Foreword to 5 Stories
Black and white used to be revered in photography. Imagine the world believing that black and white is more than one of many color options, not the real, the superior.
All photography and art on this site by Jessie Carveth unless noted. 2017-18.
Another Two Photographies
Jessie Carveth knows nothing about photography and cameras. She is an artisht.
Photo art uses cameras only for transporting camera captures to software programs, to alter, transform, paint, cartoon, charcoal, watercolor, retro, abstractions. and other photo artistry beyond the capture.
To photography artists, camera captures are for tampering. Post-capture artistry often appeals to viewers looking at subjects that ordinarily leave them cold.
The snapshot itself is important, but not fun, not as satisfying as the image manipulation afterwards.
Photography artists are interested in upsetting initial captures.
2. Document photography.
(Make sure your theme is interesting.)
Carveth is curious about reverence for document photography, which happens by looking at something and pushing a button, on a machine.
IF THE SUBJECT IS INTERESTING the snapshot will be, whether Dorothea Lang took it or you did.
This form of photography is favored by renowned photographers, most conceptual photographers, it’s used in journalism and advertising to illustrate the news, from garden store catalogues to babies burned by bombs.
Instead of photo filtering after, document photographers pre-process with light, usually black and white, of course, the more famous they are, and lots of contrast, poses laden with solemnity, gravity.
Black and white used to be (is only now beginning to lose its former cred) document photography’s favorite photography tool. Imagine how dumb we all were to be fooled by the black and white superiority story.
Document photography isn’t interested in altering, transforming, ‘shopping, filtering, image manipulation, any post-process artistry.
Only problem is that if the subject isn’t interesting, even the greatest unfiltered document photography falls flat.
It wouldn’t matter if Leicas made of gold are used by the most famous photographers in the world. Unlike the potential to captivate offered by real art or post-capture photo art, if the viewer of minimally filtered photography isn’t interested in the subject, Fujifilm, tripod, fame and name are irrelevant.
Pretend that unfiltered or minimally-processed nature photographs are so boring the viewer wants to die.
This viewer, who has no interest in nature pics, doesn’t care if it’s Ansel Adams. Black and white, unfiltered mountain photography by Ansel Adams, no matter how very skillfully shot, has no meaning, elicits no feeling, isn’t moving.
Remarkable document photographers, in Mrs. Carveth’s opinion, include Arbus, Parr, Eggleston, Mark, Doisneau, Erwitt, Gay Block, Maier, Mann, many. But let’s make this clear. Her admiration has nothing to do with their skill at machinery. It’s a shared interest in particular subjects and themes.
If Diane Arbus shot photos of mountains, camera skill would not keep her on Mrs. Carveth’s list of beloved photographers
Shared subject interests. Or photo art applied to subjects that would otherwise not be compelling.
THESE DAYS. Times have changed.
Check out any photography magazine online and you will find it hard to distinguish the professional’s unfiltered (document) photos from anyone else’s.
Both forms of photography are easy, document and post-capture artistry. We are all doing what formerly required training before the explosion in tech advancement, cameras and photo filtering programs.
5 Stories About (cont)