Conceptual Photography of Nature in Lights and Colors: Showing ideas and concepts
Nature is not only a great pool to create photographs for decoration or to create photographs reflecting the emotions of the photographer or to transmit messages. But it also allows to create more abstract photos called conceptual.
In this type of photography, it is the idea or the concept that is essential. It is the viewer who will mentally find a way to read and understand each image.
Oscillating between dream and elegance, the photographic work of Isabelle and Amar Guillen proposes a new way of accession to the theme of Nature.
This duo of plastic photographers is associating the photographic medium with the digital tools to design abstract areas for the landscape.
Isabelle and Amar Guillen are going to begin a work of distillation of the photographic shooting by revealing what a fragment of landscape can contain.
As a result, these artists offer us the possibility of perceiving microcosms and worlds through a purification of the image. The photographic simplification is pushed to the extreme by the hands of the artists: the shooting is thus decontextualized of the environment from which it is drawn. Thus, their photography gains autonomy and gets a cathartic virtue.
Isabelle and Amar Guillen aim here to highlight the infinity of Nature and its indifference to time. The exercise of contemplation that they put in place derives its strength from a sensitive experience, from a deeply empirical and personal relationship with Nature.
Finally, Isabelle and Amar bring a beautiful interpretation of new technologies. The virtual is put at the service of a reflection around the fleeting aspect of the natural elements and offers a relevant parallel between a technical immaterial and sensory.
--Eric Patou (Patou Gallery in Paris).
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Lights and Colors
To be consistent with our artistic photography vision, we are always looking for the best lights and colors to create the smoothest harmonies possible. The adjustment of the different tones is never brutal. We always try to create ethereal, evanescent photographs that provoke interrogation. Color is an element of the photographic vocabulary that we use to create inner dialogues with viewers.
The Viewer is at the Center of the Dialogue
We are used to saying that for a nature photograph to be interesting, it must tell a story. We believe that the art of photography is the creation of a relationship between the photographer's interpretation and the viewer's perception.
In classical photography, the photographer constructs a photograph interpreting the real world. It's an interpretation. The viewer makes perception. The link that needs to be created is a relationship between an interpretation and a perception.
In conceptual photography, it is the viewer who is at the center of the dialogue. A conceptual photo must have a direct impact on the viewer. It must capture all his attention. Even if the photographer makes choices of composition, framing and light, it is always the viewer who will give his interpretation according to his feelings towards the work he contemplates.
In conceptual photography, we make our photos interesting for the viewer. Our works become emotionally neutral.
Conceptual Photography is a Different Approach
Conceptual photography is very different from descriptive or decorative photography. It is an approach that requires thinking in abstraction rather than in terms of places. We have to think in terms of shapes, textures, color, light to create a photograph. We do not focus on the subject. The important thing is the unreal side. It is necessary to provoke the questioning with the spectator. The photographer can give an interpretation or try to convey a message, but it will not be the most important.
Creativity is not about photographing something new. Creativity in photography is to do something after finding it.
In conceptual photography, we are always looking for surprise in the rendering of our photos.