APERTURE

A photographer like any other artist relies heavily on the tools at his disposal, not the least of which is imagination. Where it comes from or perhaps why it exists in the mind of the one and not another is a speculation for the philosopher.

Creating a particular image can sometimes arrive purely as a result of inspiration but invariably there is a basic foundation which is the keystone of anything and every thing that follows; namely, lighting, composition and choice of lens.

Given that there is not a magic formula it is readily apparent, to me at least, that a successful photographic image is the result of a two part journey. The first part is the capture on-camera and the second part is the processing off-camera, as it was ever thus, even before the advent of digital photography.

That computer software now plays a pivotal role does not detract from the artist’s input. In the days of film irrespective of the format the specialist role of the professional processor often worked independently and entirely separately from the original creator.

Most digital photographers by their very nature have access to a computer, thus processing is now an extension of their art – the original RAW image is under the aegis of the photographer – the original creator; just as it should be.

The end is everywhere:
Art still has truth, take refuge there
MATTHEW ARNOLD 1850

For the series BLUE FIELDS a visit to the Beth Chatto Gardens – without any preconceived ideas – revealed the wonderful hostas (although at the time I had no idea what they were) which presented a heady repetitive design ably assisted by their exquisite well-defined leaves.

At the other end of the creative spectrum PATHLESS BLUE on the River Stour – a known locality in all climates – was simply a matter of waiting for the right weather and light combination.

The titles designated for these two series and others too on art may be red but does it fly are both enhancing and complimentary and their full history can be found on the DEFINITION page.

At times text is best kept to a minimum when relishing the visual feast laid sumptuously before you. The titles ARE important, however, and most were the result of much reading. The discovery that not every image would be all too easy to label is not a matter of confusion, but celebration.

By these allusions a truth in the understanding is, as it were, reflected by the imagination.
JOSEPH ADDISON 1712

After specialising in FACES for so many years it has been quite a revelation to look at LANDSCAPES with a new perspective for in reality leaving the cossetted world of the STUDIO you need to think on your feet. The lighting may not be as predictable as I would like, and neither can it be moved or bounced off any readily available reflective SURFACE so easily as working indoors, but the challenge of creating an artistic image from the MUNDANE to the MINISCULE is surely too good to be missed.

Ideas spawn ideas and even, perhaps, a misconception back home in the Light Room can provide further inspiration for further forays away from the studio.

Blogs remain INCOGNITO