Photography News 09

Opinion

SPEAKERS’ CORNER

Originality is key What makes an acceptable photographic subject? Brian LawARPS CPAGB debates whether taking an image of someone else’s artwork, be it graffiti or architecture, can be an acceptable competition entry

Like it or not, camera club competitions at local and national level tend to be dominated by those who combine great imagination, creativity, vision and are able to realise that through well-honed computer skills and artistic flair. In discussion, similar comments are often made regarding the ‘originality’ of architectural or even landscape photography. In the case of the former aren’t we just photographing a building that an architect has designed and a builder built, ie. someone else’s work? And in the case of the latter, are we not just copying nature? Fair points you may say, though I would argue differently. In the case of architectural photography, the lighting is critical if you want to capture the textures on the building. Shadows often play a prominent role in good architectural shots and that means being there at the right time of day – or even year. With regard to landscape photography, anyone can roll up to the viewing point car park, poke the camera out of the window and grab a half-decent shot. However, the best landscape images involve going that extra mile. It’s all about trekking to a spot which gives you a commanding vista; it’s about returning again and again to the same spot; being there and setting up the camera before the sun rises; moving round to ensure the composition is right. It’s about having the right equipment, the determination and commitment to make the image extra special and, just as importantly, ‘yours’. Although photography does not necessarily need to be difficult, and we are encouraged to disregard the difficulty involved in creating an image when making an assessment of its merits, I believe there is value in actually assessing the photographer’s true contribution to the image-making process. When I repeat this statement I always think of that great photo of Herbert Ponting hanging over the edge of Scott’s ship the Terra Nova in the Antarctic, precariously balanced on a couple of planks and

Words by Brian Law

As a Lancashire and Cheshire Photographic Union judge, I continue to see photographs of statues, graffiti, plaques and stained glass windows in competitions. Whilst the piece of work depicted is often quite beautiful, I do question the validity of such images in the world of contemporary club photography. To my mind, this is just the photographer ripping off someone else’s artwork – plain and simple. Take a life-size figure sculpture for example. The artist probably created a small maquette, built the final form inclayor plaster, created a mould and ultimately cast the statue in bronze and applied some form of patina. The whole process may have taken many months or even years. And then a photographer comes along and in the blink of an eye captures an image and calls it his own. I think not! Where is the originality or imagination; where is the creativity in that process? You would not go into the Louvre, photograph Da Vinci’s Mona Lisa and then put that into a competition, so why is other people’s artwork, even if it is displayed in an open public space, any different? Gone are the days when a good or evenmediocre record shot would do well in a club competition. Whilst there is a place for record photography, unless it is something really special or presented in an interesting way, I am not convinced it is suitable material for clubphotography, let alone competitions.

Have you found a creative way to shoot other people’s artwork or put your own spin on it? Or maybe you have a strong view on what should and shouldn’t be accepted into competitions. Let us know your thoughts and share some experiences with us at opinion@photography- news.co.uk. WHATDOYOUTHINK? π To find out more about Lancashire and Cheshire PU, go to www.lcpu.org. To see Brian’s work, go to www.brianlawphotography.co.uk. suspended by ropes whilst he captures the ice floes with a massive wooden camera; now that is dedication and commitment for you: that’s going the extra mile to get the shot. Although he was not competing with others, Ponting was ensuring he got an original shot, he was being creative; he was using his imagination. Though he was making it difficult for himself, in that very act, he was making the image his own. Hopefully it should be clear that good or great photography is about what you as a photographer put into it: as Ansel Adams said, “You don’t take a photograph, you make it.”

Anyone can roll up to the viewing point car park, poke the camera out of thewindowand grab a half-decent shot

LEFT & ABOVE Do both of these

images merit entry into a competition? Brian Law thinks only one does.

Photography News | Issue 9