Film photography is not better or worse than digital photography, they are simply different tools, different processes and, consequently, different experiences.
The difference of experiencing of film and digital photography are not only in the process of photographing, manipulating and printing the photograph but also in observing and appreciating the print result.
With technology, mobile apps and computer photo editors can mimic the appearance of film photography but the ink print from digital camera does not have the same visual feeling and experience of optic print on silver gelatin from a film negative. Of course that for one to really notice the difference, and experience the difference, one has first to become used with analysing them because the difference is not in something one can spot on the image and point at to someone else with one's finger; It is rather something one just senses with one's eyes and literally feel as experience. It is actually true about experiencing any work of art. We do not have the same experience of looking at a painting through a screen, for example, because on the screen we are not looking at canvas and ink – and so we can not feel its texture, mass and pressure – but looking at pixels on a flat screen. It is no wonder that people who are used to appreciating works of art tend to spend more time looking at them than people who are not used to it; They are seeing and experiencing something more they know the artwork has.
One of the most evident differences of experience filme photography has been the higher dynamic range of large and middle format film negatives. The larger the film negative the less the print is enlarged when printed, or shirinked when photographed, conserving visual feeling of tangibility of elements in the image – the spatial distance between elements in the image. In other words, it feels the elements in the image are more alive, more real, more tangible and less abstract. Digital photography has been trying to use technology to obtain similar experience of film negatives and in some aspects, like dynamic range, it has succeeded to a certain point. Nonetheless, at the end we still are not looking at the same thing, and so not experiencing the same, when looking at ink printed from digital photo and when looking at silver galating from optic print.
The process of photographing is another aspect that differs digital from film photography. This process is not only relevant to the photographer because the process is part of the message; in any communication. See the actors in a theater and compare their acting from a movie. Because a different creation process gives them different experiences, the way they express their experiences will be different as well. The artist's expression is the main point of a work of art, so his process of working – which includes the tools they use – is relevant for the understanding and experiencing a work of art.
What does photographing with film negative mean to me? It means spontaneity with my creation and being more connected to the subject I am photographing. The reason for both is because film photography has no instant result screens for me to check the result of what I am doing. Without the distraction and certainty of a screen showing me the result I am forced to rely on my senses and trust it, which means being more attentive to my senses, my body – emotion – feelings and the moment, as I become more connected to them. Screens and tools settings of digital cameras are a distraction from what I am photographing and my experience with it, because the attention becomes towards the instant result, towards the control, instead of the experience of the moment. This instant result and control kills spontaneity, in my experience, and I like spontaneity; it is when the other selves in myself emerge and express themselves. The result in the message means trust, honesty, exploration and discovery.
Photographers can focus on the subject, their feelings and experience of the moment with digital photography as well but the fact it is a choice it is very hard to remain focused once the photographer becomes curious about the result. Regardless of the capacity of the photographer with the medium, the medium itself interferes in the message. Colours have meanings and communicate things, as well as the material of a work: wood, plastic, ceramic, etc. Different mediums also have different capacities and limitations. As McLuhren said: "The medium is the message". Choosing film photography is a choice of communication related to the message the artist wants to transmit. I also photograph with digital photography but for different kinds or work.
This is all to say that film photography is not merely a nostalgia, if it is at all. Choosing between digital and film photography is like choosing between oil and acrylic painting. Oil painting is older technology and acrylic painting has many advantages, such as fast drying. Many painters still prefer to paint with oil painting, not merely for the nostalgia but because it has a different experience than acrylic. This is the reason film photography is alive among artists.
A friend of mine told me this pink Garden Cosmos look very girly, telling me it is funny to think of me, a beard man, photographing such "feminine feeling" images. On the other hand, my psychology never had such strong gender division. I agree with her about this photograph looking girly, because of the delicate flower shape and pink color, but what kind of flower don't look feminine? As a man I like to contemplate the "feminine" world which normally is associated to charm, elegance and beauty. What makes this particular image look girly is the innocence feeling transmitted by the flowers and their pink and yellow colors.
Otto Rank wrote that we all have both feminine and masculine psychology with one being more strong than the other. Siri Hustvedt said that she sometimes dreams she is a man, mostly because as a writer she incorporate the male characters in her stories. She says that she is a woman but sometimes she is a men (when she dreams and writes). So I guess that sometimes I am a girl when I photograph, letting emerge my feminine psychology in my dreams and work.
Photographers have a big outdoor culture. Most people interested in photography are usually also interested in outdoor activities, which they combine with photography, such as travelling, hiking, sports, nature, architecture, street photography and so on. No wonder that most photographers, and so most photographs we see around, are about registering experiences especially now with the social media self exposure.
Because of the fact photographs register the appearance of physical objects in the real world it was popularised by people wanting to register the tangibility of others they feel attached to and places to keep as memory, and so experiences that are related to such memories. But photography didn't influences people on such tangibility registration alone. The publicity industry took a huge opportunity offered by photography to use the image tangibility feeling and image experiences to induce people to feel, and so desire such objects, and experiences they see on images. Since publicity images are everywhere we go, including in our homes through screens. We are all very much influenced and have the vision adapted to the tangible publicity language.
Such publicity visual language is so influencing that most people, including most photographers, use such language as reference of photography quality, with a lot of people trying to learn and copy the publicity image technique, to copy such language, and present it as skilled photographers.
The lockdown and social distancing caused by Coronavirus brought many photographers to share their innovative, creative and tutorials on how to practice photography without leaving home, as if photography indoor is something unusual. After all, most photographers are after new places out there in the world and new experiences in such places, expecting to obtain the new, the unusual or simply the experience. The good photo are often associated on "how good" a place is or how good the experience suggests the object's appearance, its tangibility.
I feel the photography [visual] culture lost a lot along its materialist and technician path. Despite the artistic feeling of the activity it seems most photographers lost (or are lacking) the most artistic thing one can have: the abstract vision.
"What the greatest minds have ultimately sought from art is knowledge, a true and metaphysical knowledge, capable of reaching beyond the external appearance of phenomena in order to lead us to their intimate essence". - 'Seeing the Invisible on Kandinsky' by Michel Henry.
Many of the greatest photographers from the past didn't have to go beyond their yards to find endless inspiration. Helmut Newton said once he could always find the perfect location and inspirations just around the corner. Georgio Morandi spent years painting nothing but bottles on plain background. But how can one find so many inspirations and be so prolific in a single place or even with a single kind of object and subject? The answer is Abstract vision. While most people only could see endless bottles in Morandi paintings, he could see his hometown's rich landscapes.
When we look beyond object appearance and tangibility we discover a new and wide world. With my still photographs I photographed the human feelings and vices using only bottles, food, candles and masks; pretty much the very same objects for hundreds of photographs, working only with light and composition to create new scenes, narratives and feelings. The same with self portrait works I did in a single corner in my apartment, using the same few objects and my body composition to create hundreds of expressions in photographs.
It seems the photography culture needs to rediscover still art photographs and turn back to the abstraction vision so photographers can discover they don't need to go far in order to find inspiration, to be prolific and to enjoy the most of the activity. It starts by enjoying one's own vision first, before looking into the viewfinder to find out how things look like from the cameras' mechanical point of view.
It's ok when the average public criticises or doesn't understand some photographs' meaning, but it's strange when those who were supposed to be aware about photographs or visual language miss the aesthetic meaning of good representation on nude.
"Is nude necessary?" a photographer asked. "I think you can make a photo appealing without the model being naked" he said.
There are many kinds of nude photographs. Some are made to be sexually appealing and some are not. It is actually much easier to make a woman sexually appealing wearing accessories and clothes that help to extol their body features than represent them purely naked who can only rely on poses and their actual body shape to extol their body features.
Everything in a visual representation has a meaning. Through a dressed model you can tell, or at least have an idea, about the epoch, taste, age, culture, social class and even personality of the person photographed or of who the photographer is trying to represent, just by the clothes. The same with the make up, location and gestures.
When you want to concentrate only on the body form, texture and expression everything else becomes a noise, or a distraction. Even colours, in many circumstances give meanings and become distracting when you want to concentrate on shapes and texture. This is why black and white images are often necessary as well as nude images.
I don't mean that works focused on body expression and shapes have to be nude. There are many ways of trying to do it with appropriate clothes. But with clothes it will not be possible to represent and appreciate the full and natural body shape and texture.
It also doesn't mean it has to be a full body frontal nude, because the frontal nude are often a distraction too, depending on the level of appreciation, theme and the way it is represented. It will be a distraction for those who are not used to it.
In other words, not all nude or even frontal nude representation mean to be erotic or pornographic. We can also be sure that there are a lot of erotic and even pornographic suggesting images everywhere we look at in our daily life through advertises on TV, magazines and billboards that apparently sell services and products but after all they actually sell life style, which also include idealised sexual attraction and sexual power. Often it is too explicit to be true, so we accept it or just ignore it.
This photo of a Japanese Anemone has a kind of purity on it. It is a very simple image and I believe the best visual works are the ones that can provoke strong feelings or assert deep ideas through simplicity, with no distraction.
The white petals certainly help bring this idea of innocence which is intrinsic in the color symbology itself - reason why traditionally brides wear white. But the string sensation of visual purity is highlighted by two other main aspects of this photograph itself.
The first aspect is the fact that it presents a few elements to look at and, by that, I don't only mean the flower alone but also the color shades and textures. Our eyes don't have to travel much beyond the flower and for very long to have the complete picture formed on our mind. Nonetheless, the two elements behind the Anemone flower, together with the flower stalk, form lines that work as trails to our eyes pointing them to the center of the image, to the main subject, when our eyes go beyond it. These elements drag our attention back to the flower in a pleasing and natural way.
A second point in the blurred green background. The green color brings the feeling of nature to our mind which is also related to the symbolism of purity. The green color tones in the background vary from dark to bright but not strong enough to become a distraction, not forming shapes and lines distinct enough to interfere with the main elements. Around the flower is almost an empty space feeling but with this purity tone of green color that makes the subject enhance as a pure and innocent element.
This is a tower of a palace in Schwerin. One of the very few towns where the old German palaces and castles survived the wars. In this photo perceptive I combined four elements which makes the image stand out as harmonious and pleasing to my eyes. The main one is the the palace's tower which transmit a classic fairy tale feeling. Then the old bridge architecture that feels like matching and confirming the tower architecture and epoch, as if it is not the past that is being presented to us in our time but we who are travelling back in the past. Around it the nature, looking a bit wild, as if natural, transmitting the idea that the ambiance is not staged, is not purposely build to entretain people like a Disneyland, it is not a theme park with their perfect gardens and bushes, it is, instead, a real place around natural landscape with its real nature; A place with real long past history. The lamp post is the element that remind us that the scene is what is preserved from the part in a more modern time.
The contrast of colors has its charm as well, but the real pleasing visual feature that makes this photograph feel in touch with the past is the film negative grain and colors characteristic. It was photographed with real film negative around 2016 and I know that there are image editing programs that simulate the film negative look effect in digital made photographs, but believe, it is not the same. The film photographs, even the digitized ones we see in screen, has very different grain characteristics than the digital made photos. This difference is what makes film photographs transmit a feeling of more tangibility and craft. The digital made photos are beautiful and they have a quality of their own, but sometimes it feels too "electronic", specially when attempting to represent the past feeling and craft feeling.
Cupid is the Roman god of love. He is the counterpart of the Greek god called Eros, the god of erotic love, the painful desire of what is not possessed, of what is somewhere else, inciting the imagination about the absent desired other.
Her eyes gaze at the void while she is deeply immersed in thoughts. Her hands as trying to reach and hold the pain inside. As Siri Hustvedt points out, the somatic experience induced by thoughts are no less real than a direct somatic experiences out in the world. Or as Hannah Arendt said, every emotion is a somatic experience. The source of our imagination and thinking are our feelings. Our feelings are the interpretation and meanings given to what our body senses experience. According to Antonio Damasio, the mind is a product of our body, not a distinct apart from it.
The image has a kind of movement, she is not still but moving, either in a bodily sense reacting to her feelings or in a mental sense of the dizziness, caused the mental travel.
Such movement in the image is not only suggested by her body expression and composition but also by the backdrop in a leaning position. The rugged backdrop is a curtain which suggest the scene is in a private setting. We look not as spectators of the scene but as a voyeur of what was supposed to be behind curtains. On the other hand, it also symbolizes a stage background of a performed act, like in a theater, like a fancy sculpture.
This photograph is from a time I used to go around with my middle format Bronica camera to photograph Dublin and around Ireland; This time in Wicklow. I took this photo in 2012 and in it we one of the medieval Irish towers we sometimes find in the country landscape. When one looks closer they find out these tower don't have a door on the ground lever but, instead, the door is on the high top of the tower with no stairs to it. They were build like this in order to be accessible only with a high ladder brought to it, which monks in the medieval age would do to take whatever is of high valuer to hide in the tower during unsafe times like in wars and invasions.
One of the main characteristic of the image is its kind of stony scenery, not only because of the rocks in the river and landscape but also because it is complementary to the stone building back in the scene. It is like the scene is saying that the building is in its right place, where it belongs to, a rough old construction in a rough landscape.
A second interesting aspect of the photo is in how it is framed, with the river crossing the lower half of the image vreating a diagonal visual line in it. Such line creates two visual perceptions: The first in the invitation it offers to our eyes leading it from the foreground to the back ground of the scene where we find the main subject of the image. Of course we eventually would extend our look to the image background and back to the foreground, but such visual like helps making this vidual exploration of the image a more pleasing experience. On top of that, river streams always suggest a travel to its course.
The second visual perception aspect of the river is the feeling of dynamism; the water in movement. The photo is a long exposure which gives this smooth water shape in movement - although the main reason for the long exposure was the dark orange filter on the lens which I used to create a nicer contrast and texture.
Finally, there is also the the elements balance between the big stones in the foreground and the tower in the back ground. They are the two spots point which incite our eyes to travel forwards and backwards again. They both leans a little to the right side of the image, and it is the river stream line in its diagonal position pointing to the left that compensate the weigh of the two main image's objects leaning on the right side.
This image is from a walk among Switzerland mountains, a couple of years before moving to sought Germany. This was one of the experiences that convinced me to move to Sough Germany, not only because the fast travel to Swiss Alps but specially because I wanted to have more contact with nature.
This photo don't cease to please my eyes and I believe it is not only because of the beautiful white mountain in it. The contrast among colors - the blue sky, the white snow as well as silver color of the mountain and the dark green three in the foreground - is defensively a big factor for the visual pleasure in the image. The green foreground contrasting with a completely different landscape in the background suggests there is something beyond to be reach that feels kind of alien to us - to where we find ourselves. It is this feeling of strangeness, beyond and not accessible [yet] that generates the feelings we call passion - The curiosity and desire to access of what feels alien/mysterious to us. I believe this contrast of landscape, which suggest where we are and a place beyond and completely different, provoke a kind of visual - and so corporeal - memory of the passion feeling.
An other aspect is in the composition of the elements and framing. The diagonal line crossing the image and dividing its foreground and background is visually very pleasing to me. Not only because it creates it is the delimitation of the two different landscapes but specially because it separates the right (tree) and left (mountains) elements in the image. In short, it help our eyes naturally descant through through the image, the tree, the foreground landscape, the mountains in the background, the sky and back again. Such kind of visual "travelling" is the pleasure we aim through the work of framing and composition; A pleasing visual exploration and experience.
I took this photo with film negative, which I prefer because it doesn't distract me from the visual experience and contemplation of what is in front of me; No screen in the camera to check how the photo look like. The manual camera makes me pay more attention to light, texture and colour shades in order to better capture the image.
The photography field attracts many technology and machines enthusiasts who come with the technicist attention to it. I see it as one of the reasons for the commercial photography to be seen and used as standard or reference for quality among many people interested in photography (although the debate on preferences between perfectionism and rusticity has existed since Ancient Greece and probably even before). The other reason is the fact that commercial photography dominates our visual experience wherever we are through publicity. Commercial photographers are mostly technicians who create images based on someone else's ideas. Most of it is technical reproduction and solutions, even the advertised photography in fashion magazines that mimic conceptual fashion photography. Depending how alienated the photographer is in this approach to photography he may come to the conclusion that what goes beyond such technical and commercial standards is poorly executed or wrong.
Fortunately photography is not a black and white thing limited to right and wrong. The meaning of anything is in the context. When we talk about quality we have to think about the context and meaning the work has. Commercial photography has its context and language, its main purpose is the tangibility, making the product or service presented in the image as tangible to the viewers, as if the spectator can touch and possess the object in the photo with their eyes. The visual sense appeal. It could not be different when the goal of the image is to sell a sensual joy to people's eyes and stimulate possession desires. As John Berger says in Ways of Seeing, The publicity image offers an alternative for the public, a better version of themselves, that they can obtain for the price of the product.
Photography that has other purposes will, or should, use other languages. The language that fits its message and context and which can be many. None of them are better or worse than the other nor more or less correct. Each of them are only good and bad based on their own context, public and message.
Siri Hustvedt in her essay "Playing, wild thoughts, and novels underground" refer to writing in this quote but it actually applies to any kind of artistic work: "There are no rules for writing novels. Those who believe there are rules are pedants and poseurs and do not deserve a minute of our time. Modes of writing and various schools come and go: Grub Street, Naturalism, the nouveau roman, magical realism. The novel remains."
When I photograph I often stay away from the sensual appeal, which used to be called as “sense corruption” by Cicero in ancient Rome, because it works on provoking anxieties. Instead I like to express my feelings and experiences. Technicality is about having control, the technical control of a machine precision appreciated from automated tools, catching our attention for the tool settings and control for the precise control result. In order to better express my feelings and experience I rather let this technical control aside, I take the advantage of the manual control which comes with my spontaneous human touch and failure. Or even when using automated tools, trust the automated failure as my own human failure with the machine, assuming therefore my sincere experience and adding it to the narrative context where it belongs.
Brené Brown, who wrote The Gifts of Imperfection, explains that it's important to understand the difference between healthy striving and perfectionism. “Healthy striving is self-focused: "How can I improve?" Perfectionism is other-focused: "What will they think?”. And I think it's important to remember that we should improve in relation to ourselves in our own language, context and message. Not in relation to a predetermined standard or have somebody else as reference of improvement goal/quality. This is not the same as being inspired by other creators and their works, because we all get inspiration from other creators, even unintended, in any way.
At the end, I don't want the viewers of my photos seeing themselves transported in the image by provoking anxieties. I want them to take the image as a memory or dream that inspires their feelings and contemplative imagination. Or at least tell us what or who we are, or who I am.
...and the truth about reality is it boredom. Nobody wants to be bored or, at least, most people seem incapable of being bored in our vicious entertainment culture.
Being able to talk about events is the most effective way to distance ourselves from reality. Once we concentrate on events, events about us, about others, about here or about anywhere else, we are not conscious about reality. Events are not reality, they are lapses of time and thoughts. Based on this principle we can say that reality is eventless.
Here is where the contradiction lies. Most people will say the opposite, associating reality to events but which version, or point of view, of events they are associating to reality? Which one is the real one? We could say all are real because they are the different side views of the same thing complementing each other. But we could also say that none of them are real because they are analyses from thoughts and therefore language.
The problem with language, which we humans have highly developed, is that it is always a translation. It is never reality but the organised thought of our perception. Thus it is always a metaphor.
Our consciousness are never the feedback of our reality or of our existence in real time. It is a echo in a delayed time. And we get it by challenging reality because people don't believe in reality, everything has to be evaluated and giving a meaning because we can't stand a meaningless life.
We can then say that thought is not compatible with reality, which contradicts the discourse of reality and rationality. We rationalize to give meaning and objective. We create a illusion world in metaphors to push us to move forwards, to the next stage of objective and meaning. Language and writing are the illusion of meaning.
On the other hand, while we become seduced by all the joy and beautiful worlds of meaning, which creates addicting meaningful events, reality itself must become enigmatic. If not enigmatic it becomes too obvious. If it is too obvious it doesn't seduce. If there is no seduction, there is no meaning. If there is no meaning, people won't take it seriously. Like reality itself.
Photography is not an easier way to make art, it is just easier to have confidence with. We have a natural feeling to find it easier to do things we feel confident doing.
"While photography is the easiest medium in which to be confident it is the hardest medium in which to have a distinct personal vision." Chuck Close.
Photography is the easiest form of the art of mimesis "the copy of reality". And is the copy of reality on which people are usually more attracted to. And is the copy of reality most people will judge as good quality work.
But when trying to do something else apart from mimesis photography can be even more challenging than other forms of art. Because it quite completely copy of reality, especially now a days with digital cameras with most people don't even need to craft their work in order to have a image ready to print, so most people with a camera will be confident that they are doing a good photo as soon as they can see a good image quality (not good art) in their LCD screen.
When we want to go beyond mimesis, painting, sculpture, etc are easier than photography. It also means that self expression in photography may be more difficult because you have to work with real things that you photograph instead of creating images straight from the imagination. And that's why photography is the hardest medium to have a distinct personal vision.
You don't need much skills to press a button on the automatic camera or to throw paintings or mixing colours on canvas, or even to create shapes in sculpture, as far you can do it with good composition, harmony or even message. But photography and other media can demand more skills and craft if you want to make something else.
If you ask a child if painting is easy they will tell you that it is very easy because they feel confident doing so. Until they grows up and is told that the good stuff looks like tangible things.
This photograph was shot from the stairs in the Rathaus Subway Station in Hamburg (Germany). On the up part of the photo we see the Rathaus Towers (City Hall tower) scratching towards the sky.
Here, again, the wide angle effect that widens the part of the stairs that is near us, creates a sensation of invitation to the stairs path into the image.
In the photo we find many lines crossing diagonally towards the center of the image where we find the tower: The stains handles and the side edge of the stairs, the top part of the construction of the stairs and the top part of the Rathaus building on the top left side of the image. They all work creating an imaginary line to our eyes working as a path to them, inviting our eyes to look back at the tower whenever we scan them over the picture.
I also like the mysterious feel of the scene, with the tower half hiding behind the building too, creating this curious sensation of desiring to climb the stairs in order to be able to see more of it. The contrast of light and shadows also helps with such mysterious feelings.
The scene also reminds me of the experience of dream effect. Which nothing is very clear and forms are confused.
It is interesting to think that our visual culture tends towards the pornographic visual; The visual that exposes everything in all its details. It is a visual aspect that has its attractiveness but it leaves no much room for the viewer's imagination and personal experience of the scene. This is the reason I tend to the classic visual language.
The pinhole photograph like this one (photograph shot with no lens), helps with such dreaming like effect because it naturally has a soft focus, for having no lens to make shapes highly defined.
What makes some people suspicious about the "art status" of photography is the fact that the photo creation is highly dependable on a "photo machine". I have read a couple of years ago a study by an academic artist saying that photography is not art. His argument was about the technology limitation which the photographer is dependable to create his works.
For decades many photographers have tried to bring photography to the art discussion and galleries to make it more recognized as art. Until nowadays, with many people buying photographs and many photographers calling themselves as artists, there are still those who doesn't consider photography a true art. Or at least as artistic as painting or sculpture.
Recently I saw this question again when somebody wrote in an art community: "When artist depends on machines (not tools) to create; the machines' capabilities are the controlling factors of the joint creations that comes from the union of artist with machine. An Artist's tools on the other hand can be created by the hand of the artist and is not dependent on the bureaucracy of technology."
It is hard to don't agree with what the quote says. It is right.
But when thinking of cameras, are every camera a machine? Certainly digital cameras are pure machines, a body filled with electronics in it. But a true camera obscura is just an empty box, that can be made with any material, with a hole where the light comes in. Which means that it is not a machine at all but just a tool for the photographer as the brush is a tool for the painter.
Photographers can make their own negative (and positive images) preparing his own plate or paper sensible to light as painters can make their own canvas or any other material they wish to paint on.
Cameras, negatives and even light have their limitations as canvas and ink have their limitations as well. What makes people feel more like an artist is the ability to craft with a self expression and a vision for their creation in mind. The reason many photographers still use pinhole cameras or film negatives is because they can craft it with their own hands instead of just operating machines that are digital cameras and computers.
Yet, even when highly dependable of the machine work and capability, digital photographers and digital artists still can express their creativity and vision through their works. Which I think is what matters after all. Not much different from a director who is dependent from actors' works and abilities, or from contemporary artists who have never touched their creation but paid somebody to build the work setting for them.
It is funny to think of it because before Renascence artists weren't considered artists as they are today. They were just crafter-men. Hand workers as any other.
I can see Krider and Aldridge don't mean to criticise, instead they make it clear in exploring the evidence of object women in our culture.
The dummy look of the woman who has no personality and the lack of her soul and individuality is pointed out in Krider image through her covered eyes.
It explores the sexual image of the woman through model's pose and the fetched presentation of accessories and objects.
This photography style which Glenn O'Brien described as "high glamour photo fiction" is interesting because it uses the culture and language of publicity image in a explicit way and not the implicit manner explored in publicity, which is a good evidence of the mediatic and publicity visual culture of our time.
Many people think that I photographed this beautiful Spider flower in studio but it was actually photographed in a park near home, in the later summer of 2019.
I am not the kind of photographer who like to create the idealistic perfect image in image manipulation programs. The less time working in computer the more time I have to contemplate and photograph the world outdoor. So it was very luck to find this elegant flower looking so perfect. I have been looking around for this flower this year (2020) and I haven't found them as beautiful as the this one I photographed last year.
The dark background is an effect archived by using a small but powerful speed light; In short, everything that is lit by natural light is eliminated and only what is lit by the strobe light appears in the photo. The natural light exposure is controlled by the exposure time while the speed-light is controlled by the lens diaphragm aperture (light intensity). It means that the the powerful strobe light can be cached in the photo in its short exposure tume while the natural light can be eliminated because it is not strong enough to be registered in a such short exposure time.