Conceptual Photography of Nature in Lights and Colors: Displaying Ideas and Concepts
Nature is an abundant resource to create photographs for decoration, to create photographs reflecting my emotions, and to transmit messages about the world. However, nature also opens the door to creating conceptual photos, which are more abstract.
In this type of photography, it is the idea or the concept that is essential. Each viewer will mentally interpret and understand an image’s meaning in a different way.
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Lights and Colors
To be consistent with my artistic photography vision, I am always looking for the best lights and colors to create the smoothest harmonies possible within images. The adjustment of the different tones must never be brutal. I always try to create ethereal, evanescent photographs that provoke interrogation. Color is an element of the photographic vocabulary that I use to create inner dialogues with viewers.
The Viewer: Captured Within the Center of Dialogue
I am used to saying that for a nature photograph to be interesting, it must tell a story. I believe that the art of photography is when a relationship between my interpretation and the viewer's perception is established smoothly.
In classical photography, the photographer constructs a photograph interpreting the real world. It's an interpretation. The viewer makes perception. The link that needs to be created is a relationship between an interpretation and a perception.
In conceptual photography, the viewer is captured within the center of the dialogue. A conceptual photo must have a direct impact on the viewer; it must attract all his attention. Even if I make choices about composition, framing, and light, it is nevertheless the viewer who interprets the contemplative work according to his feelings.
In conceptual photography, I must create interesting photos for the viewer. My works become emotionally neutral.
Conceptual Photography, a Different Approach
Conceptual photography is very different from descriptive or decorative photography, as it requires abstract thinking rather than thinking in terms of location. With conceptual photography, I have to think in terms of shapes, textures, color, and light without focusing on the subject. This may seem strange, but the important thing to remember is the abstract aura the photo will radiate. It is necessary to provoke questioning in the mind of the spectator. I can give an interpretation or try to convey a message, but this will not be the most important feature of the photo.
In conceptual photography, I am always looking for the element of surprise in the rendering of our photos.