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In This Issue:
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09-JUN-2005
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Helgoland workshop smashing success
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Book review: Fine Art Flower Photography
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Fine Art Flower Photography: Creative Techniques and the Art of Observation by Tony Sweet
This book made me reconsider some of my fundamental feelings about art
and photography. For example it made me consider the distinction
between non-representational and abstract art. I realized that
non-representational art has no counterpart in the world. Abstract art
might have such a counterpart, but it is more concerned with line,
form, color and other indicia as such than with the subject itself. I
also realized that just because a photograph must start with something
in the real world doesn't mean that it can't be abstract and concern
itself with indicia rather than the subject.
All of this is by way of saying that "Fine Art Flower Photography" is a
book of abstract art that starts with real flowers, but which has as
its subject line, form and color. And it is a terrific and inspiring
book.
By using a variety of photographic techniques, Sweet is able to divorce
line, form and color from their subject and present them in a pure
manner that delights the eye. In fact Sweet was so effective in doing
this that he transformed my vision of other abstract art and its value.
Sweet accomplishes this task by manipulating depth of field, multiple
exposures and camera movement to present us with a view of flowers that
we would never see with the unaided eye. And these views are
surprisingly striking, evoking deep, non-rational responses in the
viewer. I have never believed that aesthetics was simply the province
of the beautiful, but these pictures certainly can be used to support
such an argument.
I've long had a feeling that manipulating a photograph in the camera in
a way that one could not see in a peek through the viewfinder was
somehow not real art. Sweet makes it clear though that he starts with a
visualization of his final image and then takes the steps to make that
vision come true, which of course is exactly what all the great
photographers have done, and which is certainly a process that leads to
art.
This book could stand on its own, as a set of beautiful images, but
expert photographers will also find valuable lessons here. Sweet's
comments are pithy, but for a person who understands the photographic
process, they can suggest the technical steps that will allow the
photographer to follow in Sweet's footsteps. My question is whether
Sweet has set the bar so high that no one can exceed him. But perhaps
these same techniques can be applied to other forms of photography to
make different statements that are as beautiful.
Although Sweet has used film as his medium, digital photographers will
be inspired to apply his same techniques, either in camera or in post
processing.
You find more of Nikonian Conrad Obregon's reviews in our book and magazine section
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