Do I point my camera outwards to the existing world
turn it inward towards my soul.
Am I taking photographs of existing reality, or
my own world, so real but non existent.
Results from this two opposite approaches are
different and, in my opinion, conceptual.
Photography is a higher form of artistic expression
places photography on the level of painting, poetry,
music and sculpture. It employs the special talent of
intuitive vision. By translating the personal concepts
into the language of photography, it reflects the
possible answers to major questions of being: birth,
death and life.
Creating an idea and transforming it into reality is an
essential process of conceptual photography.
Today's conventional approach, with a few
completely dominates Art Photography. But introduction
of digital photography can change this balance. The
ease of producing altered realities, will bring a new
wave of talented artists, who will use it to express their
special world of visions, with all its meanings, symbols
In a world of high technology will you still believe in
truthfulness of a photograph?
And does it matter?
To me it matters. In all these years of creating
conceptual images, I tried to make them as realistic as
possible. My technical abilities have improved, allowing
me to broaden horizons for my ideas.
But this is not the most important part of the
The poor concept, perfectly executed, still makes a
Therefore, the most important ingredient of the
powerful image is a concept. The blend of a talent to
create a concept and the skill to deliver it - those are
two major building blocks of creating a convincing
It is not a new idea to manipulate photographic
As a matter of fact all images are manipulated to a
certain degree. The real power of photography emerges
when altered reality is presented as existent and is
expected to be perceived as such.
An obviously manipulated image is a trick that
lack of understanding of the unique power of
photography - the belief engraved in our subconscious
that what was captured by the camera has to exist. In
the best examples of successfully manipulated images
the question "Is it real?" does not arise.
My first introduction to digital manipulations showed
how similar analog and digital techniques are. Each has
it's bright and dark spots. At this moment I don't see
any reason to switch to digital. I still prefer glowing
quality of original print and the laborious process to
achieve it. Yet, I believe, that it is only matter of time
before digital technology replaces analog and the
conceptual approach will receive well deserved place in
Art of Photography.
I also want to believe that, many years from now,
artists will continue to develop the language of
photography, understanding and preserving its unique
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