Personal Approach

I love making photographs and capture whatever makes sense to me. I do not classify or attach myself to a particular genre because it does not exist for me. Perhaps I haven’t realized it yet. What do I look in a photograph? How do I fill my frame? For whom am I shooting? These are the fundamental questions that come to every photographer’s mind once they are satisfied with the queries and eagerness of all technicalities involved with photography — shutter speed, aperture, ISO, etc. In this article — To Be Honest with Photography, I want to talk about my journey and approach for photography.

That is the transformation process. At some point, it’s bound to come for a self-learned photographer’s mind as there is no syllabus. Currently, I am going through a similar kind of transformation. Now I have my own taste and definition that I always look in a photograph. When I see those qualities in a photograph, it satisfies me. And I feel good about the photographer and make some sort of connection with the photographer. When I do not see anything in a photograph I care about, I feel disappointed. So far that’s pretty clear and straightforward up to this point, what’s next?

Transcending Quality

What are those things and qualities I look for and hunt as a photographer? I believe photography is a kind of personal extension. After a certain time and a series of photographs, as a whole, it talks about the photographer. Subsequently, the photos give an impression of his/her characteristics, taste, and intelligence level.

In a good photograph, what I see, it is always more than what is confined within the frame. It goes beyond. It has some sort of capability to evoke human emotion in a tricky way. Photographers leave some clue knowingly or unknowingly. Mature photographers compose frames in a way that connects with something, those are already known or hint to think about something which is sensual, touchy, and play a role in life. Yes, I am talking about the transcending quality of the image which leads it to a surrealistic level. This is a core part of any art or some kind of art at least, I believe. And it has to be in a good photograph if that needs to be qualified as art.

Photographer and Viewer

The job of a photographer is to find a particular scene or combination of objects, its arrangement, and the aesthetic decision in such ways that make sense and can be regarded as valuable art. What does make sense? Does it make sense to everyone? Probably not. Everyone can not be pleased with the same time — that never happens.

That is to say, in a photograph, there has to be something you can connect, or relate with, or interpret in a different meaningful way. Not necessarily it directly related to the subject – it can go far beyond what you see in the photograph, inspire you to think differently, lead to a concept or a focused idea — if not possible by a single image, then with series of images.

That means a good photograph is not only a photographer’s job. It is to some extend viewer’s responsibility too. Obviously, it should have the provocation or subtle hint that can help to connect.

Interpretation & Imagination

Explicit elaboration of the connecting materials within the frame might not be a good taste for a photographer. Some photographers won’t do that — it is not their style.

For instance, the smiling face of a beautiful girl with some floral ambiance doesn’t leave much to connect. It’s obvious to guess the mood. We can quickly relate to something like romantic. The juxtaposition of other things starts to play the factor. To sum up, it directs the mind easily in a definite direction and does not leave much space for interpretation and imagination.

Even though a photograph is a combination of well-known objects, it has to be an abstract form. It’s a photographer’s job to let viewers interpret the scene in a different way that is fascinating.

Now the complexity begins. It is the deciding factor how close you are to create a valuable piece of art with everyday insignificant objects, with people on the street or with a natural scene, not necessarily a landmark location.

Wisdom, intelligence, depth of life, sensuality, artistic values, lots of practice, human experience, and a master’s blessing (if you are lucky enough) — all play together to make a photograph. I care and treasure in my mind such a photograph.

Subjects as a Tool

Sometimes a single photograph evokes a feeling or a connection. It can give a clear idea of what it is all about and keeps us involved with the subject as much as possible. This is called Photojournalism — it tells the exact story. It is all about the subjects. However, I am not talking about photojournalism — rather photography with no photojournalistic attitude — photography as an individual level art form.

I am talking about photography where subjects itself work as a tool for an expressive mind. The subjects will produce a surrealistic sense and unknown unidentified reaction in a sensible viewer’s mind and stay for a while or forever. That’s the power of a true photograph. In fact, it is true for any kind of art form, isn’t it?

Where I am now

Am I really after making such a great photograph, and am I preparing myself to get there? It’s a realization and complete satisfaction that this is what I want and this is the way it has to be. To get a pure abstract that has a meaning to me is the one I am thrilled that I can make someday. It is far now, but with time and persistent work, I think it is very much possible.

In the art-making process, when we believe we are totally in, it’s a blend of frustration and pleasure whatever we do. It definitely involves a very high chance of failure when we experiment with something new and abstract in form or work with a new idea — not yet quite established. I cherish when I see that kind of photograph, someone is making or after with serious dedication, I feel I am not alone in this endeavor.

In the art-making process, when we believe we are totally in, it’s a blend of frustration and pleasure whatever we do. It definitely involves a very high chance of failure when we experiment with something new and abstract in form or work with a new idea — not yet quite established.

Where I want to be

Questions that often come to my mind — is this kind of work possible in the street or any particular genre of photography? Yes, I think it is very much possible for any genre. It depends on how smart the photographer is in his craftsmanship.

I would like to clarify here that I am not a great photographer at all — not even close by any means. I am a self-learner, and this is my realization about photography as an art form at this point while writing this blog. Currently, I am going through a transformation phase, and I might end up with a different interpretation of photography in the next 2 years. Who knows.

But for now, my goal is to capture photographs that make sense to me. And my photos are getting perceived to the viewers more than what is confined within the frame. I hope I make my points clear.

Thanks for reading and bearing with me. If you think it makes sense to you, write to me or leave a comment here. And if you think this is absolute nonsense, please share your thought too; I would love to know your opinion on this.

I have written a similar blog The Photography of the 21st Century on the transition to modern photography comparing it with the evolution of different forms in paintings.

The Photography of The 21st Century