The second school of thought, which run’s in contrast to the style above, is that of fine art landscape photography. The fine art landscape photography movement looks at the camera and the resulting image as only part of the process, and not an end in itself. Fine art landscape photographers believe strongly in imparting their voice, or style directly into the image and the landscape. This is accomplished by creating a strong and unique style and vision. For the fine art photographers, this style and vision does not end when the shutter is released, but in fact is often only a portion of the artistic process. While most fine art photographers believe their vision and style of photography is what set’s them apart from the more traditional documentarian style photographers. Fine art photographers look to use additional tools and software to help better represent and illustrate their impression of a location even if it may change the perception or reality of what the scene actually looked like when photographed. fine art landscape photographers feel that their finished product is a true representation of their vision, voice and style. To the fine art landscape photographer, their vision, voice, and unique style and representations are what should appeal to the end viewer.
This is of course an extremely over simplified synopsis of the ongoing debate. It’s a debate that I continually have with myself when in the field or at my desk processing and culling images. Both the documentarian school and the fine art landscape photography school hold valid points behind their justifications and styles of photography. My development as a Landscape Photographer has traversed both schools of thought. This is particularly true for me over different periods of time in my development as a photographer . Obviously, I can’t speak for all photographers, but I think most Landscape Photographers start out more concerned about capturing the reality of scene before them. Often times when photographers start out they are looking to document vacations, trips, or other activities they are participating in. In doing this, they look to create images that closely represent that scene and locale before them, or in more simpler terms, document their activities.
I believe overtime, many Landscape Photographers find becoming technically proficient with the camera and creating solid imagery of the landscape before them is not and end in itself. As I spent more time in the field with my camera, moved to Colorado from New York in 1998 and became acquainted with the new environment that surrounded me, I looked to express my vision in a more unique way. I became enthralled with subjects that had previously held little photographic interest to me. While iconic imagery of places such as Dream Lake in Rocky Mountain National Park still get’s my juices flowing, I found it disappointing to capture an image of an iconic location only to find another photographer’s carbon copy type image posted online or hanging in a gift shop.
What separated my image of Dream Lake from the other guys image?. Even if I have a stellar image of Dream Lake, what’s going to stop the thousands of photographers on pilgrimage each year to places such as Dream Lake and Maroon Lake from capturing a similar image?. Is standing on the shore of Maroon Lake in September with 250 of my closest photographer friends really helping me to express my unique vision and communion with the natural world that has become increasingly difficult to find solitude in?. Again, I’m in no way disparaging photographing those icons. I still from time to time will do so when the lighting and conditions are unique. Regardless, this kind of imagery does not convey my vision and voice like I feel other portions of my portfolio better represent. It’s been a process and evolution for me as a photographer. I would certainly consider myself a Fine Art Landscape Photographer. While my vision and style continues to evolve, I find it more gratifying to photograph subjects that hold interest to me and in a manner that represents how I see them and they fit into my vision.
Very nice essay Tom. The image of 100’s of photographers lined up on Maroon lake is likely the one still interesting photo you can take of that place, but even that has been done before. On the other hand, that image of Maroon lake with reflected fall color is likely an image that the general public will buy, which is of course why you find such prints in visitor’s centers. In the end, to stay sane, I think you want to go for what drives your vision. It might be harder to find the right audience, but in the end you’ll be producing art that you yourself feel great about instead of becoming more of a craftsman (nothing wrong with that though) that only produces very well executed copies of all the iconic images. Alain Briot wrote a very nice essay on finding the right audience that you might find interesting.
Jao,
Thanks for taking the time to read my thoughts on the topic. It’s certainly an issue I think all photographers struggle with, especially as one spends more time in the field. Do you photograph what you love and what spins your wheels and feeds your vision, or should you look to photograph what the public wants,what sells and what are ‘sure bets’. Take photographing Dream Lake for example. This summer I was lucky enough to be at Dream Lake for one of the best sunrises I have personally witnessed in Rocky. I was a bit torn that morning as I hiked up the trail towards Dream Lake. It appeared that an epic sunrise was likely. Fog and clouds swirlled around Hallet Peak and Flattop Mountain as a nasty night of thunderstorms was clearing out over the Park. I was debating in my head if I should pass up Dream Lake and look to find something more original to photograph. My heart was racing with excitement as I argued with myself over where to shoot. I raced up the trail to find not another soul along the shoreline of Dream Lake. At that moment I decided I was going to hunker down and shoot sunrise at Dream Lake. This of course is a location I have photographed many times, and one that will be photographed very well many times in the future by other photographers. At that moment I was just really thrilled to be at that location under those circumstances. Does an iconic photograph of Dream Lake fit my vision as much as it did ten years ago?, heck no. Regardless I was able to capture what I consider my best Dream Lake image to date. After the short but intense Sunrise had flittered away behind the clouds and I packed my camera up I still felt exhilarated at what I had photographed and captured.
At that moment on the hike up I could have opted to pass on Dream Lake and try to find something a little more unique to my vision. Perhaps I missed out on an even more sucessful and unique composition. It was a compromise as much of life is. It was a compromise to shoot in a location that had been photographed many times before but still held great potential. The locationt still excites me and being able to shoot Dream Lake under those conditions left me feeling fullfilled. I wont typically make specific trips to Dream Lake anymore just for the heck of it, but if conditions look unique I may be trying to impart some of my vision of the locations, however small into the photograph and final image.
Interesting article by Alain. Ironcially I just finished reading Alain’s book ‘Marketing for Fine Art Photographers’ which was an interesting and insightful read. This post was a combination of reading Alain’s book along with an ongoing discussion taking place on the Rocky Mountain Nature Photographers board over Art and Photography. I’m also an avid reader of Guy Tal’s blog and he has some great insight and perspective into this ongoing debate. Again, thanks for checking in.
This is an important and very worthwhile “debate” indeed and I thought your thoughts were a very good read.
Of course, Dream Lake is a fantastic place to be and there is always the simple joy of just being there during a great sunrise and photographing it. In your example, it would not have been unlikely that you would have ended up frustrated at not finding a good image if you would have passed up on Dream or you might have been too late at another location. It is likely even possible to take an original image of it. I remember a while ago seeing a great image of it at sunrise with an elk at the shoreline in it that I really liked (don’t remember who made it unfortunately). That of course takes an insane amount of luck.
P.S. I really like the cloudy images of Dream lake in your portfolio. They are among the best I have ever seen.
Jao,
I agree. For myself, I’m glad I still get that feeling of excitement when I’m out in the field photographing. I have known many of photographer who may persue the craft very intensley only to burn out very quickly. Art and Photography if not kept in perspective can become disheartening to some if they do not stop and enjoy the moment and the time in the field. I sometimes joke with some of my photographer freinds that I’d get excited shooting a McDonald’s if the lightining was good. I know the photograph you are speaking of, I think it was Joseph Rossbach’s if I’m not mistaken. Pretty hard to beat that image when it comes to iconic Rocky Mountain National Park ‘props’. Thanks for the compliments on the cloudy Dream Lake shots. Those are also amongst my favorite’s from Dream Lake and one’s I certainly consider closer to my vision of those locations.