Happy New Year as we enter the 2017 portion of the season. We kicked off with the first of two editing related sessions, next week we have a speaker talking about the Photoshop Plug In, Topaz. This week it was members to turn to sharpen, hue, pare, crop, colour, desaturate and or generally mangle, torture and deface – depending upon your individual tastes – a common set of five images. The proof of the pudding being in the consumption it is fair to say that though the number of source images was small, no two interpretations were the same.
At the risk of being thought to have imbibed too much of the new year spirit we are going to look at what it is we are actually presenting. Taking this right back to basics then no two images, once altered, are the same. They bare the imprint, however minute, of the person who altered them and the peculiarities of the tools that they were altered with. Also they are most definitely not, cannot be for reasons of time, geography and interpretation be the same as the photographer – s/he who pressed the shutter and was witness to what was captured. What is actually being photographed is another perspective again, because it is in a different place in time and space to the camera.
So much is true, essential in that we are talking the laws of physics, but nonetheless not particularly of great importance when it comes to our taking photographs. Except in two circumstances. One is in the circumstance of where we are using the image as the basis of a piece of art – The conscious use of the imagination in the production of objects intended to be contemplated or appreciated as beautiful, as in the arrangement of forms, sounds, or words (Freedictionary.com) – a pleasing representation of something we have seen, framed, captured and post processed in the hope of making something that the viewer can form an emotional attachment to. The other is a claim that what we are showing is the truth (as opposed to a truth) – Conformity to fact or actuality (Freedictionary.com). The first is an opinion the second is an assertion, for unless present we have no way of knowing just how truthful a claim that is.
So what? Well in the former, I agree with you, so what? Not being a collector of fine art, or otherwise, prints. Apart from the fact that a lot can be learned by looking critically at other peoples work, it is a personal matter as well as something that is subject to fads and fashions and more or less informed opinions. That is not to say that certain commonalities cannot be agreed in what we accept as pleasing to the eye.
It is said that “The Camera never lies” (Robert Louis Stevenson), which Caesar Romero contradicted, “It lies every day”. Stevenson was making a point about the difference between fine art and photography though I prefer David Bailey‘s assertion that ” It takes a lot of imagination to be a good photographer. You need less imagination to be a painter, because you can invent things. But in photography everything is so ordinary; it takes a lot of looking before you learn to see the ordinary. (In “Face,” London, Dec 1984). The fact remains that certain physical limitations endure and it takes a certain skill to get round it.
Does it matter, then, if we alter images? Of course not and yes, absolutely! As ever context is all. The camera is neutral. Whatever is in front of it it will render a more or less recognisable facsimile of, depending on our mastery of focus and the exposure triangle. Our job, behind the camera, is to let this story making tool tell a story. If we are claiming that the story we are telling is a true one, then absolutely it matters if and what we enhance/remove. This is especially the case in photojournalism where the reputation of the publication using an image can be severely tainted by the manipulation of a photograph to tell an enhanced story.
So there is, in some areas, a tension between truth and beauty. That is before we come back to matters of taste but there is still a question of whether it matters if an image is a photograph or a graphic design? Again, of course not and absolutely! It counts in the matter of work flow, especially when editing. We have, many times, referred to the opposing camps of Get-It-Right-In-The-Camera-istas and Ye-Accolytes-Of-Photoshop. In truth we probably aspire to the former but fall back on the latter, but there is a reason why the Camera-ista has a point and it is linked to a number of themes we have looked at over the past couple of years.
First off is the argument about artist/artisan. Frankly I find this to be an empty one. If you take something and make something else of it then you have created art. Art may not be the end which you had in mind, for instance if you took wood to make a chair I am guessing that you would rather sit on it than look at it, but there will be a reaction to the way that it has been put together and thought about, its design, that will include an overall effect. This overall effect is where the art concept lives. It is not all of it, but it is an integral part of it.
Secondly, fine motor skills and the ability to pick up a pencil or a brush and create a representation of a person or thing is the same as picking up any other tool and making the same. The camera is a tool. Mastery of the tool leads to mastery over the final result. It does nothing to add soul to the final result, but it is a gate keeper to others interacting with that same soul. Canon, Nikon, Sony, Fuji, Pentax, Olympus, Hasalblad, Phase One and the rest, immaterial. Light and the laws of physics work the same way for them all. Post processing may be able to put things in but it can only bring out soul if soul is there to be found in the first place. Post processing, and by far the most commonly found is the Photoshop/Creative Cloud family but I mean post processing in general, is just another tool. You can be good bad or indifferent in using it.
So get out, photograph, think about what you photograph, look at others photograph, learn the ways of light, bring it home, polish it, present it and go again. Sounds like some sort of hobby to me.
Happy New Year.
Tutorial on Low Light, Long Exposure, Cityscapes & Architecture
This Thursday Richard Price & Mark Stone are going to give you a tutorial on Long Exposures, Low Light, Cityscapes & Architecture Photography. They’ll be talking you through the equipment that you’ll need and showing examples of their work. You’ll be able to ask questions and learn how they construct their images from setting up the shot, composition and how they take the Photograph so that it fits in with how they want to process it. You’ll probably be surprised by the look of the pictures when they come out of the camera but they are purposely taken to have the most data within the image file to make processing them easier. They’ll explain why it’s just as, if not more, important to consider what is going to be done to the image after it’s been taken than when you’re about to press the shutter button.
Confused? Don’t worry all will be revealed.