Please write 2-3 paragraphs of what you took away from this article.
"is it more important to click with people than to click the shutter" Alfred Eisenstaedt
Please write 2-3 paragraphs of what you took away from this article.
LMU Art 280 Photography 
This reading began with information about Edward Weston. He was a photographer who, according to the reading, “decided that the true nature of photography rests in the clearly detailed, realistic depiction of the real world” (169). It explains that he favored simplicity in photographs and did not approve of editing his images, and preferred the pre-visualization of an image. Other photographers joined Weston to form a group called “Group f.64” which symbolized the apertures of their cameras in which they would capture their “highly focused images” (169). They were deemed unconventional and excluded from museums and so they started their own exhibitions. The reading stated that “Each medium of expression imposes its own limitations on the artist – limitations inherent in the tools, materials, or processes he employs” (170). Although creative expressionism can create limitations, I believe that it is still a useful tool in expressing oneself as the reading states.
The reading continues by explaining that the photo-painting standard, in which a photographer tries to capture painting-like images, actually diminishes the art of photography. The reading explains that photography is unique because although the brightness of a photo during development, it is an instant capturing of a moment that cannot be changed such as a sculpture. Thus, it states that a photographer’s most important and difficult task is “learning to see photographically – that is, learning to see his subject matter in terms of the capacities of his tools and processes, so that he can instantaneously translate the elements and values in a scene before him into the photograph he wants to make” (173). The reading continues by stating that today, photography is considered art if a photographer follows the rules of composition, but this can lead to clichés. The reading concludes by stating that “Good composition is only the strongest way of seeing the subject” (175). However, this cannot be taught, and it will only come through experience. It continues by stating that a photographer’s “greatest asset is is the directness of the process he employs” (175). However, this is done with simplicity in which only the basic, necessary equipment is needed, and where there are no rules to follow, but to capture your point of view of the world.
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Article Response II: Edward Weston – Seeing Photographically
For me personally, I found that this article served as a basic history lesson of photography which followed various movements and views on the subject over time. I also viewed it as a response to the common notion that photography is a simple or “easy” art form, one that has existed more or less as a constant throughout much of the craft’s existence. It follows the photographer Edward Weston and his views that good pictures are made by the artist’s ability to conceptualize the finished product and execute it in one snapshot opposed to doctoring the image after it has been taken. This is then later connected within the article to the root cause of the art forms misconception. What separates photography from other practices such as painting and sculpture is time. Photos take seconds to create whereas the aforementioned branches of art can take years. This perpetuates the notion that it is an easy process when in fact, the opposite could not be more true as exemplified by Edward Weston.
While I agree with and appreciate much of what the article is trying to convey, I’m not entirely sure if I agree with Weston’s perspective towards after effects and photo doctoring. A large portion of this could be due to the fact that I live in the modern era where photoshop is commonplace whereas he passed in the late 50’s and never had the opportunity to experience such technological advancements. I’ve never been a fan of photoshop in relation to magazines or advertisements, but as a graphic design student, I do believe that much beauty and artistry can be found through playing these photo enhancement applications like a musical instrument and playing with contrast, exposure and superimposed elements. With all this said, however, I do believe that much of the power of weight of the piece comes down to the strength of the original image. A bad photo is a bad photo and what little experience I have working with a film camera has taught me that trying to get a good photo the first time is difficult and worth working for.
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The reading focused on photography and how the methods and results differ from that of painting. The opening paragraph focuses on photographer Edward Weston and how he was part of a group that focused less on using photography as a way to imitate painting, but to have photography develop its own art style. The text focuses on the idea of pre-visualization, how a photographer must realize the photograph in their own head before they actually capture the image. The reading makes a point to say that photography is more honest than painting, which is why pre-visualization is so important, because a photograph should be revealing but not superficial.
In terms of seeing photographically, I believe that photography is honest, but that doesn’t mean it can’t evoke feelings that come from seeing a certain art style. There are plenty of photographs on the internet that either accidentally or purposefully, appear to look like paintings from certain eras. To me it serves as a reminder that even though paintings seem to elevate rather than imitate life, life is full of moments that seemingly elevate themselves. While photography doesn’t have to elevate life’s moments, it certainly has the capacity too, as long as the photographer can see those moments.
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One thing that I found interesting in this reading was distinction between painting, sculpture, or architecture; and photography. I had never thought about how that in those mediums the artist can spend as long as the want on a piece, changing it as they go, but in photography, the process is much faster. Once the photo is taken, it is taken and that is how it is. I also understand better how there are so many options for photographing just one thing. The reading talked about how there are almost infinite ways capture something by changing the angle, shutter speed, lighting, aperture, development time, etc. By sticking with one method of photography and artist can get really good at capturing the subject just as they want to.
Another part of the reading I found interesting was how that when photography started, people were using it like they used painting. It was not until a little later that people realized that this was a new tool that could be used all on its own. New amazing things could be created that were not possible with past mediums. This relates to another class that I am taking. It is about virtual reality. In the last class we discussed how right now people are using virtual reality in the context of what we already know such as television. We do not know yet what can be created with this new technology that was not possible with the old technology. It took people like Edward Weston to challenge the status quo with photography. I believe that is what virtual reality needs today.
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I have been a huge fan of Edward Weston’s work ever since I had the opportunity to visit his home in Big Sur, CA and tour his dark room. His home is filled with art of every kind ranging from painted flower pots to massive silver gelatin prints, and he even has an entire room filled with paintings from the bottom floor reaching to the ceiling. I feel as though I have a personal connection with some of his most recent work that he shot at the Point Lobos area in Carmel, CA, because I did a lot of my growing up in Monterey. Seeing his work reminds me of home, and the memories I have there.
All this being said in regards to the article, I am able to understand his thought process more clearly now. The idea that a camera simply provides a canvas in order for something more to be created is intriguing and explains his stylings more. Edward Weston was pushing limits past the average photograph, and this must be why his artwork is widely appreciated.
After reading this article I understand more how taking a photo is considered to be art. The way in which the photograph is taken is the process unlike a painting or a drawing in which the process itself is the action of painting or drawing. For photography the process leads up to the photograph. A photographer may spend hours trying to find the perfect lighting, and then setting the camera to the accurate settings. These things that lead up to the photograph is the process that makes every photo unique, because every photographer will have a different angle in mind. Edward Weston accomplished this and then went even further to manipulate his photographs to make them even more unique.
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In the reading “Seeing Photographically,” the art of photography is explored as its own discipline. Rather than being created slowly like a painting or a sculpture, photography is created instantaneously. It takes skill to achieve a great image without the luxury of time to correct, add to, or fix the pieces, which painting and sculpting allow. Because it is so immediate in nature, photography is honest and unconventional. In fact, Weston’s argues, photographs should not even be changed in the slightest after they are shot. Therefore, granted that nowadays it often implements the use of editing softwares, photography is its own complex art medium that is distinct from other mediums because of its instantaneous nature.
Specifically, in the article, I resonated with the concept of “seeing photographically.” In other words, I liked the idea of knowing my subject matter as well as knowing what my camera and self can do during the photographic process; I like to have an idea of what my photograph will look like even before I even snap the image. Especially when using film (as opposed to digital) cameras, it is vital to have an idea of what a photograph will look like. Agreeing with Weston, I think photographs should be deliberate and intentional in the way they look and are created. Thus, photographers have to visualize their world in relation to their lens so that their photographs capture the pieces of the world that they want, in the way in which they want. However, I also believe that it is completely acceptable to edit photographs after they are taken. If an artist has an idea in mind, he or she has no reason to refrain from creating that desired image.
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“Seeing Photographically” begins with a discussion of the value of the photograph in the context of art, when compared to the photorealistic painting, raising the concern that many people understand photography to be less of an art than painting due to the nature of the camera and it’s ability to capture its work so quickly. This intrigued me, as I myself have been trained in fine arts for the past 3 years, and have pondered the same ideas myself while creating works in the painting studio. I have always believed in the art form of photography, and can appreciate is as I appreciate other works. The authors argument very well opened my eyes to however, what makes photography very distinct from other forms of art. With time and training, the skill of painting is something that the artist can take control of. With proper information, the painter can create their vision with time to perfect anything they dislike. This is unlike the photographer. Due to the forces of the natural world, there are some aspects of their art and final product in which they simply cannot control.
This makes me wonder, though, how much technology like photoshop and other programs used to edit photography has functioned to change this struggle. Surely, it will always be difficult to capture a moment with only a camera and no other tool. But like the painter is trained to use his brush in order to properly manipulate color to create a convincing image, the trained photo editor could also do the same. Nevertheless, it all begins with the original photograph, which is why “seeing photographically” still remains absolutely important. I found the concept of “seeing photographically” rather valuable because it allows me to understand how I can go out and photograph my vision properly and to the maximum potential of artistic success.
Michael Mahammadie-Sabet
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My main takeaway from Edward Weston’s essay “Seeing Photographically” is the need for good composition. Weston urged photographers to carefully frame their subjects. He believed this process should happen as the photographer captures the image, not later in the darkroom; he was not a fan of color, hated photo-painting, and preferred simple equipment. Composition is an important element of photography. However, Weston also hinted that photographers should not follow the rules of composition so closely or else the image might not look very natural. Instead, composition is more about creating the best way to present a certain subject.
I also found it interesting how Weston explained just how different and unique photography is compared to other forms of art. What sets photography apart is the recording process and the nature of the image. A photograph is taken in an instant, so it is different than painting or sculpture, where one can spend a lot of time in the process and make changes along the way. Although with photography, the camera captures the image in a split second, and the artwork is instantly finished. One can’t change the image after the picture is taken. So, the process of creating photographs is different than the process with other forms of art.
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This excerpt by Edward Weston asserts how different photography is, and argues the modest details that people overlook when criticizing photography as an art form. Admittedly, some of his points were factors that I have not noticed, and have not properly credited to photographers. What resonated with me most was his description of the nature of the recording process. With other art forms (sculpting, painting, etc.), the artist has the flexibility to make changes along the way and stray away from the original concept if needed. For a photographer, the art is captured in an instant, without any degree of manipulation during the capturing process. I felt that this argument is important for people to understand because a common ignorant view is that photography is “easy” or that it just takes a “click of a button”.
Additionally, with photography, the finished result must be planned. In other words, one must visualize what the artwork would look like, and then use the tools at hand to capture his/her vision. This is what Weston means by “seeing photographically”. Pointing at an object and mindlessly clicking a button is easily accomplished by many. I believe that a truly great artist is one who has mastered the ability to visualize what the subject looks like through the lens, and thoughtfully executing on that vision.
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I Found Edward Westons Article very interesting and enlightening. We live in a world where photography is so common now and developed as both an art form and a common daily activity, that it’s really interesting to read about the origins of the medium and the debate over its artistic value. I thought it was interesting that he mentioned how early photography was not seen as an art form simply because it was the product of a machine and not an artist.
From the perspective of someone living in that time, where the only art that previously existed before was the product of painstaking hours upon hours of work building up an image, I can see how early photography was viewed as more of a mechanical process. It’s the difference between fast food and a gourmet meal, even if the product is the same the process and ingredients are different thus the value of the outcome is widely varied. i
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(sorry my comment got posted half finished)
Looking at the history of art up till this point it’s easy to see how early critics did not view it as an art form, however, the analogy Weston makes in this paper provides a compelling reason for the other side. He mentions that saying photography is not art simply because it uses a machine is like vocalists telling musicians that what they are doing is not music because they are utilizing instruments. Where his argument gets interesting is where he says “then the musician profiting by the example of the photo painter, would have his playing recorded on special disks, so that he could unscramble and rescramble the sounds until he had transformed the product of good musical instrument into a poor imitation of the human voice!”
I find this argument really interesting one because he suggests that art is but a “poor imitation” of life/subject ect. while photography is a better “instrumental” rendition of it, and two because he points out the fact that photographers are imitating artists even though their medium lends them self to a higher level of detail than classical art does. Which in itself seems to shine a light on the paradox that photography and the rules of photography we’ve built up until this point are for the most part widely taken from the rules of classical art despite the fact that as a medium photography naturally lends itself to the level of detail that fine art utilized those rules to achieve in the first place. And thus it seems odd that in order to take a photograph photographers themselves follow rules made by people essentially making less detailed copies of exact images or taken/untaken photographs.
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I truly admire Weston’s view on photography because I have a very similar view. In the reading it stated, “Hence the photographer’s most important and likewise most difficult task is not learning to manage his camera, or to develop, or to print. It is learning to see photographically” (173). I have always thought the true art of photography is seeing something in it simplest form and then capturing it through a photograph. I think the human eye acts as our camera first, then the actual camera is what allows us to make a photograph of it. I think seeing photographically is what makes a photographer an artist. Not everyone has the eye for good composition, but those who do make great photographers.
Photography is my biggest passion in life. I do not consider myself even close to being a professional, in fact I always question if I was even good at it. But after reading “Seeing Photographically,” I realized I have the talent of seeing photographically, which is the first step in becoming a great photographer. When I am out and about I always find myself thinking to myself, “Wow I wish I had my camera because this would make a great photograph.” I now feel better about the fact that I do not know how to use every setting on my camera or how to use photoshop because the composition of a picture, the ability to see something in real life knowing it would make a great photograph is what matters the most.
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What I took away from the article by Edward Weston is that it really shows how different photography is from the other graphic arts. Edward states that it is desperate from the others due to the fact that photography is an instantaneous recording process. Unlike the others, where as the sculptor, architect, and the composer all have the possibilities of making changes or additions to their work. Photographers work can not be drawn out. This is very important because the finished print must be created in full before the film is exposed. Edward then brings in the idea that photographers must start to think photographically. Meaning, learning to see his subject matter in terms of the capacities of his tools and processes. This is so that we can instantaneously translate the elements and values in a scene before him into the photograph we want to make.
The second thing I took away from this is that good composition is only the strongest way of seeing the subject. Edward says it can not be taught because, like all creative effort, it is a matter of personal growth. I believe in this a lot. You can not teach creativity. You can teach the fundamentals of composition but when it come to creating an idea and capturing a moment at the right time and with the right lighting there is no one to teach that. It is truly personal growth. However this can only be retained if one simplifies all his equipment and skill to the minimum necessary. One also must block out any and all formula, art-dogma, rules, and taboos. Then we can be and see photographically and see the nature of the world we live in.
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Article Response II: Edward Weston – Seeing Photographically
I feel like this article raised a lot of questions as to what makes art, art, how much of art is premeditated and how much of it is fluid and free flowing. Edward Weston discusses how photography as a medium gives us too many options. And how to truly master photography one should be completely comfortable with one camera, one lens, one film type and paper. So that every decision one makes when creating an image is intentional. He believes that there should be no guesswork involved, no editing in post. True art in terms of photography is taking photos and being fully able to envision the end result. By comparison to this line of thinking, so much of photography is taken using an automatic camera or even just a fully automatic smartphone. And while it could be offered this makes photography as an art form accessible to the masses and encourages people to pursue their passions and capture important moments, the counter argument is that it removes the intentionality and foresight that Edward Weston says, makes art, art. If a photo is captured with no prior planning or premeditated purpose is it is it truly art? Does the device at that point become the artist?
As I briefly mentioned, another of Weston’s key points is that an edited photograph ceases to be art. To him art is entirely based around the initial shot. Its composition, its framing, the lighting, the angle all this determines the artistic merit of a photograph. I can’t say I completely agree with this idea of preserving the integrity of a photo, the idea that a photograph must uphold the truth. Because no single photo can ever capture the whole truth. Every photo holds a bias; what one chooses to capture tells a story and puts forward the section of the truth they’ve decided as a photographer to show. And because of this, so long as one is approaching photography from an artistic standpoint, I see no reason that photos should not be edited in an attempt to express the clearest story and showcase the photographer’s intended truth.
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In “Seeing Photographically,” the author writes about the history of photography and its mechanics. It first introduces a photographer names Edward Weston, who believed that the goal of photography is to produce a realistic representation of the world in a time where photographers were trying to mimic paintings with their art. He favored simplicity and unaltered images – an unconventional and unaccepted viewpoint at the time. He believed that “once the pre-visualization [of the image] had occurred, the outcome could not be changed and still remain a truthful work of art.” He said this in a time where it was a common practice for photographers to alter their images for painter-like results (this practice is known as photo-painting). Photo-painters thought that photography could not be considered art for two reasons: they thought it was the work of a machine, not an artist, and that there was no way of controlling the product in the process.
I find the author’s discussion of seeing photographically to be very interesting. also writes about the nature of photography. “Seeing photographically” is seeing the subject in terms of the tools and processes at the photographer’s disposal. While it is possible for most artists to edit their product in the process of making it, the capturing of an image is instantaneous. In the photographic process, a picture captured by a camera turns into a negative, which is then translated into a print. When you see photographically, you envision the final print and use your skills to bring that idea to life. I like the author’s discussion of this because it is something i do without even realizing it. Besides framing the picture, you also have to think about contrast, exposure, focus, etc. Outside of the immediate settings of the camera, you must also think about the processes performed in the photo lab necessary to create the pre-visualization of the image.
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This is LyAnn by the way, sorry.
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In the article “Seeing Photographically” by Edward Weston, Weston dives into the concept of photography being more than just a process but also as an art. He talks about how the mechanical way a camera works is similar to how an instrument is mechanical. If musicians and artists can argue their mediums are methods of art than Weston wants to argue the same for photography. He argues that some processes captured in an image cannot be reduplicated by human hand which is part of the art of photography. He also talks about the possibility of error and changes in a photograph through the development processes. He mentions that there is so much that goes into a photograph, the position of the camera, the setting, lighting, etc and all of these things are what makes a photograph art.
I agree with a lot of what Weston says in his article. He has valid points in that those who argue photography isn’t an art don’t fully understand what goes into the making of a good photograph. Some photographs are just for fun with less work put in and maybe you could argue some of those photos aren’t exactly art however when I see a good photograph, it can say more than just what the image captured. When I see a great photograph, it tells a story and makes me think. That is why I believe photography is still art, and why I believe Weston thinks it is an art form as well.
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Reading “Seeing Photographically” by Edward Weston truly brought up a lot of interesting ideas in terms of how one defines their art and how one defines photography specifically as a personal composition. One of the main topics that Weston discusses is the concept of what defines photography as a piece of art that the photographer can claim as their own rather than the nature or situation already set up.I believe one of Weston’s most successful comparisons is when he relates photography to a singer’s composition in terms of their ‘art’.
Weston then goes to describe what it takes to truly capture a photograph and what it means to ‘see photographically’. Not only does one have to worry about technicalities such as exposure, focus, positioning, but the photographer also has to worry about the actual subject matter and composition. This further demonstrates how photographer’s photos are truly their own piece of art and specifically altered to the photographer’s preference.
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I had many takeaways from this article, but in particular, I believed the summation of the article’s point was to inform the audience about the creative nature of photography. The article begins with a short and brief summary of Edward Weston and his work. He was depicted as a “Photo-Secessionist,” whose work was basic and comparable to other photographers during his time. However, he started to experiment with his artistic style over time. He wanted to capture the raw beauty of the world, and operated and printed much differently, which inspired a whole new type of photographer- one who did not work in the confines of a photographic standard.
The article continues to talk about how well established “frames” of different art forms such as dance, sculpting, music, or writing have developed over time, yet photography has yet to gain such a reputation due to the nature of the recording process and the nature of the image that make for a creative process.
Overall, the article aims to show how the methods of photography differ from that of painting and the other arts that exist. It does not exist in the confines of a frame because of the many creative processes that one can pursue in their endeavor for a particular end result.
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In the essay, “Seeing Photographically” by Edward Weston, photography is labeled as a unique form of art in which the process of taking the image and the finished product are both instantaneous. In an effort to compare early photography with traditional paintings, Weston writes, “The conviction grew that photography was just a new kind of painting, and its exponents attempted by every means possible to make the camera produce painter-like results” (Weston 170). Painting differs from photography in the sense that the piece can be altered multiple times before the it is considered finished. In photography, the image is caught in a single moment, and thus, this form of art requires a lot of practice and talent.
Weston goes on to emphasize the importance of “seeing photographically” in order to capture an artistic essence. Due to the fact that photos are made up of many particles, the details in an image highlight all traces of technical mistakes. Weston supports a conventional art by stating, “Until the photographer has learned to visualize his final result in advance, and to predetermine the procedures necessary to carry out that visualization, his finished work… will present a series of lucky- or unlucky- mechanical accidents” (Weston 172). Weston articulates that the purpose of being able to picture the subject as if reality was a photograph is a vital skill in producing true photography.
I appreciated Weston’s take on the art of photography and the importance of composition bringing a piece together through the naked eye.
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The section of Weston’s article that stands out the most is when he discusses recording images and seeing photographically. He says, “the photographers most important and difficult task is not learning to manage his camera, or develop, or to print. It is learning to see photographically – that is, learning to see his subject matter in terms of the capacities of his tools and processes, so that he can instantaneously translate the elements and values in a scene before him into the photograph he wants to make” (173). This phrase cannot be truer. The technical process of developing, scanning, and enlarging can be easily learned by pretty much anyone. However, it is the creative process of being able to take a good photo that is difficult.
Obviously, an SLR camera is not an iPhone, so you cannot develop or look at the pictures you took until the entire roll is completed. Therefore, you have to be able to see the image and photograph it in your mind before taking it. Being able to think about how it will be processed, composited, colored, etc. It is almost as if you are developing the final image in your mind before you even take the actual photo.
The only way you can strengthen your photographic skills is by practice. The first roll you ever shoot will probably turn out terrible, since you are still learning how to work your camera, and might not have trained your mind to think photographically yet. But as time progresses, you will feel more comfortable with your camera, the development process, and how to compose your exposure to get the perfect image.
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What I found most intriguing to me in this article is Weston’s idea of sticking with one thing and learning it well, not bouncing around to multiple kinds of paper, lenses, developing techniques, or anything else you can change about the process of making a photo. This was interesting to me because I feel that I am the kind of person who bounces around and wants to try out everything in pursuit of “perfection” or “the best.” However, this was a good reminder that there is no best, just what works in a particular situation. I believe that this is especially relevant for someone like myself who is learning photography for the first time. While I may be tempted to try a little bit of everything since it is all so novel and I want to learn as much as I can, I will not get the results I want if I do not stick with one thing and become proficient at it first.
I also found it interesting when Weston talked about how some people may not consider photography “art” because there is not much choice, when in reality there are many ways a photo can be altered. This sentiment seems particularly relevant today with the cell phone camera. They are a dumbed-down version of a camera, where you simply point at whatever you want, possibly readjust the focus or brightness, and take a picture. There is not much thought that goes into composition, lens choice, depth of field, or anything else that most photographers think about, nor is there much variation that can be had in any of the aspects that are able to be manipulated. Although this article was not written when there were such things as smartphones, I believe that his critique on other’s views of photography is still valid today.
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According to Edward Weston, “the photographers most important and difficult task is not learning to manage his camera, or develop, or to print. It is learning to see photographically”. Seeing photographically, I believe, is being able to pre-visualize what kind of photograph an individual wants to take. As mentioned in the reading, professional photographs emerge from an instantaneous recording process, in which the least changes are made. In other words, the photographer’s handwork is minimum. The problem, however, is that only a few photographers master on their own field through a long time of experience and practice. Therefore, not many people can learn how to see photographically and the creative process of taking a photograph is definitely not easy.
Something that caught my attention was many artists arguing, as mentioned in the article “Seeing Photographically”, that photography cannot be considered art because is simply a product of a camera. Personally, I completely disagree. The technical process of photography, from the moment an individual decides to take a photograph until the development of it, needs time, effort, and personality. Although it is true that photographers cannot control the results (other than the light, shadow, and contrast), photographs do not come out naturally good. There is a long and difficult process behind it. Further, Weston mentions that photographers can only achieve true freedom not only by simplifying the process as much as possible (as explained earlier) but by trying to use their own photographic technique and artistry, not using other’s ideas. Although it is easier said than done, the greatest and most successful photographers today are those who show uniqueness and originality in their photographs.
Overall, from my own experience, I truly support the idea that learning how to see photographically is not easy. Only the best photographers, through experience and practice, are able to pre-visualize the photographs they want to take and develop them accordingly as imagined in their mind. Moreover, creativity, artistry, uniqueness, and originality. These characteristics are needed to take a great photograph.
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In this article, Edward Weston’s emphasized the simplicity of photography and the photographic process. In a world where most photographers mimic paintings with their art, he wants to produce a realistic representation. He states, “the photographers most important and difficult task is not learning to manage his camera, or develop, or to print. It is learning to see photographically” (173). Photographers has to visualize his final result in advance. He has to learn to see the final product before the final product is produced. He has to use the tools and the process to his advantage. He continues on with, “He should not be concerned with the ‘right exposure’, ‘the perfect negative’, etc…Rather he must learn the kind of negative necessary to produce a given kind of print, and then the kind of exposure and development necessary to produce that negative.” (174) Then once you learn this, you then can vary the process to get the different and unique prints you want.
Another idea I thought was intriguing was how he talked about the photographer’s recording process. It is unique from other art forms because it cannot be drawn out like sculptors, architects or composer’s art can be. Photography is fragile. There are no lines unlike paintings. Instead it made up tiny particles that give a special tension to the image. When this tension is destroyed from things such as the enlargement process, the integrity of the photograph is destroyed. This is a narrow line that photographers are walking on.
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Two aspects that really spoke to me in this article included Weston’s views and ideas about photography and how it differs from the artistic aspect of art and the nature of an image and secondly, Weston’s ideas on recording the image and what skills and characteristics are important to have as a photographer.
Weston’s finds individuality in photographs versus artistic pieces by two defining aspects of having amazing precision of detail and infinite graduation between black and white. The extreme fineness of these particles explained by Weston creates tension in the image that cannot be replicated by the hand strokes of a painting. Weston even goes as far as to say that this tension is destroyed once it is no longer displayed by an infinite amount of pixels.
Weston builds off these main two aspects of the uniqueness of photography to build a photographers approach to how he or she should approach finding quality in our environment. a photographer must learn to visualize the world with the final product of that image in mind. This plays off Weston’s belief of being able to “see photographically” which initials learning to see their subject matter in terms of the capacities of his or her tools and processes, so that he or she can instantaneously translate the elements and values in a scene before them the photograph they want to make.
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Edward Weston’s article “Seeing Photographically” discusses the photographic process and the simplicity of the art form of photography. Edward describes the skills a photographer should have and the unique characteristics photography differs from other art forms. Edward explains that a photographer needs to see photographically. He defines it as “learning to see his subject matter in terms of the capacities of his tools and processes, so that he can instantaneously translate the elements and values in a scene before him into the photograph he wants to make.” He continues to explain that this idea is actually difficult because there are so many elements that the photographer needs to control such as lighting, camera angle, type of lens, and etc. Edward explains that many photographers struggle to master this art form because they do not learn and understand “one piece of equipment long enough to learn its full capacities.” He explains that by mastering one set of equipment it will show a better result. I do strongly agree with this idea because it is important to fully learn and understand one set of technology or idea before understanding another one. If someone tries to understand several items at once, people can get “lost in a maze of technical information that is of little or no use.”
Edward explains that photography is very different from other art forms because “of its instantaneous recording process.” A sculptor or painter may take months or years to fully complete their work. Even then they might considered their work “incomplete.” However with photography, this art form captures an image instantly. Edward also discusses that photography cannot be “duplicated by any work of the human hand.” Photography is completed by the mechanical process of the camera.
Overall, I really enjoy Edward’s article because it discusses that photography is not easy to achieve. It takes years of hard work and experience to master this art form.
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In “Seeing Photographically”, Edward Weston speaks about photography as an art form, which is independent from other forms such as painting and sculpture. The article was sort of a mix of history and philosophy on photography as the reader is given what the norms were during the time, how Weston was able to view this differently, and form his worldview accordingly. I enjoyed how he mentioned the differences between photography and other forms, as painting is a slow and drawn out process where one is able to edit and add on, whereas photography is more instantaneous. A good photographer should master one piece of equipment at a time because most tend to sort of understand, then move on to the next. In order to be able to handle the quick nature of photography, one must understand each and every single piece of equipment inside and out. Many photographers are not able to master this craft as they realize they must handle many different elements such as lighting and angles, yet they have not mastered their own equipment.
I also like near the end where he states, “… this advantage can only be retained if he simplifies his equipment and technic to the minimum necessary, and keeps his approach free from all formula, art-dogma, rules, and taboo.” To me, this meant that in addition to having the technical skill, a good photographer has a certain type of creativity that is freeing and fearless from the unknown. A good photographer will push boundaries and will always be pushing against societal norms. This is what separates a good photographer from a great one.
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Each type of media has unique attributes to them that coincides with the creative process. Unlike drawing and painting, photography puts more emphasis on the process as a whole and the nature of two important aspects: the recording process and the image. The process of instantaneously capturing an image in seconds is so finite and requires a person to view the world photographically. Unlike other mediums, a photographer must set up the composition in their mind and know how to strategically work with their surroundings before the click of a button permanently records the moment. In painting and drawing, the composition can be altered throughout the process and can be considered finished when the artist sees fit. The image is a beautiful form composed of a multitude of particles that, together, seemingly have no lines. Different factors, such as the type of surface, emulsion, and enlargement, play a role in retaining the integrity and clarity of the photo.
Like any artistic method, photography takes time and effort to learn and appreciate its craft. Variations in photographs can be attained by the slightest change in angle, lighting, exposure time, or other factors of that sort. An element in mastering the art is by not letting the media control you, but by you controlling the media. This allows the artist to explore the capacities of their equipment to their full potential. By knowing the result is going to be immediate, the photographer’s ability to look more deeply into their surroundings and visualize the various possibilities through which they could capture the world becomes strengthened.
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In Edward Weston’s Seeing Photographically I found it interesting when it came to the beginning of photography that people’s first idea was to make a camera produce painter-like results. Furthermore, it became an art of photo-printing rather than photography. In some ways, I find it hard to believe that many people did not see art in using a camera to create photographic images and prints. I liked that Weston brought up the example of singers to prove a point, such that if this were still the case, that if they banded together they could convince musicians that their production of music is not art since they use “machines” and it’s in their mechanical nature.
Transitioning to one of the two basic factors in the photographic process: Nature of the Recording Process. This offers a simple idea that in other forms of art such as architecture, drawing, or painting, an artist may take years until they decide their work is completed. However, for a photographer their art is crafted in the seconds they take their shot through the camera and the lens captures everything within its field of vision. The second of the two: Nature of the Image. One of the points made I found useful was although paintings and drawings can be astounding, photography partakes more in nature such that there are no lines, but rather tiny particles that create the image. However, if such images are expanded (Weston presents the idea of big enlargements and printing on a rough surface) it creates a lower tension between the particles and ruins the integrity and nature of the photograph. Further, into the topic of images, a composition is an essential part of the subject; a good composition that is. Good composition cannot be taught. If one were to follow the “rules of composition” then their photographs would all look repetitive and as a result, have no originality.
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In the beginning of the article, Weston says that, “photography rests in the clearly detailed, realistic depiction of the physical world”. I never knew that in the beginning stages of photography, photographers tried using the medium to recreate the look of a painting, rather than discovering the nuances of the actual camera. Like they mentioned in the article, this technique produced some terrible photographs; all because the artists were ignoring the medium and trying to force a style onto a machine that couldn’t recreate it properly. The article stated that we as artists and photographers today can still get ourselves into this kind of trouble when we try to make our photographs look like “art” and not just photographs.
I completely agree with this statement, even though it’s sometimes hard for me to follow. I am a drawing and painting major, so most of my process when creating a piece involves working with my hands to make everything look good. When confronted with the camera, I found myself having a certain image in my mind of how I wanted the piece to look like, but then not being able to make it through the lens. Weston says that the art that comes from photography is the mastery of the camera and the visualization of what you will do before you actually take the picture. This process has definitely gotten easier as I continue to shoot. Like a painting, I don’t think you as a photographer are ever done in photography, even if the work you create has an end. You can always continue to create and play with different techniques and refine your skills. I think that is very exciting!
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“Seeing Photography’ by Edward Weston befalls my eyes at a very opportune time. Many of my friends and I are interested in pursuing cinematography as a career. Cinematography, while it is a completely different beast from photography, carries many of the same rules with regards to composition, lighting, and the operation of a mechanical apparatus with the goal of achieving a crafted image. The concept of “seeing photographically” is more than just being able to picture the shot, it’s about knowing what tools are needed to make it happen. While the article speaks from a background in film, it also applies to the digital realm. While in digital we might be able to see everything on the screen, we still need to know that this yellow jacket might work better than that orange one, that that window is distracting and needs to be brought down in post production, and that for this darker shot it’s better to overexpose and bring it down later to avoid grain. These things are part of seeing photographically, making images that serve a story, evoke a mood, and serve the project.
However, I feel like it is just as important to acknowledge the medium as it is to ignore it. Edward Weston poses that it’s better to simplify the tools, learn everything on one lens, one camera, one film stock, and one type of paper – that this is the only way to truly learn photography as a medium towards earning an image. However, I argue that the tools are just as important as the final image. If one lens allows you to capture more depth that will give you a more dynamic shot than you normally would have (and you are going for a dynamic look) you should be using that lens. Either way, the principles are always locked in – experimentation in all of them, I think, is absolutely important to mastering the art of photography. At least to the point of competency, at which point you can decide if that look suits you and the work you like to create. To me, practicing without at least some sort of mastery is hardly practicing.
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