Is Photography Art and Why Do the Photos You Make Matter?
Photography art explored in a winter landscape, reflected in water, Hongcun, China.
Having a great camera and plenty of lenses is fine, but what sets you apart and elevates your best photography from snapshot to art won’t be defined by the gear you use.
What makes photography art is the authenticity, compassion and unique worldview of the photographer; their willingness to experiment and to remain open to new techniques, stylistic approaches and ways of seeing; and a desire to strive for ever higher standards of image quality and artistic endeavor.
This is what determines the nature of the photos you create and, in the long run, the life you live. You see, I believe that great photos are more about the other than they are about oneself.
While, over time, it's possible to rise above the competition by developing a personal style, what matters most is that our best photos have the capacity to touch the hearts of our audience by drawing attention to the human condition and the beauty found in all things.
And that, my friend, encapsulates the value of photography as art in our world.
As an example, let’s explore the above photo of a winter landscape, reflected in water, in Hongcun (i.e., Hong village) in Anhui Province, China.
You’ll notice the horizon is situated, roughly, across the middle of the image. Likewise, see how the beautiful stone bridge is located around the centre of the photograph.
Frankly, it was a very serene scene, which I happened upon near day’s end.
The reason I purposely placed the horizon and the stone bridge so centrally in the image was to enhance the sense of stability and tranquility I perceived while making the photo.
Now let’s explore the use of color in an image, and how I’ve employed it to calm and enliven different areas within this photo.
With the exception of the red and yellow parkas, worn by folks crossing over the water at the edge of the village, the color palette is quite muted and low in saturation.
It’s amazing how this very spare use of vivid red and yellow colors lifts the subjects out from their surroundings and, in doing so, adds life to the image.
To further emphasize this point, look how the people dressed in red and yellow literally jump out from their surroundings compared to the two nearby people dressed in black.
Now let’s examine the mostly submerged, and rather wonky, fence line that runs diagonally, from the near foreground through to the footbridge on which the people are crossing, over the water.
I’d argue that the fence line works in a similar way to the limited use of the saturated red and yellow colors in this image.
That diagonal is important to the design of this image as it adds a gentle dynamic flow to the photo, providing a subtle counterbalance to the centralized horizon and, as a leading line, increases the sense of three dimensional space (i.e., foreground, mid ground and background) within the image.
Can you see how the diagonal lines of the trees and/or their reflections further emphasize the importance of the fence line in this image? It’s subtle, but it’s there.
Have you also noticed the shadow under the bridge, together with its reflection in the water? They combine to form an interesting, almost impenetrable oval shape which, in addition to being an element of composition, adds a sense of mystery to the image.
Is Photography Art: Opening the Proverbial Can of Worms
Finally, as a way of exploring the notion of photography as art, let’s look at the importance of the sky and water to the success of the above photo made at Hongcun in rural China.
On one hand, both the sky and water act as relatively blank backgrounds onto which the more important visual elements within the image are placed.
The fact that the sky is relatively clear and the water mostly still allows the bare winter trees and their reflections, together with the fence line and the reflection of the bridge and its shadow, to become such important visual elements in the photo.
Of course, it’s the horizon that separates the sky from the water and, in doing so, reminds me of the concept as above, so below.
It’s a deeply spiritual, yet very accessible concept that, thanks to philosophers, has been complicated to the point that I really have trouble making any sense of their explanations.
Frankly, it’s this kind of over analyzing that’s lead me to conclude that, when it comes to beauty and notions of the divine, looking to academics for understanding may not always be the best way forward.
That’s because meaning, ultimately, resides with the individual and their own, personal response to those experiential moments of sublime connection on the edge of understanding.
Having said that, the success of this photo is still, very much, based upon composition.
We’ve discussed the use of horizontal (i.e., horizon) and diagonal lines, color and shape to explain this fact. But, actually, it’s balance that’s the most important element of composition contributing to the success of this image.
You see it’s balance that makes sense of this image, as it brings all of the otherwise competing visual elements (bridge, pathways, fences, people, water and sky) together into a harmonious and cohesive composition.
And if you like composition, I’m sure you’ll like this image. The more you look at it, the more you’ll see and the more that will cause you to think about what you see and the meaning you derive from that.
I also think you’ll agree with me that this photo is a beautiful and visually compelling photographic study of life in an idealized Chinese village.
While the mood of the image is somewhat sombre, it’s also imbued with a lot of old world charm. The feelings of nostalgia and wistfulness are undeniable and, to my mind, central to the success of the image.
After all, it’s made by a human (me) for a human audience (you).
Consider all of these factors together and I’m sure you’ll agree with me that this picture of Hongcun is a great example of photography as art.
Photography As Art: Why Do Photos Matter?
It’s my contention that, by making photos, we are participating in the act of creation. As such, photography as art, like other worthwhile creative endeavors, is creation manifested in our daily lives.
If you’re searching for the answer as to why you’re here. Perhaps that’s it. To create and, thereby, contribute to society by living a meaning rich and purpose driven life through the art of photography.
As artists, photographers create everyday. But so many creative and hardworking folks are more concerned with concentrating their work on the negative aspects of our world.
As a case in point, I’m constantly concerned with the overwhelming negative approach taken to reporting news events by traditional media outlets.
How is it that we don’t see more journalism exploring notions of beauty and hope within the drama and chaos that we’re told surrounds us?
Long ago I determined to adopt the opposite approach to documenting our world through the photography projects I undertook.
It's not a matter of turning one's back on evil, destruction or poverty. But by concentrating my efforts on the production of beautiful, life affirming images I believe I can help tune my audience into perceiving the world in a more positive light.
Concentrate on hope rather than despair, and on beauty rather than horror. That’s what I try to do, and it’s also my advice to you.
As you know, thoughts determine actions and action brings change.
By concentrating our thoughts, and our camera’s lens, on the positive aspects of a situation we can not only survive the stress, anxiety and turmoil of the moment, we can build a more purpose driven, meaning rich life for ourselves and those with whom we interact.
Just look to Nelson Mandela or the Dalai Lama as prime examples of this philosophy manifested.
Likewise, in the world of photography, look at images from photojournalists and documentary photographers like Steve McCurry for inspiration. The beauty of McCurry’s photos is underpinned by compassion and empathy for those he photographs.
Steve McCurry photos, and the way he goes about creating them, matter. His best images are poignant and authentic. Prime examples of photography as art, these beautifully crafted moments in time explore the human condition and stand as important visual documents of our changing world.
What’s more, to my way of thinking, McCurry’s photos demonstrate a desire to bring the realities of the developing world home to Middle America, a term I’m using to describe the readership of the National Geographic magazine from years gone by, in a way that promotes connection and greater understanding.
McCurry has been a photographer for many years and, during that time, he’s had to pay his way by undertaking all manner of photography assignments.
It might be that, over the years, many of those assignments were self initiated as his reputation grew along with the quality, size and diversity of his photography portfolio.
Either way, it would be interesting to meet with Steve and ask him if, along the way, he’s identified the primary motivations for why it is he does what he does.
Actually, I did meet Steve once, at a book signing following a presentation of his work in Sydney back in the 1990’s. But it was a rather rushed and difficult meeting.
Next time around I’d love to meet him, one to one, in a cafe or restaurant or, perhaps, online for an interview I’d host. Hopefully, that will happen after I finally get my YouTube channel going again.
Incredibly vibrant colors dominate this small stand of bamboo in Darwin, Australia.
What Is Photography?
The word photography translates from Ancient Greek as light writing. Photography is the process by which a person, object or scene is recorded onto a piece of sensitized film or a digital sensor, processed into a visible image and then output as a print or digital file for display and sharing.
Over the years I've been fortunate to receive very positive feedback on my photos. And, while I consider myself to be an artist, I wouldn’t consider all my photos to be art.
This photo of a small stand of bamboo in Darwin, Australia is a case in point. It was one of several photos I made at this location, prior to heading out to the airport to catch my flight back to Melbourne.
It’s a very colorful image, that’s not without interest. But it’s really not much more than a straight documentation of what was in front of my camera’s lens when I made the photo.
I did make a few more images that were a little more abstract and, I think it’s fair to say, were both more artistic and more interesting photos.
Actually, the way I usually work is to take a relatively straightforward approach to my photography, prior to pushing towards a more interesting and, hopefully, more artistic result.
The key is not to take lots of similar photos, but to progress from documenting reality towards suggestion and, when it seems right to do so, move onto more abstract ways of photographing the subject or scene in question.
I wrote a special post on this approach to making photos which I know you’ll find interesting. It’s titled Abstraction Photography: The Guide
Since its inception photography has been based upon the notion of intervention. And there are numerous steps during the process at which photographers are able to intervene, both technically and creatively, in the photos we create.
In fact, back in the early days of our craft, the photographer was often a manufacturer, sensitizing the film or plate onto which the image was exposed; artist; camera and darkroom technician; and, quite often, salesperson.
Back then, the process of having a professional portrait photo made was no less artificial an experience than having a portrait painted.
Thankfully, the process is so much quicker, easier and, frankly, safer than what it once was. Sadly, many photographers and/or their assistants died prematurely due to exposure to carcinogenic chemicals used in the coating or processing of the photographic plates onto which images were exposed in camera.
These days, to get a film based photo onto a computer requires the conversion of the analogue image into a digital file. Film or paper prints have to be scanned or re-photographed with a digital camera and then manipulated to produce a pleasing digital image.
Applications like Adobe Lightroom or Photoshop are employed to bring the new digital file back to something resembling the appearance of the original image, prior to it have faded due to inappropriate processing, poor display or storage and/or the ravages of time.
Whether the image is further processed doesn't change the fact that all images brought onto the desktop are digital and, in one way or another, altered.
This is just another example of intervention in the photographic process. It’s been with us since the beginning of the craft. However, why such intervention was originally accepted and is now often frowned upon, is somewhat of a mystery to me.
I guess it’s not unreasonable that, in the early days of digital photography, folks like me were often asked if we use photoshop.
Needless to say, when folks say photoshop they're using the word generically to suggest manipulation of the image on the computer.
I think that was fine in the early days but, for goodness sake, applications like photoshop have been adopted by all manner of professional and enthusiast photographers, in ever increasing numbers, from the 1990’s onwards.
Isn’t it time we gave it a rest and stopped asking this question?
Actually, it's problematic to answer in the affirmative although, of course, I always do.
Back in the days of film blokes would often compliment me on my photos and then say, "You must have a really good camera".
Does it follow then, that owning a Volvo makes you a better driver? Hardly!
The fact that some of us take the time to process our photos on the desktop is not something that should be derided by dubious questions about photoshop.
Incorporating applications like photoshop into our workflow simply means we take our photography very seriously and work hard to produce the best results we can.
After all, professionally crafted prints that were generated in the darkroom were always better than prints produced by Kodak or a local Minilab (i.e., in store, one hour photo processing lab).
The point is that it’s a photo, regardless of how it’s made.
Nonetheless, for photographers who associate themselves with the fine print tradition, taking control of the image and ensuring it’s professionally processed is an essential step in the creative process.
And in our digital world that involves software applications such as photoshop.
I taught photography, often in darkrooms, for over 25 years. But things changed once I moved onto a fully digital workflow.
Initially, the aim was to use the darkroom to find solutions to technical problems associated with exposure or dynamic range. This might involve selective application of dodging and burning, and changing paper grade to alter image contrast at either a global or local level.
Later, as I gained some expertise, I used the printing process to enhance an image so that it better explored the unique relationship formed between subject, photographer and viewer.
Print bleaching and toning were two of the techniques I commonly employed when crafting my own fine art black and white prints in the darkroom.
When making color prints I’d sometimes change the color of the light, for a portion of the overall exposure, to alter the mood of the image, through localized exposure under the enlarger.
During my last few years working with film I starting having the original film images (i.e., transparencies and negatives) scanned and then brought onto the desktop for processing, sharing and storage.
Thankfully, that process has been greatly simplified since I started using digital cameras back in 2006.
Have no doubt there’s a unique aesthetic beauty associated with film, just like there is listening to music on vinyl. But if you’re talking about image quality, film just does not compare with what’s possible in a totally digital workflow.
Needless to say, just like in the days of film-based photography, it makes a huge difference if you actually know what you’re doing.
And I’m referring here, primarily, to the following:
How it is you go about composing and exposing your digital images, in camera.
How you post processes digital files on the computer.
How you print and display actual photographic prints.
Unless required to teach a particular technique, I've always approached post processing on the desktop as an extension of what I aimed to achieve with an enlarger in the darkroom.
Adjustments in exposure (i.e., brightness), contrast and color continue to be made, though in a far more controlled and repeatable manner, at both a global and local level as part of my digital post processing workflow.
During the 1990’s I worked for Kodak at their Australian head office and manufacturing plant in the Melbourne suburb of Coburg.
I can remember using a very well maintained Minilab to print medium format images onto postcard size prints for the purpose of selecting and sequencing my work in the preliminary stages of creating large prints for exhibition.
Despite the ubiquitous nature of the postcard photo, I was keen to ensure they were processed to the highest standard possible.
It’s important noting that, whether a one hour photo lab's printer is on autopilot, or in the hands of an experienced operator, decisions related to exposure and color are made, often on a frame by frame basis.
I say again, all images are altered.
As a quality focused, creative soul I needed to ensure I stayed in control of the process and, as a result, achieved a desirable outcome.
Of course, while it’s true to say that any form of photographic image is, at its most basic level, merely a two dimensional representation of what we find interesting in our three dimensional world.
However, photography becomes art not through the accurate documentation of what’s in front of the camera’s lens, but by realizing the photographer’s perception of a particular subject or scene in a way that, somehow, transcends the physical nature of the elements depicted in a way that points to new possibilities, outcomes and realities.
Best image quality for photography art. Shop window at night in Copenhagen.
RAW vs JPEG: Best Image Quality for Making Photography Art
As I’ve established, all photographs are altered or manipulated in one way or another. In the world of digital photography that happens, in camera, when your camera is set to JPEG mode, without most people even being aware of it.
And it most certainly happens as part of the process of making photos with a mobile phone camera.
So what actually happens when you set your digital camera to JPEG?
The original, unprocessed RAW data recorded by the camera is processed by your camera into a two dimensional image that approximates the three dimensional scene you originally photographed.
Of course there are all manner of things you can do to alter the particular reality that’s captured when you take a photo. Here’s a few common examples:
Exposure
Contrast
Color rendition
Image framing
Composition
Lens focal length
Viewpoint
Flash
Filters
So how is it that these interventions, whether instigated by the photographer or automatically applied by the camera, are considered acceptable, but similar interventions I make in applications like photoshop are questioned.
Is it because most folks simply can’t make photos of the same quality and/or with the same emotional impact as people like me, who have spent most of our lives dedicated to the art of photography?
Maybe it’s because they have a Leica and, perhaps, a Porsche (ha ha) and still can’t make a decent photo?
Does having a camera make you a photographer? Well, according to that logic, having a sharp knife should make me a surgeon.
Nyet!
Using your camera, as I do, set to RAW simply means that all the original data recorded by the camera is retained for processing on a computer or hand-held device.
That RAW file is often pretty bland to look at, no matter how good you may be as a photographer.
Just remember, it’s simply data and, once post processing is complete, you’re well on your way to realizing the potential of the original RAW digital file you captured in camera.
All I'm arguing for is that, over time, folks begin to understand that, as in days gone by, all images are altered in camera and/or on the desktop.
To this end, it might be helpful to understand that terms like processed, enhanced or manipulated should, on one level, be taken to mean the same thing.
Perhaps if folks realized that cameras, including the ones in their mobile devices, are acting both as recording device and photo processing laboratory they might understand that, for many serious photographers, the act of making a photograph only begins in the camera.
It's true to say that processing your images on the desktop should produce better results, but that's the reward you get for the effort, the outlay and an often difficult and prolonged learning process.
I’ve had decades of experience teaching photography. It can be a difficult but, ultimately, very rewarding job, particularly when you’re outcome driven and focused on providing your customers with a positive experience that leads to a more creative and meaningful life.
I guess that most folks are probably just trying to understand how and why your photos are so different to their own. Is it the camera or, perhaps, a special film or filter that makes the difference?
These days photoshop, whatever folks think that might be, is a pretty easy target. By finding a point of difference I suspect there are some who, at a subconscious level, are trying to explain away why their own photos may not be up to scratch.
It’s strange because, back in my darkroom days, folks were generally impressed by the fact that my role as photographer wasn’t limited to working with a camera.
I’d go as far to say that there was a respect held for professional photographers and the fact that the prints they produced were often created, by hand, in a way that seemed to involve some level of alchemy only elevated the perceived standard of their work.
These days everything’s changed. Either folks think you’re cheating or, because they also have access to photoshop (though, almost certainly, they have little idea how to actually use it), they’re unprepared to recognise the level of skill you’ve acquired through many years of experience using the application.
Mind you, the final image is what really matters. While how you go about making it can, on occasions, tell an interesting story that might add to the marketability of the photograph in question, the success of the image should rest in it’s ability to connect with an audience.
Exceptions To The Rule Of Intervention In Photography
Mind you, in the world of newspaper, sports and wedding photography many photographers choose, or are instructed to adopt, JPEG rather than RAW in their usual workflow.
This decision is based around notions of a non-manipulated image somehow being more truthful in the world of the newspaper photograph, and also in response to the amount of images made and the tight deadlines under which newspaper, sport and wedding photographers often work.
And let’s not forget the affect that newsprint has on the way a great photo is reproduced in your average newspaper. Do you remember when today’s newspapers were used to wrap up tomorrow’s fish and chips? I sure can.
In that context image quality in your average newspaper is somewhat of a moot point, given how the quality of really good photos is so significantly reduced on the printed page.
Mind you, low quality newsprint is not the only factor that determines how photos reproduce in newspapers. Prepress and the printing process, which includes the actual printing press in question and the staff (i.e., printer) responsible, play critical roles in determining image reproduction.
However, despite hard work and the very best intentions from all involved, the poor quality of newsprint and the seepage of color from ads on other pages in the newspaper can be enough to spoil a hard working photographers day.
Photography art of a flooded landscape between Jabiru and Cooinda, Kakadu, Australia.
Making Your Photography Art: What’s The Secret?
So how do you go about making your photography art? What’s the secret?
Forget about talent, the determining factors in the production of a successful photograph are more likely related to the following:
The degree of physical effort with which you approach your photography
Your passion for the craft of photography
A genuine interest in who and what you photograph
Your ability to create thought provoking images that explore the human condition
The appropriate application of technique and a constant desire to improve your skill level
Your ability to construct interesting compositions
Your ability to create images that connect, on an emotional level, with your audience
It’s easy and fun making photos, which is one of the reasons most of us do it. But it’s important to understand that making great photos takes more than 1/250 second.
Most likely it’s 1/250 second and a decade or more of experience, not to mention a unique worldview and a desire to explore your own place in that world.
The above photo features a flooded landscape, between Jabiru and Cooinda, in crocodile infested waters in Kakadu National Park, Australia. It’s an image where I tried hard to explore the dynamic nature of the landscape through the lines of trees and wind blown grasses.
I’ve also made a black and white version of the original image. While I like the color contrast within the above photo, I do find the silvery look of the black and white rendering to be more contemplative.
The color version would work well in a magazine, while the black and white rendering would look beautiful as a large, black and white fine art framed print.
When assessing the relative success of photos, yours and those made by photographers you respect, ask yourself the following questions:
What’s special or unique about those images?
What is it about those photos that connects with you, on an emotional level?
What do you learn about the subject depicted, the artist/photographer who created the images, and the world in which we live?
What Is The Real Purpose Of Photography As art
The purpose of photography as art, is the discovery, examination and creation of beauty.
By literally focusing one’s attention, the camera provides a unique window into people’s lives and places that we’d otherwise not be able to enter.
Both the act of making photos, in camera, as well as the appreciation of great photos made by other photographers encourages us to examine and amplify select portions of our world, recorded in tiny moments of time.
We’re lucky that photography is such an accessible and affordable medium of expression. Through the creation of beautiful, life affirming photos we’re able, in our own way, to participate actively in the continuation of the act of creation.
To this end, remember that beauty is not purely external. Understanding that beauty also comes from within helps us to commune, at a deeper level, with our natural world and to connect with the world that exists beyond our normal, everyday perception.
Learning to tap into your own, unique worldview can only help connect you to what really matters and, as a result, to the creative artist photographer within you.
It's okay to seek out the exotic. After all, that's largely why we travel. But the search should never be at the expense of the beauty that surrounds us everyday.
And remember, because life is lived 365 days a year, that the search for beauty shouldn't be limited to your holidays.
