In his article, “The Daguerreotype“, Edgar Allen Poe wrote”
“…the closest scrutiny of the photogenic drawing discloses only a more absolute truth, a more perfect identity of aspect with the thing represented. The variations of shade, and the gradations of both linear and aerial perspective are those of truth itself in the supremeness of its perfection.”
–Edgar Allen Poe, “The Daguerreotype” published January 15, 1840 in Alexander’s Weekly Messenger
Poe, Edgar Allen. “The Daguerreotype,” Edgar Allan Poe, “The Daguerreotype,” 15 January 1840. Www.daguerreotypearchive.org, 2008. Web. <http://www.daguerreotypearchive.org/texts/P8400008_POE_ALEX-WEEKLY_1840-01-15.pdf>.
Since its invention, photography has evoked the most revolutionary art movements within traditional mediums. Impressionism, cubism, surrealism and other early 20th century avant-garde movements were reactions to photography’s superlative capture of detail and accuracy. The realist could no longer compete with the photographer, and so the realist became the surrealist and created innovative styles that photography could not achieve. Photography is perceived as truth while an image denotes artistic view. Poe impressively articulated the daguerreotype’s magnificent accuracy of detail and shading; however, his connection between photography and reality may be seen as misguided within the realm of photographic manipulation.
Is it a success to the photographer if the photograph causes the viewer to question its validity? That idea attracts me to the photographic art. After making a photograph, if my own attention is captured and intrigued, then I believe it to be a strong piece. The viewer will believe what I tell them through the photograph, but I if I can visualize my own fabrication of truth, I know that I was successful- a key motivator.
Concepts that trend within my work tend to vary from the dark and dismal to the vivacious and dreamlike. When I look at a photo, I want the content to mystify and enliven my spirit, thus taking me on the artist’s personal emotional and conceptual journey. I strive to instill those intentioned emotions within the viewer. In self-portraits, I tend to get close up with the camera to pull the viewer in as close as possible; however, I wish to intrigue the viewer to the same extent by taking a step back- literally. My weakness is lack of variation of artistic angle. I would like to explore more alternative styles and angles within self-portraits.
I tend to position the viewer above or at eye level with the subject. In the past I have found that keeping the viewer close was vital for their comprehension of the photograph’s message. I have used mostly warm black and white tones with harsh contrasting to secure the viewer’s attention. I felt that intensity was paramount to my personal artistic vision. The subject of water tends to flow through my work as I have always felt some kind of inner connection with water’s literal fluidity and the idea and feeling of submersion. Water’s variation of state from animated to still fascinates me, and so my style will mimic that alteration of form. For a still photograph, the tone will be cold or warm black and white with a soft detail, while in a live photograph, I will boost the saturation and sharpness. Although these approaches have supported my work and journey as an artist, I am ready to expand my use of styles, angles, and content and progress further as a photographer.
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