تويت
تطوير نهجك الخاص .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
EVOLVING YOUR OWN APPROACH
This section presents a selection of work by fourteen photo- graphers , whose styles vary widely . It is designed to place in perspective the techniques , equipment and visual skills you have learned , and to show you how these tools can give quite different results in different hands . More impor- tant , it displays the range and flexibility of photography as a medium and a study of the work in this section will lead you toward developing your own individual approach .
By now , you should have worked through most of this book . You will have gained confidence with your camera , learned to see and control picture building elements , and handled a wide range of equipment . You have begun , in effect , to master the craft of photography . You may feel that this is all you want - that you do not need to develop a personal style for your particular photographic interest . Perhaps you want to use the camera only as a recording device , to produce accurate pictures of family , friends , events , and vacations . Perhaps you only want to use it as a technical aid for some other interest . But it is more likely that by now you have already become interested in the creative aspect of photography .
The photographic medium
At the beginning of the book , on pages 20-1 , some of the differences between seeing and photography were dis- cussed . There you read that human vision is selective and interpretive , while the camera merely records . But as your photography has developed , you will have realized more and more clearly that the way the camera is used can be just as subjective as the eye . Even more so , if you wish it to be . The camera can even record things the eye never sees . It all depends on how you use it .
In its early days , photography was largely regarded as a recording medium . In fact , the artistic world expressed some alarm that photography might replace painting in areas such as portraiture and landscape . Photographers tried to apply the subjects and themes of the " higher " arts to their work , while the recording power of photography was one of the factors that caused artists to turn to more abstract , interpretive styles .
Even by the middle of this century , most people still used photography largely as a recording medium . Interpretive effects were felt to be too technical for anyone but experts . Even among professionals , more creative work was rare . But modern camera technology has simplified and auto- mated many of the technical controls , such as measuring exposure . At the same time , photography has become accepted as a creative medium . It is recognized now that photography and painting are two quite different arts , each with their own discipline and potential . International art galleries regularly purchase and show photographs . The subject is taught in schools , art colleges , and universities , and hundreds of books of photographs are now published and sold . More and more visually talented people are turn- ing to photography to express their ideas . This leads to even greater diversity of approach and style .
Until fairly recently , most serious photographers worked in black and white . But advances in color technology , and new generations of photographers , have now established color , too , as a dynamic , growing field for creative work .
Studying different approaches
As you look at these portfolios , consider each of the photo- graphs critically . They cover a very wide range of styles , not all of which you will necessarily like . It will help if you argue and discuss with other people the characteristics of particular photographers and their pictures . Later , return to these pictures again , and reassess your judgment in the light of greater experience . You may find that images which had the greatest immediate impact have little more to offer on second viewing , you may discover that the more subtle pictures increase their appeal the more you return to them .
Notice how greatly the photographers included differ in both their subject matter and their interpretation . Some have a particular interest in one type of subject - portrait- ure , reportage , landscape , sports photography . But com- pare the portraits of Karsh , Herrmann , and Gobits , or the " reportage " of Cartier - Bresson and Arnold , and you will see how personal interpretation produces quite different results in similar subject areas .
Many of the photographers work only in black and white , particularly the older generation . Working in black and white has led photographers such as Cartier - Bresson . and Brandt to develop photographic styles that would not translate into color . Brandt , for example , uses tone , con- trast , and the effects of light on form as a personal language , explored through many subjects . On the other hand , color itself forms a main subject in the sensuous work of Haas and Turner their evocative color imagery would not translate into black and white .
For some , the subject of a photograph is of dominant interest ; for others the visual qualities of the image is itself the subject . In their different ways , Kertesz , Cartier- Bresson , and Friedlander are all concerned with the content of their pictures first and foremost ( although this is not to say that form is unimportant in their compositions ) . The subject they choose to record depends very much on their own philosophy . To an extent , their pictures are statements of ideas . Haas , Callahan or Turner's " subjects " are more . abstract . Their photographs are more aesthetic , and are intended to appeal in their own right - Callahan's photo- graphs , for example , are essays in structure and design the actual subject is less important .
Working methods and equipment and materials used differ too . This in itself is a reflection of the photographer's style and approach . A photographer may use every type of photographic equipment to interpret his subject in new and dynamic ways , or only the barest essentials . Gerry Cran- ham , for example , uses a great range of equipment to cap- ture movement the eye can never see , or situations where the photographer himself cannot go . He wants to recreate the experience , the excitement , of a sport . Karsh on the other hand uses a static , tripod - mounted camera , often one of the slow , sheet - film types , for his portraits . Cartier- Bresson uses only a simple , direct vision viewfinder camera , and rarely enters a darkroom , relying on laboratory cessing . Many other photographers do not do their own processing or printing . But Jerry Uelsman sees the dark- room as his main creative area , treating the original photo- graphs merely as raw materials for his montages and multiple exposures .
Some photographers ( Kertesz , Friedlander , Cartier- Bresson ) take subjects strictly as they find them , even to the extent of refusing to crop the picture at the enlarging stage . Others manipulate and control their subjects posing , selecting background and foreground , arranging
lighting , adding accessories . Karsh and Gobits , for example , both take extreme care in the composition and arrange- ment of their portraits . Yet Gobits , even in his fashion work , still aims for a naturalistic result , while Karsh's work is more formal and deliberate .
Manipulation can extend into the darkroom , and even beyond it - Brandt sometimes alters earlier published work , as his ideas change . This raises another point . The pictures shown here represent only a small area of the work of these photographers . They are always developing and exploring their ideas , ranging into new areas , reconsidering their approach . If you look at the work of a photographer over time , you will see this process of development . It is an essential part of creative photography .
Studying the work of a photographer over time will reveal to you how he or she sees and reacts to the world . It will also begin to show you how personal styles evolve . Look around for books which collect together pictures by the photographers you have found most interesting here . Find work by other photographers tackling similar subjects , or visual ideas . Look in monthly photo - journals for features on new photographers , and visit exhibitions .
Developing your own style
You cannot develop a personal style by consciously trying to be " different " , nor by borrowing other photographers ideas . Concentrate first on developing self - confidence , with your camera and equipment and learning to be sure of acceptable results every time . Then use this ability to express your own views on people , places , situations , life itself . Allow yourself , as an individual human being , to come through in your photographs . Don't follow popular trends , or suppress idiosyncracies in your own work . Don't be intimidated by other photographer's criticisms . Decide for yourself whether you like your own pictures , and in which ways you could improve them .
If you want to specialize in a particular subject area , choose one where you already have specialized knowledge , experience , or strong interest . A good wildlife photo- grapher , for example , must also be a naturalist . To be a travel photographer you must learn a lot about each country ; to photograph buildings you must know archi- . tecture . If you are already interested by abstract images , or graphic design , you could apply these approaches to your subjects and photography .
If you can , join a club or class on photography , where you discuss ideas with other people . Even if you don't agree , you can at least compare your work with the work of others and re - assess it . Finally , keep a portfolio of your work , well mounted and presented , and regularly look back over it to see in what ways your personal style is changing .
EVOLVING YOUR OWN APPROACH
This section presents a selection of work by fourteen photo- graphers , whose styles vary widely . It is designed to place in perspective the techniques , equipment and visual skills you have learned , and to show you how these tools can give quite different results in different hands . More impor- tant , it displays the range and flexibility of photography as a medium and a study of the work in this section will lead you toward developing your own individual approach .
By now , you should have worked through most of this book . You will have gained confidence with your camera , learned to see and control picture building elements , and handled a wide range of equipment . You have begun , in effect , to master the craft of photography . You may feel that this is all you want - that you do not need to develop a personal style for your particular photographic interest . Perhaps you want to use the camera only as a recording device , to produce accurate pictures of family , friends , events , and vacations . Perhaps you only want to use it as a technical aid for some other interest . But it is more likely that by now you have already become interested in the creative aspect of photography .
The photographic medium
At the beginning of the book , on pages 20-1 , some of the differences between seeing and photography were dis- cussed . There you read that human vision is selective and interpretive , while the camera merely records . But as your photography has developed , you will have realized more and more clearly that the way the camera is used can be just as subjective as the eye . Even more so , if you wish it to be . The camera can even record things the eye never sees . It all depends on how you use it .
In its early days , photography was largely regarded as a recording medium . In fact , the artistic world expressed some alarm that photography might replace painting in areas such as portraiture and landscape . Photographers tried to apply the subjects and themes of the " higher " arts to their work , while the recording power of photography was one of the factors that caused artists to turn to more abstract , interpretive styles .
Even by the middle of this century , most people still used photography largely as a recording medium . Interpretive effects were felt to be too technical for anyone but experts . Even among professionals , more creative work was rare . But modern camera technology has simplified and auto- mated many of the technical controls , such as measuring exposure . At the same time , photography has become accepted as a creative medium . It is recognized now that photography and painting are two quite different arts , each with their own discipline and potential . International art galleries regularly purchase and show photographs . The subject is taught in schools , art colleges , and universities , and hundreds of books of photographs are now published and sold . More and more visually talented people are turn- ing to photography to express their ideas . This leads to even greater diversity of approach and style .
Until fairly recently , most serious photographers worked in black and white . But advances in color technology , and new generations of photographers , have now established color , too , as a dynamic , growing field for creative work .
Studying different approaches
As you look at these portfolios , consider each of the photo- graphs critically . They cover a very wide range of styles , not all of which you will necessarily like . It will help if you argue and discuss with other people the characteristics of particular photographers and their pictures . Later , return to these pictures again , and reassess your judgment in the light of greater experience . You may find that images which had the greatest immediate impact have little more to offer on second viewing , you may discover that the more subtle pictures increase their appeal the more you return to them .
Notice how greatly the photographers included differ in both their subject matter and their interpretation . Some have a particular interest in one type of subject - portrait- ure , reportage , landscape , sports photography . But com- pare the portraits of Karsh , Herrmann , and Gobits , or the " reportage " of Cartier - Bresson and Arnold , and you will see how personal interpretation produces quite different results in similar subject areas .
Many of the photographers work only in black and white , particularly the older generation . Working in black and white has led photographers such as Cartier - Bresson . and Brandt to develop photographic styles that would not translate into color . Brandt , for example , uses tone , con- trast , and the effects of light on form as a personal language , explored through many subjects . On the other hand , color itself forms a main subject in the sensuous work of Haas and Turner their evocative color imagery would not translate into black and white .
For some , the subject of a photograph is of dominant interest ; for others the visual qualities of the image is itself the subject . In their different ways , Kertesz , Cartier- Bresson , and Friedlander are all concerned with the content of their pictures first and foremost ( although this is not to say that form is unimportant in their compositions ) . The subject they choose to record depends very much on their own philosophy . To an extent , their pictures are statements of ideas . Haas , Callahan or Turner's " subjects " are more . abstract . Their photographs are more aesthetic , and are intended to appeal in their own right - Callahan's photo- graphs , for example , are essays in structure and design the actual subject is less important .
Working methods and equipment and materials used differ too . This in itself is a reflection of the photographer's style and approach . A photographer may use every type of photographic equipment to interpret his subject in new and dynamic ways , or only the barest essentials . Gerry Cran- ham , for example , uses a great range of equipment to cap- ture movement the eye can never see , or situations where the photographer himself cannot go . He wants to recreate the experience , the excitement , of a sport . Karsh on the other hand uses a static , tripod - mounted camera , often one of the slow , sheet - film types , for his portraits . Cartier- Bresson uses only a simple , direct vision viewfinder camera , and rarely enters a darkroom , relying on laboratory cessing . Many other photographers do not do their own processing or printing . But Jerry Uelsman sees the dark- room as his main creative area , treating the original photo- graphs merely as raw materials for his montages and multiple exposures .
Some photographers ( Kertesz , Friedlander , Cartier- Bresson ) take subjects strictly as they find them , even to the extent of refusing to crop the picture at the enlarging stage . Others manipulate and control their subjects posing , selecting background and foreground , arranging
lighting , adding accessories . Karsh and Gobits , for example , both take extreme care in the composition and arrange- ment of their portraits . Yet Gobits , even in his fashion work , still aims for a naturalistic result , while Karsh's work is more formal and deliberate .
Manipulation can extend into the darkroom , and even beyond it - Brandt sometimes alters earlier published work , as his ideas change . This raises another point . The pictures shown here represent only a small area of the work of these photographers . They are always developing and exploring their ideas , ranging into new areas , reconsidering their approach . If you look at the work of a photographer over time , you will see this process of development . It is an essential part of creative photography .
Studying the work of a photographer over time will reveal to you how he or she sees and reacts to the world . It will also begin to show you how personal styles evolve . Look around for books which collect together pictures by the photographers you have found most interesting here . Find work by other photographers tackling similar subjects , or visual ideas . Look in monthly photo - journals for features on new photographers , and visit exhibitions .
Developing your own style
You cannot develop a personal style by consciously trying to be " different " , nor by borrowing other photographers ideas . Concentrate first on developing self - confidence , with your camera and equipment and learning to be sure of acceptable results every time . Then use this ability to express your own views on people , places , situations , life itself . Allow yourself , as an individual human being , to come through in your photographs . Don't follow popular trends , or suppress idiosyncracies in your own work . Don't be intimidated by other photographer's criticisms . Decide for yourself whether you like your own pictures , and in which ways you could improve them .
If you want to specialize in a particular subject area , choose one where you already have specialized knowledge , experience , or strong interest . A good wildlife photo- grapher , for example , must also be a naturalist . To be a travel photographer you must learn a lot about each country ; to photograph buildings you must know archi- . tecture . If you are already interested by abstract images , or graphic design , you could apply these approaches to your subjects and photography .
If you can , join a club or class on photography , where you discuss ideas with other people . Even if you don't agree , you can at least compare your work with the work of others and re - assess it . Finally , keep a portfolio of your work , well mounted and presented , and regularly look back over it to see in what ways your personal style is changing .
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