“The question is not what you look at but what you see!”
Henry David Thoureau
“Photography is not about cameras, gadgets and gismos. Photography is about photographers. A camera didn’t make a great picture any more than a typewriter wrote a great novel”. – Peter Adams
Just to refresh – this is part 4 of “View From The Edge” – in retrospect – a series of posts about the benefits and challenges of print-making, presentation and possible exhibition. As examples I use one of my exhibitions under the same title.
After last post’s excursion into more traditional landscapes, or better seascapes, we return to the less grandiose and monumental, but equally rewarding and more experimental views of the inconspicuous, often overlooked and hidden detail. There are the endless colours and textures of rock formations and lichen, as well as reflections in water – both resulting in an abundance of abstract imagery. Non-representational would be the correct term, but in photography it differs by the fact that all photographs originate from something that actually exists or existed – as abstract the result my be. See more HERE. The painter can invent or change things entirely from imagination, while the photographer’s challenge is to transform the existing into an interpretation. Otherwise he/she ends up with mere documentation.
“In photography, as in all visual arts, we have to distinguish between the natural design we observe and the personal design we create. Painstakingly copying the natural observation is mindless” (Hello Mr. Bateman)
The various shots of lichen are basically sketches and adventures in colour, shape, texture and composition, combined into collages on large panels (app. 4’x6′). The fluid reflections of sky, clouds and branches, all under the common title of ‘Liquescence‘ , represent the visual transformation from solid to liquid matter and are adjacent shots of the same spot, assembled in a continuous way.
So – after the challenge of seeing and capturing via mind and tool, it is equally rewarding and creative to make choices for combining images and arranging groups, collages or triptychs. Even the room, wall colour, ambience and lighting, empty space is very important. Ask any curator. If you sell Fine Art Prints, (samples HERE) presentation through choice of paper, colour and style of frame and mat, and their proportions, can not be overrated – as long as all that does not overpower the main thing – the image.
Klaus Rossler © copyright
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