Subject of artistic photography is the photographer himself, and its content is his
enthusiasm for everything that participates in his frame.

The most fundamental mistake made by photographers involved in the art of photography (and not its professional applications) is that they photograph events, people or objects they believe are of interest. They must be convinced that whatever is interesting in the imprinting of life, whether already known or not is more important in life than in a photograph. In the first case, the photographer knocks on open doors. In the second, his work pales in comparison to life itself. The result is that most photographs are indifferent or even boring.

On the contrary, the photographer should realise and be convinced that he himself is the photograph’s essential object. In other words, his lens is an extension and projection of his eye and what he sees is interesting, to the extent that he invests photographically, sentimentally and existentially in this. The photographer selects and organises facts of life, aspiring to a new and – in the best case – unique result. The selection and the organisation of the material depend on the photographer’s personal stance towards life and photography.

If the photographer accepts the above, the next step is for him to realise that everything in front of his lens and within his frame – and not just a specific object – is part of his selection and his material. Since his eye is single and indivisible, and creates a new personal event, all the details in his glance are equally important to this creation.

There is yet another extension of these thoughts. The personal element that shapes the importance of the artist’s work is almost always the result of positive thoughts and emotions. In other words, creation has to be the product of indeterminable optimism and general happiness. When the photographer picks up his camera and clicks, he performs a festive affirmative act, stressing his enthusiasm for everything (important or not) that lies in front of his lens. Therefore, it is possible that there may be no photograph, or even work of art, in the absence of an enthusiastic selection and organisation of the constituent elements. Simply dismissing everything that is wrong through photography is nothing but a type of applied propaganda photography, that is, advertising, irrespective of its virtuous or cunning intentions. On the contrary, artistic photography reflects a positive stance, even when starting from negative images. The work of art is always a way out of an initial impasse.

Consequently there is a chain in the production of an artistic photograph: the photographer’s enthusiasm towards something he sees. Selection of the core subject, as well as of all the individual elements in his frame, through the privileged sense that only he is in a position to attribute something that without him would not exist and would never come out into the light. Joy at the affirmativeness of the shot. Creative anxiety and doubt about the possibility of the birth of a new photographic event. Joy anew on realising the final affirmation, which is the photograph’s artistic result.

If the photographer who wants to be involved in creative photography is not excited by what he sees, he has no reason to press the button. If he is not positively disposed, even towards ugliness or unhappiness, he has no reason to imprint them. He should probably fight them or denounce them. Not capture their image or be excited about them. And finally, if he does not feel as if what he chooses to photograph is his own, why transform them into an object of communication and shared emotion?