Why: An Artistic Photograph is not About the Subject or the Scene - 1
When we create an artistic photograph of nature, the important thing is not the scene we have in front of us. What is important is that the induced consequences it will produce on those who will watch it. An artistic photograph is above all created by the mindset of the artist photographer.
Translate Emotions, Convey messages
When we create an artistic photograph of a terrestrial or underwater landscape, a terrestrial or underwater animal, we do not focus on its representation. We do not focus on things as they are, but on what they can represent in terms of emotions or feelings.
For example, when we look at a tree, we do not see a plant, but we see the witness of time passing. For us a symbolic waterfall time passing. Some geological formations photographed with reflections represent forgotten paradises.
For us, most of our artistic photographs are primarily symbolic.
We always photograph to express ourselves, to transmit to those who will look at our works, our emotions and our feelings. Artistic photography is a great medium of expression as we wrote in this article.
We think that before undertaking a series of photos, it is important to imagine what we will create. If we arrive on a scene without preconceptions, we are not able to create interesting photographs.
The Destination or the Animal Species does not Matter
When we travel far from home to create artistic photographs to create new collections or to enrich existing collections, we do not choose places or species because they are distant or exotic.
We make these choices because they correspond to what we seek to show our emotions or how we feel.
For example, lately we went to photograph gelada signs in the mountains of the north of Ethiopia. This animal species is for us the one that best characterizes anthropomorphism. If we made this trip it was not to fly and to meet the Ethiopians that we love but to make the pictures corresponding to our vision.
The Photographed Subjects are Sources of Inspiration
Since our transition from descriptive and illustrative photography to the creation of art prints, we have understood one essential fact. The subjects or scenes we are photographing are not the goals of our photographs. They are our source of inspiration. Even if we put them right in the scene by carefully choosing framing and compositions, balancing the masses, our ultimate goal is to use them to share our feelings and emotions.
To reach this conclusion, it took time and a long period of reflection and introspection. We had to understand and analyze who we were exactly. We worked a lot on the definition of our emotions and the messages that we wanted to transmit through our photographs.
It was a hard work because it required deep searching for buried emotions due to certain experiences. It was really a real psychological analysis. We did it ourselves with the few tools we had at our disposal. This introspective research allowed us to define our artistic vision. Today, again, we still respect the definition of our vision. It belongs only to us.
Once this vision was coupled with our photographic style, we were able to define our artistic and photographic identity. We concede that it is a difficult and time-consuming step. But it is essential to create interesting photographic works.
Indeed, as they are personal and subjective as we have described in this article, they find a real audience that is faithful to us because it is recognized in our artistic photographs.
Today, when we choose a scene or an animal species, to photograph them we always have a specific goal. This goal is related to our vision. We use our style to highlight it and translate our messages.
Nature is our source of inspiration. It is not the subject of our photographs.
Having the Right Mindset to be Inspired by a Subject
To create an interesting and expressive artistic photography, we think that we must be in a particular state of mind. It must be conducive to understanding the scene that presents itself to us.
You must develop a connection with the places and not just watch them. They must be felt, understood. A photographic scene must be seen beyond what it really is.
When this connection is established, a magic moment then occurs. Emotions come back in us. We are then able to write well what we feel with a photograph.
The photo technique then becomes at our service. We use everything we have learned to sublimate what we see to convey a message or emotions.
This particular state of mind cannot be decreed only when we are on the scene. It is well prepared upstream, at the time of the creation of the project.
For example, when we are going to photograph birds in Dombes, we wonder why go to this region to symbolize these animals. We give meaning to the colors we are going to find. We think of the hours of the day during which we are going to be in floating blinds. For each idea, we write key words, short sentences to describe how we feel. Then, we organize these ideas to build a scenario that will guide us during the realization of the project. Once there, we always have this scenario in mind. We can then let our imagination wander to identify with the place and impregnate it as much as possible.
The intellectual approach that we have just mentioned requires a good knowledge of the places. We think that we only photograph what we know well.
When we go for the first time to an unknown place, we document ourselves with books, magazines and we search for information on the internet. With the elements we find, we create a scenario. But anyway, the creative results are always better after several visits to the same place.
The Grass is not Always Greener in the Neighbor
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