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When someone becomes involved with the art of photography for the first time, everything seems easy. But if he wants to continue and delve into this involvement, he must ponder over the particularity of the medium and understand its characteristics.

  • Photography is marked by its poverty. All photographs are humble and simple. Most are also insignificant. These latter help to reveal the few and rare photographs which, while remaining humble and simple, are significant.
  • There are two equally important steps in photography. On the one hand, taking the photograph, and on the other, making the selection, processing and sorting. The essential creative thinking must follow, rather than accompany the taking of the photograph.
  • The technical ease and the dominant babble of photographic production must be counterbalanced by strictness and self-criticism, spirituality and culture.
  • Most people (unfortunately, including historians and other art experts) treat photography with concealed contempt and blatant ignorance. Yet another reason (along with other diverse and general ones) for the photographer to turn his creative ambition towards himself, in a fruitful confrontation with himself, and not with third parties, in a suspicious transaction or a pointless competition with them.

Unfortunately, however, there are more than a few young photographers who, in their hope of escaping from their first artistic dead-ends, attempt to reverse the above peculiarities of photography in various indirect ways.

  • The easiest way to achieve this is to bring forward the thinking process from the second stage to the first stage, or even before. So, taking the photograph is no longer food for creative thinking, but its illustration. Thinking – let’s not forget – is much easier than photography, it is fully compatible with ignorance, and, most importantly, much more accessible to third parties.
  • Akin to the aforementioned method is upsetting the balance between the two stages. Selection, organization and processing then become more important, in which case the way a dish is served is more important than the dish itself. This is also a way for photography to rid itself of its poor nature and heritage, and to attempt to become important through a fictitious wealth.
  • One of the most popular and most commonly used methods is the complete denial of the particularity of the medium and the simultaneous rejection of any other opinion about it. From then on there is nothing that should be respected, nothing that could become the basis for creation. So we can (finally) play in other fields, taking advantage of the ignorance of society and of experts. Besides, the latter invented a term as characteristic as it is comic: the “post-medium condition”, that is the period in which no “media” exist. The period that does not have (and does not want) criteria. The period when the competent and the incompetent are grist to the same mill, the only requirement being the acceptance of the “condition” and the rules of the (new) game.

All these ways (and many others not mentioned) attest that ambition ceases to be a creative stimulus, since it turns its back on the artist and the photograph, and turns towards society and third parties begging for recognition, yet also emancipation from (poor) photography. However, thus the ease of photography, combined with the (“post-medium”) ignorance surrounding it, will become the trap into which passion, talent and innocence will fall, to be lost forever.