or scientific skills. Non-experts, without any artistic knowledge or commercial aim, take thousands of “snapshots” every day. Mostly these are simple personal records of people, places and events.

With the age of digital photography, this is made even easier with instantaneous viewing of outcome and multiple automated functions of the “point and shoot” camera. Knowledge of film size and speed, colour relativity and idiosyncrasies between film, exposure and aperture settings is fast becoming a lost science as in-camera settings and multiple images are preferred.

However, the digital age has open the doors to greater experimentation within the photographic field as larger proportions of images can be recorded without the fall-back of film and developmental costs. Lens, filters and further equipment are becoming of higher quality, and digital image rendering is fast becoming a comparative equal to film photography.

Evolving your own approach

You cannot develop a personal style by conscientiously trying to be “different”, nor by borrowing other photographers ideas. Concentrate first on developing self-confidence with your camera and equipment and learning to be sure of acceptable results every time. Then use this ability to express your own views of people, places, situations, and life itself.

Allow yourself as an individual to come through in your photographs. Don’t follow popular trends, or suppress idiosyncrasies in your work. Don’t be intimidated by other photographer’s criticisms. Decide for yourself whether you like your own photos, and in which way you could improve them.

If you wish to specialise in a particular subject area, choose one where you already have specialised knowledge, experience or a strong interest. A good wildlife photographer, for example, must also be a naturalist. To photograph buildings, you must also know architecture. If you have an interest in abstract images or graphic design, you could apply these approaches to your subjects and photography.

If you can, join a club or class on photography, where you discuss ideas with other people. Even if you do not agree, you can at least compare your work with the work of others and re-assess it. Also, remember to keep a portfolio if your work, well presented and mounted, and regularly look back over it to see in what ways your personal style is changing.

My Inspiration

Rolph Gobits: Using the Settings

Rolph Gobits is a Dutch photographer who is established in fashion and reportage work.

On fashion assignments, Gobits uses relevant, existing interiors instead of a studio reconstruction to enhance a model. He relates colour schemes and lighting, architecture and furnishings to the style of the garments concerned. In his reportage work he again integrates people with their normal environment.

Gobit’s pictures are carefully composed without appearing in any way unnatural or contrived. If the subject is positioned off-centre it is always perfectly balanced by lines, objects, and his range of rich pastel colours in the composition.

Yousuf Karsh: : Classical Portraiture

The Armenian-born photographer Yousuf Karsh is the most celebrated living representative of the classical tradition of studio portraiture. A portrait by Karsh is seldom naturalistic- his approach is formal and controlled. He portrays his subjects both as they appear to him and as they have impressed themselves on their generation.

His work is characterised by his lighting, producing brilliant highlights, rich textures and extreme sharpness and detail. Usually the head or hands is concentrated on, lighting them in such way that they stand out strongly from a plain dark background. This gives the portraits and impression of monumental strength, dignity and grandeur.

-----------------------------------------------------------------------------

Update

I am so very very behind on comments and emails it is insane. So far I have in excess of 500 comments to answer to on DA and about 20 emails to go through in regards to the Breast Cancer Awareness Project.

As I have stated before, my work on the "Adelaide Plains and It's Castles Project" has been keeping me very very busy. I am starting to get very excited and nervous as the presentation is coming up next Saturday.

Afterwards I will be full swing back into the Breast Cancer Awareness Project, but you will indeed have to be patient as I wade through everything that has been put aside over the last two months.

Creativity is at an all-time high at the moment, if you can not half tell by my recent inundation of six photos to my gallery.

Life is good. All is well.

Take care everyone. We will be back to our regular programming soon.