Below is an example of an Asian Garden Paul photographed for one of his clients.  The first is the documentary photograph followed by the finished work of art.  Applying the criteria outlined in Documentary Or Art? (Part II), the documentary photograph shows the subject as it was recorded, enough details are included to represent the documentation of the scene, and the light used is not important because he just wants to see the “lay of the land”.  Good documentary photograph.

Documentary rendition of the Asian Garden----J. Paul Moore

 The documentary photograph gave him an idea how he wanted the final photograph to show off the garden.  Now take a look at the artistic version of the same garden and apply the “art criteria”.  The final version is breath-taking in its layout accented by vivid colors, a version that triggers an emotion.  The composition is carefully constructed so the corners are beautifully balanced, the walkway invites the viewer to just step into the garden, and the use of colored cushions make a wonderful “enhancing accent”.  And the light used?  Exquisite soft light, so no harsh shadows are created.  A work of art!

Artistic rendition of the Asian Garden----J. Paul Moore

 Another characteristic of this great garden photographer is his work with individual plants within a garden.  Consider the photographs below of hydrangeas.  The documentary version tells the story concerning how the plant looks when it is in flower, a documentation.  You get a feel for its ecology, its botany.  There are plenty of details to document the entire plant without attention to great composition.  And the light used is adequate to allow him to photograph the entire plant so a viewer knows what  hydrangea looks like in its natural setting.  Good documentary photograph.

Documentary version of a garden hydrangea----J. Paul Moore

 Should one of his calendar clients request a more artistic rendition of a hydrangea in flower, the photograph below would be the photograph he would send.  Note the use of shapely leaves to anchor the corners so nothing distracting is included in the composition.  The reason for the photograph, the inflorescence, is prominently displayed and offset from the center.  And, there are no competing bright spots as the viewer’s eye is drawn to the main attraction, the inflorescence.  The exposure is right on so the flowers are white with NO blown-out details.  And the light?  Perfect.  A photograph that triggers an appreciative emotion.  A work of art!

Artistic version of a garden hydrangea----J. Paul Moore

 For more of J. Paul Moore’s exquisite garden photography, visit his website http://www.jpaulmoorephoto.com/

What can we deduce from these examples what his “photographic style” is?  He uses wide angle lenses so his compositions are beautifully balanced, especially his attention to the four corners so unnecessary, distracting details are omitted.  He loves soft overcast light to give his compositions a “dreamy” look accentuated with the use of a polarizing filter, probably exclusively, to remove glare from his vegetation to render that soft look.   He uses color beautifully, and his use of paths or walkways seem to invite a viewer into his gardens.  His compositions are not just isolated scenes, they are connected to the “outside world” with his use of walkways.

Do you want to learn how to photograph gardens as he does?  He will be teaching a weekend workshop at The Morton Arboretum:  Tips & Techniques For Great Garden Photography P499.  The workshop is scheduled for Friday, July 27 and running through Sunday, July 29.  Bob Duke and I will be assisting him for that workshop.  Great Garden Photography

Quote:  “Sometimes I do get to places just when God`s ready to have somebody click the shutter.”—-Ansel Adams

Yosemite National Park----Ansel Adams

 Comments?  willardclay@att.net

Documentary Photograph:

-The subject is the reason for the image; the photographer is a reporter
-A lot of compositional details for an accurate representation of the scene
-Light used is not an important consideration

 Artistic Photograph:

-The photographer communicates his/her emotion and vision of the subject
-Careful composition is important to remove unimportant details and showcase the subject of  interest without distractions
-The creative use of light is important to the emotion and vision of the photograph

Documentary photograph of The Bean in Chicago after the winter storm of 2011

Artistic photograph of The Bean in Chicago after the winter storm of 2011

 These two photographs of the Bean in Chicago by Scott Olson represent a perfect example of documentary and artistic renditions of the same subject.  Let’s apply the criteria composite to these images.

The documentary photograph is all about telling the story of a bad snow storm and the resultant clean-up efforts.  There is nothing in the scene that is a strong composition, in fact, it is chaotic, but it documents the intensity of the storm.  And the light is nothing special.  The artistic rendition pays close attention to uncluttered detail and the simplified composition carries an emotional impact.  The light may be similar to the documentary, but the soft light intensifies the emotion of the scene.

Now for a landscape example.  A client once called my office and we had a conversation that went something like this.  “Will, could you send us some photos with ‘optimistic’ light?”  “What the hell is optimistic light?”  “You know, mid-morning, bright light, strong colors, blue sky.  Happy scenes!  I don’t want to see any of that ‘moody’ sunrise/sunset light you are known for”.  May I substitute “documentary” for “optimistic light” and “artistic” for “moody light”?

Here is the photograph I sent that I considered “artistic” that she considered too moody.  Is it art?  It made me “feel” like it was.  The composition was just as I wanted it and the light was extraordinary at sunrise.  It created an emotion that was a reflection of my ‘vision’ for that scene.

Sunrise light on the Teton Range, Grand Teton National Park, WY

 To satisfy her requirement, much to the delight of my Marketing Director who loves blue sky pictures, here is the scene photographed about two hours later.  It had the front light she wanted and plenty of blue sky.  Definitely not ‘moody’, according to my taste.  To me it is documentary, to the Art Director, it was what she wanted.  Work of art?  The nice clouds lying on the mountains make the distinction a bit more difficult?  Okay, does a photograph have to be “art”, if it is what a photo buyer wants?

Morning light on the Teton Range, Grand Teton National Park, WY

 Back in halcyon days of landscape photography, we had a term called “road kill”.  That meant a photographer unexpectedly “stumbled upon” a good scene while driving and jumped out of the vehicle and quickly took the picture before it was gone.  Below is a road kill from the Tetons.  A fierce storm was blowing in with 40 mph winds.  I pulled over and used the camper body to shield the 4×5 and took the picture before the brightness over Teton Peak disappeared. 

There was no thought involved.  Just quickly set up and fire before the light was gone.  The composition is nothing extraordinary.  The photograph documented what was rapidly happening for sure.  But the light and cloud formations were extraordinary.  Documentary?  Work of art?  Fortuitous work of art?  Or maybe just damn fortunate!  Maybe the distinction between documentary and art is not always so clear cut?

Storm light on the Teton Range, Grand Teton National Park, WY

 Quote:  To slightly change gears on quotes I give, I am sending you to Dewitt Jones’ site for a photographic celebration of Life.  http://www.dewittjones.com/celebrate.htm

Quote:  “It doesn’t matter who you are; it doesn’t matter where you’ve been; it doesn’t matter where you start; it only matters where you end”—-Griffin House, singer/composer

Comments?  willardclay@att.net

Maybe the emotion triggered by a work of art is an aesthetic emotion?  Does the emotion of a work of art have to be aesthetically appealing?  We will look at two examples from two “Time/Life” photographers that are in that category.  Works of art that trigger an emotion that are not necessarily aesthetically appealing. So what is a photographic work of art?  Are there common denominators we can agree on?  Well-composed compositions for sure.  Good, maybe great, use of light.  Triggers an emotion, for sure.  Captures the “decisive moment” is often a characteristic of a photographic work of art.  A photograph that makes one look at, continue to look at it, and look at it again.  The response?  “Look at that!” 

Now for a “slippery slope”.  The photographic work of art is “creative” and that we will have to look at in more detail in a subsequent post….for sure.  What is creative?

Let us begin this foray into art with some examples.  Below are two photographs of the “Bean” in downtown Chicago taken during the 2011 Chicago blizzard by free-lance photographer Scott Olson.  The first photograph is, in my opinion, documentary.  You get a feel for the intensity of that awful storm, it tells a story, but a work of art?  Not hardly.

The "Bean" in Chicago after the storm of 2011----Scott Olson

 Scott Olson also took a photograph of the Bean that is a work of art.  Why?  Well-composed, clean composition with no clutter, and captures the decisive moment of two pedestrians framed by the Bean.  A work of art.

The Bean during the Chicago storm of 2011----Scott Olson

 Since I live in Illinois and I love baseball, here are two examples of the Chicago Cubs in action.  The first photograph is of pitcher Paul Mayholm (Chicago Cubs photograph) who recently was the winning pitcher against the Atlanta Braves.  It is documentary, a “portrait” of a pitcher pitching, a composition that is not very good, no decisive moment.  But it tells a story of him pitching.  Documentary.

Paul Mayholm pf the Chicago Cubs----Chicago Cubs photograph, 2012

 If you want to see sports photographs that are indeed works of art, we turn to the best in the business, the Sports Illustrated photographers.  Below is a photograph of Cubs’ catcher Geovany Soto making a throw.  Why a work of art?  The SI photographer Nam Y. Huh captured the decisive moment; the expression on his face, the arm positions, and the ball is a part of the composition.  Beautiful!  Clean compositions and capturing the decisive moment ARE the hallmarks of SI photographers.

Geovany Soto, Chicago Cubs----Nam Y. Huh (Sports Illustrated)

 During the Great Depression and World War II, the so-called Time/Life photographers were contracted to document these monumental events.  Document them!  But what photographers such as W. Eugene Smith and Dorothea Lange returned with were images that were more than documentaries, they were works of art that became iconic in the genre.  Many turned out to valuable prints for collectors.  What these works of art had in common were clean, well-composed images that captured a decisive moment, and in many cases, they had an “enhancing accent”, the added touch we discussed in previous posts. 

Consider the WWII Marine photographed by W. Eugene Smith during an invasion.  Decisive moment?  The Marine looking back over his shoulder with a concerned look on his face.  Enhancing accent?  That cigarette dangling from his lip.

Marine at Saipan in World War II----W. Eugene Smith

 The photograph of a migrant mother and her children during the Great Depression by Dorothea Lange is well-composed, clean, and captures the decisive moment.  The look on the mother’s face and both children burying their faces on her shoulder.  Enhancing accent?  The C-shape of the mother’s hand on her chin.

Migrant mother and her children during the Great Depression----Dorothea Lange

 In the next post, I will try and do the same analysis for landscape photography.  Some of the common denominators are strong compositions, interesting subject matter, decisive moment, use of light, unique perspectives, enhancing accents.  What these works of art all do is trigger some response that make one look at the photograph and say, “Oooh, look at that!”

Quote:  “One way or another, we all have to find what best fosters the flowering of our humanity in this contemporary life, and dedicate ourselves to that.”—-Joseph Campbell  (the flowering of our photography?)

Comments?  willardclay@att.net

Yousuf Karsh (1908-2002):  It is my opinion that any discussion of portrait photographers must begin with Yousuf Karsh, an Armenian-Canadian photographer who was one of the most famous and accomplished portrait photographers of all time.  Working with his 8×10 view camera, he was known for his work with celebrities and became known for separate lighting of the hands.  His photograph of Humphrey Bogart is a classic example of his style of lighting the hands.  And I love this quote:

“Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize.”—-Yousuf Karsh

Humphrey Bogart----Yousuf Karsh, 1946

 Philippe Halsman(1906-1979):  The Latvian born photographer began contributing to fashion magazines such as Vogue and soon gained a reputation as one of the best portrait photographers known for his sharp, and closely cropped images that shunned the old soft focus look.  His big break came when he met Connie Ford, a striking young model who agreed to pose in exchange for prints for her portfolio.  When publicists at Elizabeth Arden saw Halsman’s photograph of Ford against an American flag, they used the image to launch a national campaign for “Victory Red” lipstick that changed how the advertising industry portrayed women.  Marketing focused on how makeup, especially lipstick, had a role in making women look and feel strong.

Constance Ford and Victory Red ad----Philippe Halsman, 1947

 Irving Penn (1917-2009):   Best known for his fashion photography, Irving Penn’s repertoire also includes portraits of creative greats and still lifes.  However, it was his fashion photography upon which he built his career.  Without a doubt, his creative photography helped shape the post-World War II world of feminine glamour photography.  As a style, he was among the first photographers to pose subjects against a simple grey or white backdrop using a set of upright angled backdrops, to form a stark, acute corner.  His portrait of Truman Capote is a classic example of this style.

Truman Capote----Irving Penn, 1948

 Steve McCurry(1950-):  Steve McCurry focuses on the human consequences of war, not only showing what war impresses on the landscape, but rather, on the human face.  His career was launched when, disguised in native garb, he crossed the Pakistan border into rebel-controlled Afghanistan just before the Russian invasion. When he emerged, he had rolls of film sewn into his clothes.  His beautiful image of a young Afghan girl with haunting eyes, published in National Geographic in 1985, came to symbolize the pain and resolve of her people.  Great photograph!

Afghan Girl----Steve McCurry, 1984

 Let’s finish this off with a quote from Steve McCurry that gives some insight into his style, especially his coined phrase, “the unguarded moment”:

Quote:   “Most of my images are grounded in people. I look for the unguarded moment, the essential soul peeking out, experience etched on a person’s face. I try to convey what it is like to be that person, a person caught in a broader landscape, that you could call the human condition.”—-Steve McCurry

Quote:  “Find a place inside where there’s joy, and the joy will burn out the pain.”—-Joseph Campbell

Comments?  willardclay@att.net

Consider my friend, wildlife photographer Stan Osolinski.  In part, he made a name as an Africa wildlife photographer.  Though many of his images contextualized the animal’s environment, I believe his best work isolated the animals using light and capturing behavior.  The animals of Africa? The subject matter.  The approach?  Isolating behavior and using dramatic light.  These defined his style.

Male African Lion----Stan Osolinski

 In a previous post, I made reference to photographer Suzana Ristic and her images of Sweden.  Sweden provided the subject matter, but her style is definitely defined by her approach and the ethereal images she produces.  She could have photographed anywhere.  Her style?  Not knowing her personally, I believe it is the approach she uses that characterizes her style.  And how she processes an image is most definitely an integral part of her style.

Images of Sweden----Suzana Ristic

 An example of a photographer that published a body of work where the subject matter was predominant in their style is a project called The City Project by Lori Nix.  The subject matter, disheveled abandoned buildings, defined the style, and the approach was a simple “normal lens” look without any Photoshop manipulation.  So this body of work is subject matter driven.

From The City Project----Lori Nix

 Consider once again the great Richard Avedon.  His subject matter was primarily human oriented as a gifted fashion photographer.  His models provided the subject matter and his approach was very eclectic and difficult to “pigeon-hole”, but unmistakable Avedon.  I cannot imagine him photographing African lions like Stan Osolinski or Stan doing high-fashion photography.  So you see the point?  Your style is defined by both the subject matter and the approach.

Dovima With Elephants, 1955----Richard Avedon

 As a final example to drive the point home, let’s revisit a photographer we have mentioned many times in past posts, Eliot Porter.  His style was, “I only photograph form and color and I avoid the obvious”.  His subject matter was usually Nature; however, when he photographed subjects other than Nature, his approach was the same, “I shoot only form & color”.  That was definitely his style in his approach to the subject matter as evidenced in the photograph below from Stonington, Maine.

Lobster buoys; Stonington, Maine----Eliot Porter, 1981

 So what is the overall conclusion we can derive from the question What’s Your Style?   It is quite simply this–your style is defined by the subject matter that makes photography interesting for you and how you choose to capture it.  Do NOT worry about “what is my style”, it will evolve over time IF you remain interested in the subject matter and love to work with a camera.  I have tried to intellectualize this is discussion (the professor in me), but it is that simple.  Shoot like you mean it and the “style” will follow.

So I close off this series by insisting you check out the link below to an article by photographer Valerie Jardin, Stop Whining About Your Equipment, Get Out And Shoot!  She does indeed put all my intellectualizing into perspective and I could not have said it better to wrap this thing up!
http://digital-photography-school.com/stop-whining-about-your-equipment-get-out-there-and-shoot

Quote:   “Life is without meaning. You bring the meaning to it. The meaning of life is whatever you ascribe it to be. Being alive is the meaning.”—-Joseph Campbell   (Now think about that quote and apply it to the development of your style)

Comments?   willardclay@att.net

“I enjoyed seeing everyone’s projects and for the first time I felt like my photos held their own.  I know that there is no right or wrong, etc. in art, but I usually felt like I didn’t quite capture the concepts as well as most of the students in class in the earlier classes I took.  I generally finished a class wondering if I really got photography.  Now I feel like maybe…just maybe…there is hope for me.”  (Indeed there is as you continue to try!)

I am currently teaching a class asking my students to “look within” and start developing a “feel” for their photographic style.  The majority of photography classes ask the students to “look without”, meaning they look to a teacher to teach composition tools, lighting techniques, technology, yada, yada, yada.  As every responsible parent knows, there comes a time when you have to push your children out of the nest and experience Life on their terms.

Such is the case with teachers of photography, at least those who teach like they mean it.  You can teach all the “tools” you know, but eventually the students must “look within” and develop their own “style” as a photographer.  You never stop “looking without”, as is the case when you study the great masters or look to other sources of inspiration (all the arts), but to grow you must “look within”. 

What that means is there is something that makes a serious photographer feel alive when they photograph and that something will be the guideline.  The “style” then is what can I do with my camera to capture that which makes me feel alive and put my imprint on what I have photographed?  How do I express with the camera what makes me feel alive?  Maybe it is a look of a lens, the quality of light used, the positioning of the camera, soft focus, a specific subject matter, a way of looking at the subject matter, whatever.  That will define the evolution of one’s style.  The first posts in this series gave examples of the greats who all did just that.

I would now like to share a few articles that all touch on this subject in various ways, but the overall meaning deals with passion for the experience that makes the endeavor worth the effort.  The first link I wish to share has nothing to do with photography, but everything to do with dedication to one’s art (cooking in this case).  And the use of music from the 1st Movement of Beethoven’s Symphony #7 adds impact that is thrilling.  Here is an edited version of the comments from the person who sent this video:

“Jiro Dreams of Sushi” is a documentary of a unique culture and ethic that takes place in a tiny sushi restaurant of international fame.  The film shows the dedication of a sushi chef, his sons and those around him. There are many parallels to fine art photography.  It is a tribute to professionalism, somewhat sad due to the passage of time and values, but still inspiring and celebrates the art of the human spirit.”  (Listen to sushi chef’s last few words in the video!)—-http://www.youtube.com/watch?v=M-aGPniFvS0

Now let’s switch to a blog post from photographer Natalie Norton that is all about the “feeling” that goes into your photography if you want to develop a style that captures that which makes you feel alive. 

Here is an excerpt followed by the link:   “Often, these images have ignored hard and fast rules of composition, lighting and even focus. They have thrown caution to the wind. They are born not of my technical knowledge, but of my heart. They are born of a true, genuine connection with my subject…”—-Natalie Norton from Creating An Image Of Impact
http://digital-photography-school.com/creating-an-image-of-impact

And here is an excerpt and a link to a post from photographer/teacher Guy Tal that is all about experiencing Life with your camera.  And Life is all about experiencing Life.  Everything else is secondary!   Those who think it is about accumulating wealth just don’t get it and are spiritually bankrupt.

“I don’t make things for a living. I live for a living. I am myself for a living. I seek beauty for a living. I think and contemplate for a living. I experience for a living, because living is measured in meaningful experiences.”—-Guy Tal from What I Do
http://guytal.com/gtp/about/index.jsp

As a final example, I turn to another passion of mine, music.  Mark Knopfler was the lead singer and lead guitar player for the successful rock band, “Dire Straits”.  In order to fully develop his style as a composer and guitarist, he went off on his own.  To get a feel for this wonderful artist and his style, I recommend the album Kill To Get Crimson and listen to his magical guitar within his compositions.  How he plays the guitar is a reflection of his style that is unmistakable.

"Kill To Get Crimson"----Mark Knopfler

 Unless there are comments needing to be addressed, Part IV should cap off this important discussion.  I have published all four on consecutive days, because I have structured these posts to be read immediately one after the other for maximum effectiveness….or so I felt.

Quote:  ”I think the person who takes a job in order to live – that is to say, for the money – has turned himself into a slave.”—-Joseph Campbell

Quote:  “Each of us must do the things that matter”—-David Bromberg, singer/song writer

Comments?   willardclay@att.net

Question: Who were some of your early mentors or heroes?

Answer:  “In my twenties, I started climbing which coincided with my start in photography.  I started to pay attention to colleagues like Galen Rowell.  But before Galen, there was certainly Eliot Porter, Ernst Haas, Ansel Adams and Edward Weston.”  (sound familiar?)

Question:  At what point did you feel that you developed a signature style to your work?  Or, do you believe you have such a style?

Answer:  “I am at a loss when it comes to objectively looking at my own work and determining if there is a style.  I would say this –most of my work is connected in the sense that whatever it may be, a cultural portrait, a landscape, or wildlife, there is a clean style to it.  I tend to shoot clean and tight compositions, no matter the subject.  This is even true with wide-angle lenses.  There can be a lot going on, but the message is always extremely clear.  I don’t clutter photos with extraneous elements, as they only serve to distract.”—-Art Wolfe

Onward–Let’s assume all three of the great photographers mentioned in the first post in this series signed up for the class I am currently teaching at The Morton Arboretum where I want the class participants to start defining their styles.  How cool would that be?  LOL.  Here are possible portfolios they may have submitted demonstrating their “photographic styles”.  (Okay, so they are not alive, but it would have been way cool!):

Eliot Porter (form & color):  http://www.afterimagegallery.com/porterinwildness.htm

Edward Weston (Abstract forms):  http://www.edward-weston.com/edward_weston_natural.htm 

 Ansel Adams (B&W, big tonality range, big scenes usually):  http://www.fulcrumgallery.com/a26358/Ansel-Adams.htm?source=GoogleAdWords&ad=ADAMS&gclid=COilmu2H0K8CFbEDQAod5VbPGA

Plus, here are two other photographers who signed up for the class and definitely have their unique photographic style.  This will be a tough final critique session?:

Suzana Ristic (Sweden’s Hidden Beauty):
http://www.photographyblogger.net/swedens-hidden-beauty-photography-by-suzana-ristic/

Lori Nix (The City Project):   http://smokingdesigners.com/city-project-lori-nix/

As a final touch on this subject as it relates to photographic style, here is a question I receive many times in my speaking engagements, “Now that you shoot digitally, has your style changed?”  Good question.  Basically no, I am still selective as I was in the expensive 4×5 film days and I still shoot the wide-angle style with a close foreground and great depth of field.  However, not all my photographs are of that style as that would be a bit tedious.  I like close-ups, I like big scenes in the distance, so to speak.

What has been solidified in my style, because of the digital camera and especially, the advent of zoom lenses (not a luxury for a view camera), is I pay more meticulous attention to what is happening in the four corners.  And this true for every photograph I take.  Either there is something structural in the corners or the corners are neutral without anything that distracts from the photograph. Hopefully!  What this means is that if the corners are “well-anchored” structurally or are neutral, the photographs are either compromised by cropping or nothing beneficial is added in the case of neutral corners.  As a result, all the digital photographs (with a few rare exceptions) on my website are full-frame, stand alone, non-cropped images, and that is an integral part of my style. 

This true for an Edward Weston-esque close-up abstract pattern scene:

Oak leaf frozen in ice patterns, Starved Rock State Park, IL----2012

 Or an Eliot Porter-esque ”Intimate Landscape”:

Winter scene, Starved Rock State Park, IL----2012

 Or an Ansel Adams-esque grand scenic, though this photo is also the wide-angle approach, but shows the attention to the four corners:

Winter sunrise on Lake Michigan, Door County, WI----2010

So, over the span of my career my “photographic style” has evolved to the style that now characterizes my work and it has taken years of evolution.  This leads us to a concluding comment that is the entire reason for this discussion on defining a photographic style.  It comes from one of the students in my current class and I will paraphrase the comment to protect identity, but this is what it is all about!  This defines the photographic style.

“I have struggled with the assignment of identifying my style, so I looked at all the photographs I have ever taken in these Arboretum classes and I isolated just those I felt strongly enough about to include in the critique sessions.  Those I took that moved me that I wanted to submit for critique and OMG, it hit me, I was developing a photographic style and I wasn’t even aware of it.  So  now I can concentrate on the style that moves me and develop it!”

And here it is:  If you care enough about your photography to take it seriously, whatever it is that triggers an emotion in you and makes you feel alive photographically, THAT WHATEVER will be your guideline to defining your personal photographic style!

Quote:   “Follow your bliss and the Universe will open doors where there were only walls.”—-Joseph Campbell

Comments?  willardclay@att.net

When you get to that point of developing your way of interpreting a photographic subject matter that satisfies, you will find you start looking at all subject matter in a similar way.  When that happens, your “style” is crystallizing and I believe your style then becomes an integral part of what I call “photographic conscious awareness”.  You approach a subject you want to photograph and your “style” guides your interpretation of how you are going to photograph it and put your imprint on the final result.  It becomes your photographic “vision”.

In the previous post, I gave examples of three famous photographers and the styles that became an interpretation of their vision, styles that were unmistakable.  Let’s momentarily revisit Eliot Porter who coined the term “intimate landscape” that was a hallmark of his vision.  But at the foundation of his style, or vision, was his statement, “I only photograph color and form”.  I gave two examples in What’s Your Style Part I that were quintessential Eliot Porter style.  This is the “leitmotif” that seems to always be present in his photographs that defined his style, even in his close-up work.

Lichens on River Rocks, Iceland----Eliot Porter, 1972

 Another example that may assist you in defining your photographic style.  I have been asked by many of my students, “How did you define your style?”  So let’s take a brief overview of how I developed.  In the beginning, during my formative years in “photographic prehistoric times” (in today’s digital world of speed of light changes, that can be a few years), I was immensely influenced by Eliot Porter.  Intimate landscapes emphasizing color and form.  Note the dates as my style crystallized.  I have three phases of style that evolved over time.

Redbud Tree, Starved Rock State Park, IL----1988

 Nice photograph with an Eliot Porter influence?  But I did not want to be a Porter “wannabe”, so I needed to develop my own style, my own vision for putting my imprint on a scene.  What defines a style is a way of interpreting a scene that triggers an emotional response, and I cannot over-emphasize the importance of that “inner feeling”.  It IS the fuel that defines your style and vision.  What ultimately defined my style, and became my leitmotif, was the wide-angle lens technique of a close foreground and great depth of field to the horizon, especially with a well-defined middle ground.

Brittlebush, Organpipe Cactus National Monument, AZ----1995

 And the style even is evident in scenes without a horizon.  Wide-angle with a close foreground, distinct middle ground, and background showing a lot of depth of field.  The leitmotif was defined by this time (1998).

Barrel Cactus, Poppies, and Cholla Cactus, Organpipe Cactus National Monument, AZ----1998

 What evolved into my current style was adding an “enhancing accent” (that little added touch used by the great pros from the past) when I could define one in a scene.  The scene below is the same wide-angle style and the enhancing accent is the little pool in the foreground with stones in it.

Manido Falls, Presque Isle River, MI----2011

 Hopefully this discussion will assist you in defining your photographic style.  Remember, your style is defined by a way of photographing at a scene that triggers a positive emotional response in you that defines your vision AND it is an evolutionary process.  By 2011, the style is well-crystallized.

For a look at a photographer who was a fashion photographer and a look at his development, check out this link to Richard Avedon (1923-2004):  http://www.christoph.grooppa.com/index.php/jomsocial/42christoph/videos/video/23-richard-avedon-darkness-and-light-19

Quote:  “I don’t believe people are looking for the meaning of life as much as they are looking for the experience of being alive.”—-Joseph Campbell
(Meaning, when you feel alive photographing, your style is being defined)

Comments?   willardclay@att.net

There are some basic fundamentals that need to be in place before one can answer the question, “what is my style?”
1)  First, one must have an interest in photography to do more than take ”snap shots”.  That is a given.
2)  You must  be very much interested in the subject matter you wish to photograph.  You will never develop a style for photographing nudes if you have no interest in photographing nudes.
3)  And this is critical to developing a style, “how am I going to interpret this subject so it reflects how I see this subject?”  How you interpret a subject defines your vision and will evolve into “your style”.
4)  And this is intangible and is difficult to define, but critical.  When your interpretation of a scene triggers an emotional response in you and does so consistently, you are devloping “your personal style”.

This reminds of the story I have told my classes about the legendary Juilliard violin teacher Dorothy DeLay when asked what she talked about when working with the great violinist Itzhak Perlman.  “We don’t talk about playing the violin, he knows how to play the violin as well as anybody in the world.  What we talk about is interpreting the music on a score so the interpretation has his stamp (style) on the music”.  THAT is what I want my advanced students to do, interpret a scene so it reflects their vision.

Any good photographic education includes studying the work of the masters, past and present, and learning from them, NOT copying them.  What they have to teach can help a photographer to develop their personal style.  So let’s take a close look at some of the masters that I recommend being studied that also influenced the evolution of my style.  And I must emphasize, it is an evolutionary process that may include changes in one’s “style” as it evolves.

Ansel Adams (1902-1984):  Ansel was being trained to be a concert pianist, but when he saw a gallery exhibit of Paul Strand in Alfred Stieglitz’s New York gallery (An American Place), he was awed by the tonal range capable of in black & white photography and the emotions photography could trigger.  He told Stieglitz photography was his destiny and picked up his 8×10 and started photographing.  Stieglitz then gave Ansel a gallery exhibit that helped launch his career.  His style evolved into B&W imagery of the grand landscape.  He even constructed a platform on his station wagon to give him a more expansive view.

Ansel Adams and his 8x10 camera

Below is an example of an Ansel Adams photograph that is characteristic of his style he developed.

Grand Teton Range from the Snake River Overlook----Ansel Adams (1942)

 Edward Weston (1886-1958):  Edward Weston was a California-based photographer that developed a style that emphasized abstract patterns whether he was photogaphing shells, peppers, nudes, or landscapes.  Below are two examples that reflect his “style” of being attracted to abstract shapes and lines.

Shell detail----Edward Weston (1927)

 And Weston’s treatment of nudes reflected the same style he used on shells and peppers.

Nude detail----Edward Weston (1927)

 Eliot Porter (1901-1990):  Eliot Porter was a professor in the medical school at Harvard, but his passion was color photography.  After a successful exhibit at Stieglitz’s An American Place, Porter gave up his medical career and pursued color nature photography.  He is credited with establishing color nature photography as an art form.  In an interview, he was asked why none of his photographs include icons like vast fields of flowers with snow-capped mountains in the background?  His answer was, “Those subjects are too obvious.  I do not shoot the obvious.  I only shoot color and form”.  He liked smaller scenes that he coined the “intimate landscape”, and that defined his style.

The Intimate Landscape----Eliot Porter

 And the following photograph that is quintessential Eliot  Porter showing his style of color and form in the intimate landscape.

Moonlight Creek, Utah----Eliot Porter (1962)

 These three masters of photography developed their individual styles photographing subject matter they were intensely interested in, interested enough to give up other careers to pursue their passion. Did they master the technical skills of composition, use of light, et cetera?  Of course they did, but along the way, they developed their unique styles on interpreting their chosen subject matter.  And I believe it safe to say the styles they developed are so distinct few would confuse their photography with each other.

I will continue this discussion in the next post tomorrow answering the question my students have asked me, “How did you develop your style?”  But, I want to conclude this post with an appropriate quote that comes from the following article by Louis Hamwey (one I have used in my classes):  http://digital-photography-school.com/the-best-photography-book

If a photograph doesn’t say something to somebody, did the photographer fail?  Only the photographer can answer that question?  Maybe a photograph only needs to speak to the photographer?  Food for thought!  Since music is such an integral part of my life, I begin this post with an appropriate quote from Rod Stewart:

“Every picture tells a story, don’t it?”—-Rod Stewart

Example #1 — Here is a dramatic photograph of the Golden Gate Bridge in San Francisco that tells a story for sure, if none other than, “What the hell am I doing on this bridge”?  I am also wondering what he was doing on the hill he was on that overlooks the Bridge in a lightning storm?  By the way, I am making the assumption his last name is spelled correctly as that is how I saw it posted.

Lightning strikes on the Golden Gate Bridge----Neven Mrgan

 Example #2– I include this photograph from Indonesian photographer Eco Suparman, not only because it is an astonishing photograph, but because it raises the eternal question the digital age has produced, “Is this what the camera saw, or is it digital chicanery?”  The digital age has also raised the question, “Does it matter if a photograph was digitally manipulated so it is not what the camera saw?  If that is what the photographer wanted to create, does it matter?  It is art isn’t it?”  Or so the argument goes.  Does it matter to me?  It does, because capturing something exciting as it existed is what photography is all about, but that is just an opinion.

Grasshopper on fern heads----Eco Suparman

 Example #3–  One winter while walking along with my camera I noticed this milkweed poking up through the snow.  There was a story here that begged to be photographed.  The plant, if I may anthropomorphize it, is saying, “I survived the winter to complete the reproductive cycle and the seeds hanging on to the pods are proof I was successful”.  The seeds are the “enhancing accent” that makes the photograph and tells the story plus, the pods are arranged in a very nice pattern.

Milkweed pods in winter, Moraine Hills State Park, Illinois

 Example #4– This photograph of a Rydbergia plant in flower on the tundra at 10,000 feet elevation in Rocky Mountain National Park tells a story.  The winters and the winds on the Colorado tundra are intense.  The lichens survive plastered on the rocks and the Rydbergia is growing close to the ground nestled into the protective rocks.  Without that interaction, the plant would have a difficult time surviving, though some do on the tundra because growing close to the ground has survival value.

Rydbergia flowering on the tundra; Rocky Mountain National Park, CO

 It is time to change post themes, but let me leave you with this quote concerning the direction I am attempting to lead the students taking my classes:

Quote:  “So the next time you find yourself browsing the bookstore for something to help your photo taking, get out of the how-to section. You will never be able to find your voice where the main theme of those books is all about doing something the way the author thinks is best. Wander over to the coffee table books or art section and pick up one of those beautifully printed pages that are works of art in themselves. Only by listening to others speak can you begin to find your own voice and then your photography will express itself on a whole new level.”—-Louis Hamwey

Comments?  willardclay@att.net