Reality, there is a current phenomenon that we need to overcome the ‘realness’ of photography, and it tries to ‘out real’ nature.
Critical eye - the ‘eye level’ going higher takes away the realness, the humanness of a view; it becomes less of what we can see and more about what is there. At this unhuman level the photograph becomes a document or something approaching a list of contents of an area - rather than showing what we see thru a critical eye.
There are of course exceptions to this rule.
I’m not adverse to altering images, but in an age gone by these removed or ‘photo-shoppped’ items would more likely be removed in reality; subtracting at the expense of an image, rather than creating.
People are the most complex of subjects - the absence of people in an environment seems to be lost on most.
Crowds are noticed but en-masse people become abstract - a show card for normality, a sort of hyper-real.
Purity of Image.
Purity of form - by which I mean the form of the world.
The abstract or Abstract of the normality of what I see greatly appeals, by taking of ‘real’ photo - but setting a type of Horsach ink test of the image.
Human’s inherent nature to continuously compare this/that is just like a such + such, or reminds me of a film or state-of-mind.
Fear, horror, doom and gloom are perhaps stronger drivers of imagery than, say, happiness and joy.
The cycloptic nature of photography means we instinctively look to show space and distance. We try to overcome it’s limitations.
Although however unwittingly we are trying to overcome these limitations it is detail that can become the seducer. The almost "super real" hyper real detail that can be captured.
The he banality of day-to-day existence is what is overlooked Banality isn't necessarily a thing. But can "Appear" due to presumed familiarity - familiarity of location or surrounds and the same journey. There is a sense of wonder - returning to a past "well travelled banality".
the sense of new of change even - which is of course. New , there some enjoyment of this over overlapping of past me monitors or banalities with updates -and it is this overlapping is fascinating.
I strive to create this sense of wonder from what we assume we, or the viewer , thinks they already know.
Not it to play tricks on them but to show the world, our world - a normal world - through my eyes - a sense of drawing or painting the scene.
Or create interest from what might cause banality. Something as simple as crossed legs can become something new with repetition can highlight this "new".
Again, to truly show the world and this its beauty thru my eyes.
Although the word "semiotics" fills me dredd, the third meaning created by juxtaposition of imagery or even just ideas is crucial to producing a strong image.
Recently I think / feel that I will investigate distortion / manipulation of imagery perhaps with the view to do a fashion shoot.
The kertesz distortion is totally compelling - all in camera - would more appropriate but post processing is perhaps more sensible , more control. But, is this "tree" of the process is this post processing playing I guess there is a element of laziness tinged with frugal.
I need to investigate "ART" Photography. My photos are purely about "looking" I should, if I wish to become accessible - and this famous, bite that bullet and pursue the obvious.