Sunday's Photo Tech: Fine Art Photography Technique & Inspiration

Photo1: Portrait: Beverly Appell Witkin by L.A. Lewin 2012

Photographer, lecturer and professor at the College of DuPage, Jeff Curto, asked four questions in one of his classes: intrigued, I decided to present my thoughts that best answer these questions giving the reader insight into what I believe is currently defining photography in our digital culture.

1. When does a photograph cease to be a document? It depends upon what is being recorded: 1. If we are looking at journalistic type photographs, once the image misleads the viewer of the actual event, person or location – the photograph ceases to be a document. These types of pictures inundate us everyday – most commonly seen in tabloids where the meaning of the subject (commonly, a person) is purposely twisted: the photograph is either captured or cropped to mislead the true context in which the subject is surrounded, thus the photograph and story behind it becoming ambiguous: misleading the reader towards the magazine or newspapers alternative agenda.  2. When traditional fine art photographs, including landscapes, street, and portrait photography is altered by digitally manipulating pixels, the photograph is no longer a document. That is to say, when the portrayal of the subject becomes abstract or otherwise change the overall appearance of a photograph to the extent of transcending its original psycho physiological photographic characteristics engenders digital art, and in some cases obscures the truth or altogether changes it, in my opinion. In both of these examples the documentary is falsely presented thus rendering them useless as a document. 

Photo2: Digital Art @www.sharenator.com

2. Should altered photographs come with warnings? Well, “Warning” is a bit too strong for me, but include in the photographs description a statement indicating the use of heavily pixel manipulation or simply: present the work as digital fine art, as apposed to fine art photography.

3. Why do we want to alter the real? 1. For the corrupt journalist it may be a matter of getting the “Big scoop”, as it were. Altering a scene to help enhance a story or worse, crating a fictitious narrative. (For example, the manipulated photo credited to Ben Curtis capturing the Beirut, Lebanon conflict in 2006: additional smoke was added to photo to make the scene more intense then it actually was. The photo cited below.)  2. The “real” can also be heavily (digitally) manipulated the purposeful attempt of a digital artist creating an alternative reality, for example. (See Photo2 and Photo3)

Photo3: Michal Macku's Digital artistic interpretations

4. Where is the digital photography revolution taking us? Beyond boundaries: stretching our boundary of knowledge in photonics to unravel mysteries that lead to solutions in the creation of new ideas. Surrounding our world with an uncompromising wealth of creativity bringing beauty in the visual arts and scientific achievements yet to be envisioned.

Again, these are my opinions and you may have your own thoughts on how photography has changed as the digital culture around us continues to influence artistic expression and how we communicate.

I look forward to reading your comments.  Ciao.

Best regards,
Lance 

Cite 1. From Errol Morris "Believing is seeing (Observations on the mysteries of photography) The Penguin Press 2011

Beirut, Lebanon, July 26 2006