Soon after the new NPN site launched, Youssef Ismail posted a discussion topic about “slow photography” and an interesting discussion ensued. I found myself agreeing with many of the points and practices shared by others in the thread, primarily because my own photography practice has evolved in this direction over the last few years.
How do you create space, depth, and distance in a two-dimensional photograph?How can you communicate a sense of what the scene felt like—from your foreground to the faraway mountain?Dawn yields to a stormy, atmospheric sky that causes the distant mountains to fade away in the distance.
Recently I released my first gallery consisting solely of forest images. I spent a week in Olympic National Forest this spring, each day wandering through the trees to find scenes that could capture its fairytale-like essence. Forests have a natural tendency to be chaotic and Olympic National Park, being so full of life everywhere, was no exception.
Autumn is the time of year when those of us in the Northern hemisphere flock to beautiful locations to photograph the vivid and changing foliage.
There are always two people in every picture: the photographer and the viewer. – Ansel Adams
The concept of audience is one of the most difficult ones to come to terms with for artists and photographers. In fact, finding and defining an audience is one of the most difficult aspects of doing art.
Text and photography copyright © Michael Gordon. All rights reserved.
Most anyone with a small amount of training can successfully operate a camera and make technically proficient photographs. And now, more than anything before, digital cameras have reduced – if not eliminated – the technical barriers to producing high-quality imagery.
Many self-proclaimed “fine art” critics turn their noses up at color natural landscape photography, claiming that it is more “eco-porn” than art. They view landscape photography as relatively unsophisticated, suitable maybe for post cards and calendars, but not for display in distinguished galleries and museums.
Text and photography © Alain Briot. All rights reserved.
He who stands aloof runs the risk of believing himself better than others and misusing his critique of society as an ideology for his private interest. Theodor Adorno
1 – Introduction: Finding and expressing our vision involves having our work critiqued in order to know where we are at and how others respond to our images.