Most artists go through different stages of development. So, too, do photographers. Their development, maybe more clearly than for other artists, proceeds along two parallel lines—due to the dual nature of photography. One of those lines is related to technique while the other is related to a more artistic aspect. These parallel developments do not always keep pace; one may progress faster—or slower—than the other. Some photographers don’t even realise or care about the lack of the development of one of the skills. I know successful photographers who have no clue about how to use aperture or exposure time in their shooting, and certainly don’t know a thing about post-processing. Their technical development stopped at an early stage. On the other hand, some of the best photo-technicians I ever met wouldn’t know how to make an interesting picture if their lives depended on it. Their artistic development never got off the ground.
In my own photographic development I started out with more emphasise on my technical abilities than artistic growth, but today I care much less about technique. For me the content and the story the pictures tell, particularly on an emotional level, is of much more importance that the technical appearance. I certainly don’t mind if both work together to form a higher unit. On the contrary. But nothing is more boring that a technically perfect, but purposeless picture that doesn’t evoke any emotions, simply because the photo is all about technical proficiency—and maybe composition—than content and purpose.
With my own development—and others as well—in mind, I clearly see that photographs often change their attitude in regards to both subject and the way they shoot as of a result of their technical and artistic progress. In his book Photographic Seeing the late and former Life-photographer Andreas Feininger distinguishes between three different photographic approaches, stretching from an almost pure technical focus to a complete artistic impetus. He talks about objective (which I prefer to call factual), subjective and expressionistic approach.
The factual approach is when a photographer tries to make his or her picture render as much as possible the visual facts, being careful to express neither bias nor personal point of view. Clarity of this rendition is of primary importance, colours should appear natural and the subject must be instantly recognizable. Prime requirement for this approach is photo-technical competence, whereas artistic talent and imagination are of lesser importance. This is often stage number two in a photographer’s development, following the stage of the happy-go-lucky snapshooter. (Personally I’d rather call this factual than objective approach, simply because the latter implies some level of objectivity in the rendered photo, and I don’t believe objectivity exists in any photograph).
The subjective approach is when a photographer makes a deliberate effort to express her or his personal opinion or point of view. It means showing in the picture what the photographer felt in the presence of the subject rather than what the eyes told him or her. In essence this is an emotional approach requiring a high degree of sensitivity, feeling, compassion, imagination and courage of conviction. Usually this approach is the third stage in the development of a photographer, when the photographer starts to realize that there is no objective rendering of any subjects and that an imaginatively seen and expressed photograph can be more stimulating than a purely factual, correctly rendered image. This approach requires are strong personal conviction and vision coupled with sufficient technical abilities to realize this vision.
The expressionistic approach is when the photographer goes all out of his or her effort to present his or her personal point of view, even if this requires a form of rendition which makes the subject partly or completely unrecognizable. As in modern abstract art, feeling is everything. It takes about the same abilities as for the subjective approach, only to a higher degree. Often the expressionistic approach is merely a more revolutionary form of the subjective approach. And some times expressionistic photographers rely on photo-technical abilities to a lesser degree. It’s all about feeling, intuition and being present with the subject.
Where do you feel you are along this continuum between a factual and a expressionistic approach?