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Welcome followers and visitors to my blog and another update in my photography diary. The task set was to create and select six personal images across six different genres and then present them for discussion within an open forum. This is the sixth image in the series entitled “Eight with Two Squares”.
Fine Art Photography / Photographic Art / Artistic Photography / Creative Photography – Definition
Fine Art Photography may be defined as;
- having no universally agreed meaning or definition,
- referring to an imprecise category of photographs, created in accordance with the creative vision of the artist/photographer that involves a combination of differing processes – photo-collage, photogram and photography,
- producing a personal conceptual impression in which the narrative maybe evocative, atmospheric or provocative,
- primarily being about the artist and where the intention is artistic aesthetic,
- an incorporation of mixed-media, installation art and assemblage art,
- not about capturing or documenting reality objectively but going beyond the literal representation of a scene or subject,
- intentionally being artistically subjective,
- capturing what the artist sees – an expression of vision,
- the camera being utilised as a tool to create a work of art and containing elements of artistic control,
“Art implies control of reality, for reality itself possesses no sense of the aesthetic. Photography becomes art when certain controls are applied.”
- revealing that it was created by an artist and not by just the camera,
- involving an original, deliberate creation and that every aspect of making the photograph in the field and in the photographer’s post-processing digital studio, including the printing, are an individual expression from within the artist,
- not re-presenting objective reality literally but rather through subjective intent.
The image is a composite creative art photograph made up of four different layering processes – the first being a photogram constructed from organic and inorganic materials, the second being photo collage made up of elements pasted onto the surface of the photogram and thirdly a photographic image taken of the work and the final elements were attached in the photo editing process.
The image was taken indoors in normal natural daylight conditions. The camera, in auto mode, was hand held directly above the final composition. Within the image the depth of field is particularly shallow due to focussing so close. A large aperture of f/2.6 was selected to maintain as much sharpness as possible. As the subject was static a long exposure time of 1/8 sec. A slow film speed of ISO 400 was utilised.
Consequently only the very centre of the image can be considered to be in the sharp zone. However the multiple foreground objects remain clearly defined whilst the background and the objects therein and their edges lack precision and are softened through blurring. The crispness of the number eight was achieved by introducing this element in the photo editing process and with the use of layering and filters.
From a compositional perspective the cropped numeral eight, on the blurred grey hued background, dominates the frame and is located off centre towards the left frame edge. The five subsidiary elements are comprised of;
- the two thin lines that extend across the image from bottom to top,
- the six fragmented rectangles set one upon the other at the lower right frame edge,
- the two square shapes – the one situated top right of the composition complemented by the other and found in the bottom left section and finally
- the triangle descending from the top left frame edge.
The muted background monochrome hues have been accentuated during the photo-editing process through colour adjustment and the use of a Difference Layer. The editing modifications that have occurred have accentuated the crisp outlines and colouration of the foreground shapes making the overall composition sharp and strong.
The process of creating this image contains within itself a sense of creative irony in that though there is a degree of artistic control this image which is unrepeatable contained the seeds of its its own destiny.
There was no certainty with regard to the initial stage how the selected object would have been recorded even though the projected light source remained static. The process of creation, from the outset, was inherently unfixed and dynamic and the final outcome was similarly defined.
The staging of the composition reflects the influence of Cubist artists such as George Braque (1882-1963, French), Pablo Picasso (1881-1973, Spanish) and the American artist/photographer Man Ray (1890-1976)
“… colour acts simultaneously with form but has nothing to do with it …”
The reasoning behind this work was to permit the image to act as an inspiration for a painting composition. However the image works as an independent piece its own right. The figure eight acts as the pivot for the composition. The shapes appear to have been stencilled onto the surface. There is no concrete evidence to suggest that the number eight acts in some overt way as some kind of symbolic or subliminal gesture other than as part of the title of the image. The work is intrinsically a study of shapes within shapes and their fragmentationt in a narrative inspired by movement.
The image not only possess a provoking geometric asymmetry, a feeling of monumentality but also an exploded perspective which is accentuated by its broad spectrum of monochromatic shade and texture as well as its minimalist abstraction. A pleasing counterpoint is created through the use of contrasting light and dark areas as well as the varied textures employed. The viewer is drawn into a strange world and has to search the image to truly perceive all its content.
“There is no abstract art. You must always start with something. Afterwards you can remove all traces of reality. There’s no danger then, anyway, because the idea of the object will have left an indelible mark.”
The image echoes the genre of photographic construction built up from multi-layers possessing no solid centre but is open to space. It contains a variety of solid shaped elements that seem to float around the dark coloured figure eight the focal point of the composition. The light background is more representational of the natural world. The monochromatic nature of the composition, the various shapes and contrasting textures creates a sense of rhythmic cohesion.
The composition is a shallow arrangement of planes made up of mundane everyday materials, objects and processes.The pictorial element represents a conglomeration of fragmented forms devoid of volume. The image represents an aerial view of a shape-scape set within the framed edges an empty vista which permits the viewer see into and through it into to the background. The work is characterised, to a large extent, by its very indeterminacy.
As Surrealist poet Robert Desnos wrote in 1923, Man Ray
“… succeeded in creating landscapes which are foreign to our planet, revealing a chaos …”
Speaking of Pablo Picassos Cubist work André Salmon stated
“ … delivered from painting and sculpture…[photography] … liberated from the imbecilic tyranny of genres.”