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Do I point my camera outwards to the existing world or turn it inward towards
my soul.
Am I taking photographs of existing reality, or creating my own world, so real
but non existent.
Results from this two opposite approaches are notably different and, in my opinion,
conceptual photography is a higher form of artistic expression that places
photography on the level of painting, poetry, music and sculpture. It employs the
special talent of intuitive vision.
By translating the personal concepts into the language of photography, it
reflects the possible answers to major questions of being: birth, death and life.
Creating an idea and transforming it into reality is an essential process of conceptual
photography .
Today's conventional approach, with a few exceptions, completely dominates
Art Photography. But introduction of digital photography can change this balance.
The ease of producing altered realities, will bring a new wave of talented artists,
who will use it to express their special world of visions, with all its meanings,
symbols and mystery.
In a world of high technology will you still believe in truthfulness of a photograph?
And does it matter? To me it matters. In all these years of creating conceptual
images, I tried to make them as realistic as possible. My technical abilities
have improved, allowing me to broaden horizons for my ideas. But this is
not the most important part of the process.
The poor concept, perfectly executed, still makes a poor photograph.
Therefore, the most important ingredient of the powerful image is a concept.
The blend of a talent to create a concept and the skill to deliver it - those are two
major building blocks of creating a convincing conceptual photograph.
It is not a new idea to manipulate photographic images. As a matter of fact all
images are manipulated to a certain degree. The real power of photography
emerges when altered reality is presented as existent and is expected to be perceived
as such. An obviously manipulated image is a trick that shows a lack of
understanding of the unique power of photography - the belief engraved in our
subconscious that what was captured by the camera has to exist. In the best
examples of successfully manipulated images the question "Is it real?" does not
arise.
My first introduction to digital manipulations showed me how similar analog
and digital techniques are. Each has it's bright and dark spots. At this moment
I don't see any reason to switch to digital. I still prefer glowing quality of original
print and the laborious process to achieve it. Yet, I believe, that it is only matter
of time before digital technology replaces analog and the conceptual approach
will receive well deserved place in Art of Photography.
March of 1999
Misha Gordin
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