Photography's Distinctive Characteristics. Part I

In a recent workshop on Presence and the Art of Seeing Photographically, one of the participants remarked, “Photography is like no other art form I have tried.”   I got to thinking about that over the following few days and this next series of blogs is the result.  I'd like to look more closely at some of the properties that are unique to photography.

 There has been a lot of material written on this subject as photographers, essayists, critics, and purveyors of the art try to find a way to understand just where photography’s place is in the visual world.  If you have not already done so, pick up a copy of Susan Sontag’s book, “On Photography.”  In this critical look at photography, Sontag writes, “The painter constructs, the photographer discloses.”  

 And there you have it in a nutshell:  the fundamental difference between photography and other art forms is that the photographer starts with an image already in place - the subject - what he or she sees in front of the lens.  A painter on the other hand, starts with a blank canvas to which he adds lines, paint, detail.

With the camera to your eye, there is no getting around it:  What is in front of you must be dealt with in some way.  The visual material before you is what you must interpret and about which you now have to make some decisions:  What to include, what to exclude, what to emphasize, what design elements to employ, and on and on.  This is very different from the method a painter or a sculptor uses.

Years ago in the days of film when I was teaching a class on photojournalism , one of the lectures I presented involved a discussion based on the premise that, “A photograph is tangible proof that something has occurred.”  Of course, with after-capture manipulation we can’t say that today, but the premise remains - with photography the image-maker is dealing with material in front of the lens, not starting with a blank slate.

So what does all of this mean?  On a purely practical level, it means you will need to take the time to let your eye wander around the frame edges to be sure you have included elements important to the subject, and excluded distracting elements.

But on a more fundamental level, here you are in front of a subject that has its own life, its own unique character.  You will need to give that subject space.  This requires a degree of presence, of mindful awareness of the subject and what it means to photograph this particular subject at this particular time and in this place.  As always, it will require you to let thought slip away to allow the subject to present itself.

As Minor White said: “Be still with yourself until the object of your attention affirms your presence.”

In photography, the frame (the viewfinder) is your canvas, and how you use that frame, is where you, the unique photographer, can employ all the tools and devices, design elements to make images that speak to who you are.

The following photograph was taken by Ron on the Alaskan Cruise Workshop and it speaks eloquently to the kind of results one can expect when one gives the subject space and when you take the time to understand the uniqueness of the craft.

In the next entry to this series, we are going to look at the second property unique to photography: The camera’s ability to render speed and motion.  

In the meantime, give some thought to photography’s distinctive character as an art form and, if you like, upload some shots.  And, I’d love to hear your comments.

JDW