Artsy Fartsy Living

SO I’M SITTING HERE THINKING Photography’s an art, innit? Right?

There was a big controversy about that back when I was a boy photographer back in the ’60s. They said, “Anybody can TAKE a picture.” (Implying, of course, that there’s not much art in that.)

Of course, as the true photographers knew all along, you don’t so much TAKE a picture, as you MAKE a picture. Even were it possible to capture a scene exactly as it is in a given instant, the next instant, it will change — subtly or in gross. And, in photographing the scene, you influence its appearance, as well as the quantum existence of its constituents.

Plus, a photograph prevents you from actually knowing a given scene. There’s the NCIS example, when di Nozzo explained to Kate why they still sketch crime scenes. Others, I’m certain, abound. Even I knew all that back then. It concludeth to say that there is more artifice in a photograph than not.

In my HS days, though, my specialty was candid portraits. Even on the yearbook staff, it was an acknowledged specialty. And I took my text from Henri Cartier-Bresson**, who was famous for his fly-on-the-wall mode of getting images. I even carried a black camera, as inspired by HC-B.

(And, funnily enough, I look up at the camera hanging by its strap off the baker’s rack I use for a desk and — sure enough — I’m still carrying a black Nikon.)

And the shots of mine that made it into the book(s) the years I was on the staff were candid. Though I suspect I wasn’t all that unobtrusive. Sitting in a high school classroom, ignoring the teacher, snapping away, shooting endless rolls of Tri-X, candid shots of self-conscious teenagers: hard to avoid being noticed. And being a 6-foot-plus hulk, (albeit pretty skinny back then), dressed in dark colors, with that big old camera stuck up to my eye all the time.

malger selfie 160422earnie_in_window_lightBut that’s still my style, making candid portraits of the world around me. Nowadays with digital cameras — in the phone, yet (What’ll they think of next!?), it’s easier to capture what you see, though sometimes, it’s still a tough job to get what you see in the frame. Even in a mirror. Not gonna state it as a rule, but it does seem to me as though you can’t get a camera in a position to where you can photograph yourself as you see you in a mirror. The perspective is always wrong — the shapes of objects are distorted subtly. Here, I was looking at the image in the mirror, but the image is looking at the screen on the phone, thus lidding the eyes, it being impossible to look two directions at once.

Serendipity plays a pivotal role in instantaneous art — that is art over which the artist has only when-to-push-the-button control over when to freeze the motion that is an inevitable component of any scene — even the stillest of still lives. In the fast-moving art of candid photography, even the most carefully-framed shot will reveal the unexpected — which can often be seen as a bonus.

serendipity_illustration_btb_160424jane looks upFor example: in the images to the right, the top shot is the intended frame. I was trying to get a picture of Loki. Jane just photobombed me. But Loki moved too fast for the shutter to “freeze” him in action, thus making him too blurry for a normally acceptable shot. (I say normally, because I’ve had blurry shots turn out cool enough to use for some purpose, but it’s not common.) But The image of Jane, when framed and cropped correctly, is of interest. So it is treated so and saved as one of “my” pictures.

**The link goes to a Wikipedia article about Henri Cartier-Bresson. For the love of God, if you have the slightest interest in art or fine-art photography, go and read the article. Follow the links. Buy the books — especially Cartier-Bresson’s The Decisive Moment.

2 responses to “Artsy Fartsy Living

  1. This topic is as broad as the rice field, in my own humble opinion, the definition of beauty is flexible. Nobody can tell you what should or shouldn’t be fine art. The best way to create fine art photos that you love is to expose yourself to your version of art.
    Study your favourite photographers’ photos. Find artists whose work makes you feel, no matter how obscure or popular their genre is.
    The more images you expose yourself to, the easier it will be to discover your taste. Don’t worry about subconsciously copying their ideas or styles.
    Once you have a better idea of what you admire about art, you’ll be able to take photos that accurately and uniquely reflect that admiration.

  2. Mark Philip Alger

    I have recently acquired my own copy of Cartier-Bresson’s book. (I only read it in a library back in the day.) You should see my Pinterest collection of artists and images I expose myself to: https://www.pinterest.com/markphilipalger/
    Check it out. You might find something to inspire you yourself.

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