Red Wall, Blue Sky, Clouds
I’m always a little dubious about theorizing about photography.
There’s a danger of becoming pretentious to say the least.
There’s no doubt that Private Eye’s Pseuds Corner and the output of the Artybollocks Generator serve as a warning.
But there are some phrases that resonate with me as a photographer.
Cartier-Bresson’s Decisive Moment is one and then there’s a rather different approach based on the concept of previsualisation emphasised by Anselm Adams.
(Andy Ilachinki has a good presentation here)
The contrast is perhaps between taking a photograph and making a photograph.
I think most photographs are somewhere on a continuous line or cline between.
But this does of course, highlight the place of manipulation in photography.
There is no point in previzualising an image if there is no chance of creating it.
But now digital capture provides more information which is in the photographer’s control.
A RAW file can be altered significantly and there are more tools for post processing, especially in colour, than before.
Red Wall, Sky, Clouds Photo Facts
I had come to this wall, this building, may times and studied it carefully.
I had seen the patterns and colours and had planned to shoot an abstract or several abstracts from it.
Every time, there was something not quite right, the lighting, the colour of the sky, the absence of clouds, the wrong type of clouds.
I decided to use my camera in notebook, or scrapbook mode and collect the elements I wanted to complete the picture.
The wall itself of course remained the central fact of the composition but for this version of my vision I:
- replaced the sky.
- changed the colour.
Red Wall, Blue Sky, Clouds is the result.
It’s clearly related to the original RAW capture but it’s significantly changed.
Perhaps it’s going from the camera cannot lie to the camera always lies.