Fine Art Photography - Break the Rules and Start Creating | Valery Poshtarov | Skillshare

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Fine Art Photography - Break the Rules and Start Creating

teacher avatar Valery Poshtarov, Photographer & Art Manager

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

20 Lessons (1h 31m)
    • 1. About this class

      1:08
    • 2. The Fine Art Photography Does Not Exist?

      3:43
    • 3. The Power of Photography

      4:39
    • 4. MYTH 1: The Perfectness of Camera and Equipment Is Very Important, Is This True?

      4:33
    • 5. The (Out of) Focus as Vehicle for Expression

      9:08
    • 6. Exposure & Contrast as a Vehicles for Expression

      6:50
    • 7. MYTH 2: The Composition Is Just Putting Together Objects Within the Frame

      3:32
    • 8. Composition Through Forms

      5:27
    • 9. Composition Through Contrast

      3:30
    • 10. Light In Photography Composition

      4:43
    • 11. How Colour Can Make Your Composition

      3:37
    • 12. Why Time Is Your Best Friend On The Way To That Remarkable Shot Composition?

      4:52
    • 13. MYTH 3: The Fine Art Photography Is In Black & White, In Defense of Black and White Photography

      2:55
    • 14. In Defense of Colors

      4:04
    • 15. How Important Is Color In Photography?

      5:52
    • 16. MYTH 4: Posing Is Preposterous, Will Steal the Performance, What Does Actually Posing Mean?

      7:14
    • 17. The Grip of Sincerity. The Art of Artlessness.

      9:54
    • 18. MYTH 5: Photography Is Just Mechanical Reproduction of Material Objects, The Deepest Art Secret Ever

      2:12
    • 19. The Second Secret

      2:15
    • 20. Envoi

      1:09
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About This Class

Have you ever asked yourself how and when a photographic image becomes an art? Do you feel a desire for your pictures to be unlike the million images produced every day and have that creative edge?

There are many courses that teach you how to shoot.

With this class, you will learn how to create art.

  • Learn how and why art can move and inspire!
  • Find out why you are more important than your kit of camera appliances!
  • Find new means of expressing your thoughts!
  • Leave the stereotypes and start bringing your ideas across!

 

To be a photographer you need just a camera. But to be an artist, you need something more. Find out what!

Art moves our utmost feelings. Art is timeless. Like the very essence of life, art is a beauty but it may hide behind thick curtains. The very aim of this course is to be unlike courses you may have already followed. It will open your eyes to a beauty of higher order.

I will show you 62 masterpieces from 45 world masters of photography.

Learn how they did their most valued photographs trough memorable examples and exercises.

My deep understanding and sincere desire for this course are to present to all photographers and beginners in the art of photography the most important thing to deal with – CRITERIA, those special hallmarks necessary! I will introduce to you dozens of masterpieces of the world photography from the past and modern day and show you their secrets.

I will show you things you can’t find in books and manuals. I will lead you on the paths to art and aesthetic. I will do my best to be clear in what I say and I will show you every single aspect of my ideas with visual and memorable examples.

Аrt is not reserved only to famous photographers and I am here to help you!

See what students are saying:

  • This course is like a private tour of an art gallery with an expert guide. / Rachel Beaney
  • Astonishingly breathtaking! Any photographer, a beginner to master, will find this course to be an insightful gem. / David Bowman
  • I have known the basics of photography, but through this course, I gained a deeper appreciation for the artistic expression that photographs can provide. / Andrew Luttrell
  • There is a lot of value on the course so it could be seen several times. / Atanas Manolov

Meet Your Teacher

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Valery Poshtarov

Photographer & Art Manager

Teacher

Valery Poshtarov is experienced art photographer, fine artist and author of more than 30 exhibitions around Europe.

V. P. was born in Bulgaria in 1986. He studied painting at the National School of Arts in Varna. In 2005 he moved to Paris where he graduated Plastic Arts at the Sorbonne. This period is related to his vivid interest in the genre of the classical French humanist photography from the middle of the last century. Exhibitions of works from this time were presented in Paris, Berlin, Frankfurt, Sofia and more. The art of Valery Poshtarov is part of major collections of different official institutions in the world: Presidency of the Republic of France, French embassy in Ireland, Bulgarian Cultural Centre in Paris, Evgenii Evtushenko Museum in Moscow and others.

Vale... See full profile

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Transcripts

1. About this class: 2. The Fine Art Photography Does Not Exist?: the fine art photography does not exist. This is a hard one to begin with, isn't it? But let's face it, there is no clear definition of what the fine art photography re Elise. Human history has seen too many artistic schools and ideologies that once gripped people's imagination but nonetheless, very soon after were completely forgotten. People's ideas. What beauty is had changed so many times in the course of human history. Nevertheless, even today, hundreds of artists are ready to pronounce. Their metered is a trendiest in contemporary art tendencies. Me thirds and streams, which will be tried, taken up in arms and then truthful up to oblivion. The problem is that art today is usually seen is a product of the modern culture. It is as though we have suddenly became unaware of what the engines said arse longer Vita Berries Art has got just one valuable cree Terry Um and it is the trial of time. The posterity people are apprehensive and even have fear of time. Don't you believe me? I will give you an example. See what they're doing to while the time and keep away from boredom. People are afraid of time is much is there Fred of Death, because time, main value with the power of life. But time can also take away. Your best chance is to be what you dream to become. Time can inscribe for every new memory, those special moments of happiness and elation. But time can also right off the same moment as though they never be. We all strive to seize the time, but it is like a butterfly which is no longer life when it is in our hand. This is why man invented photography. Photography is the dream fulfilled of the visual arts. It bears the power of eternity. But then again, we try to utilize photography. Now, a day in life, I was strive to bean paste with the more than tendencies will hamper the most cherished value of photography, its aura of eternity. Numbers of mundane Thera Titian's critics and galleries are trying to pigeonhole the art photography to their limited aesthetic understanding about modernity. While the art is long, life is short. If a photographer picture bears the stump of being modern today, tomorrow it will be a mere artifact. Do not expect me to be modern. Modern is opposite to the very nature of art. In this course, I will present you the photography, which is timeless and a knob checked of art. The photography which has moved people and we'll produce powerful emotions in the days to come. Nevertheless, what fashions and ideas may arrive because art is long, life is short. 3. The Power of Photography: the power of photography. When I was a kid, I was searching in a box of memorabilia of my granny's. I found a picture of a woman with long ponytails and piercing eyes. I asked my granny who the woman was and she would fight. I can't remember, but I looked at the back and read what was written on the back side of the photo I give my face is a gift because time passes by and takes away the memories of us. But the woman's face was still there before my eyes, and she was looking at me. Years later, I read these beautiful lines in Roland Bar Tests Book camera Lucida. One day quiet some time ago, I happened on a photograph of Napoleon's youngest brother, John, taken in 18 52 and I realized then with amazement, I have not being able to lessen since I'm looking at the ice that looked at the emperor. It is as if the photograph always carries its referent what it represents with itself, both affected by the same amorous or funereal immobility at the very heart of the moving world. They're glued together limb by limb, like the condemned man in the corpse in certain tortures, or even like those pairs of fish sharks. I think, according to Michelle, which navigating convoy as though united by an internal coitus, the photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them. Both the direct approach to making a photograph encourage Isis to discover the most important aspect of a subject visualized them is simply and directly as possible and present them in a photo rough as forcefully as we can. Using this direct approach, then we can create a new illusion of reality so strong that the presence of a camera and sometimes even that of the photographer who directed it can go unnoticed. We can bring to the viewer of our pictures on extraordinary sense of being there when I teach photography. The very first thing I tell my students is the following. The role of photographer is not to push the trigger, their camera. You have the power in your hands, and this is the power to push the trigger. It's like the power of pushing the trigger of a gun. But the difference is that by pushing the trigger of your camera. You create life, you don't take it. The photographer has the power to spot the moment and copied for eternity. But the photographer must be responsible and know when to push the trigger. If you find the balance in the frame and feel that eternity speak to you by this image, then the secret magic, open your eyes and an object of art is born, George Craven writes in his book Object. An Image, an Introduction to Photography. Therefore, any guideline for work in in the direct approach may usefully begin with a suggestion toe. Concentrate on visualizing a single idea on seeing one thing. Clearly, because the world, as we find it usually is more chaotic than orderly, the photographer habitually begins. By sorting out, he must call in the touch from his environment the raw material of his picture. This act of selection may be into it if or carefully reasoned, it may be instantaneous or involved a succession of decisions. However it is done, it is fundamentally an individual and human decision and therefore the most important one a photographer can make. Selection, then, is the primary step in all forms of photographic visual ization. 4. MYTH 1: The Perfectness of Camera and Equipment Is Very Important, Is This True?: myth one. The birth thickness of camera and equipment is very important. Is this true? The advent of photography sees a renaissance or dream come true to wreck unstructured in two dimensions. Familiar objects and views with meticulous exactitude. The evolution of photographic equipment serves the desire of people to command upon the reality. The more advanced are the camera and the technologies. The more precise is every detail in the picture and the resolution of the image. But if the details meta a lot in photography of space objects, how important is the detail in not photography? Josh Austin, photography lover, writes in his log. Often, people confuse what is the craft of photography, with its a tous tick value. I have read many articles proposing that where a photographer's closely involved in the process of actually creating a physical image, leaving their marketed stage from selecting the exposure toe, adjusting tones in the darkroom, they can be more ready called on artist the assumption being the more visible the photographers hand, the less an image value is attributable to a mechanical device. Digital photography invention made all technical aspect of photography widely accessible. Photography became by far the most Democra Tic art today. But an image can't be called a piece of art just because the automatic technology did its do work. I can't be simply impressed by the mere fact that I can distinguish the tiniest details in human flesh on the picture. The technical aspect in photography is, by all means success of science but not of art. It's positive effect is that it brings up liberty for the photographer, the liberty to focus more on the things that matter on artists, deeper feelings and understanding of life things. They want to represent his image and bring across their ideas. There are a lot of practical skills, media and techniques in painting and drawing that the artist develops in time. The same holds true about the musician. The mastering of those techniques and skills are to be cherished and appreciated there, truly respectable. On the other hand, technical skills can be like a canvas and hide what, in fact, is luck of powerful ideas that can only appear like Rio and muster full re presentation. Those artists may perfectly imitate the style of masterpieces, but yet not get any closer toe. What true art is with time I managed to develop my vision on photography. Every time I saw a photograph picture, I asked myself if I was looking at a board trade or at a real person. And this is the first paradox for me. There are examples of photograph pictures where the more technical skills are involved, the more focused details and resolution displayed, the less I feel the content. Photography is similar Toe Point Tree. The more simple your verses, the more powerful your message goes across. And as practice shows, the simple things are the most difficult to achieve for this purpose. The frame should keep full Harmon in itself, in many aspect the means to achieve it and to keep the balance off far beyond technical cannons and universal truths about beauty. All me that's and technical means can be forgotten or similarly maintained in art photography. Let's focus on each of the methods in the next lectures 5. The (Out of) Focus as Vehicle for Expression: the out of focus as vehicle for expression. As I promised you before, I will have a practical approach. Let's start. Edward Steichen, one of the key figures of the pictorial ism movement, made this graceful portrait of one of the most intelligent woman his time on yes air inst Mayor. It is typical for this movement in art photography to follow the ideas of classical painting, and the soft focus was its main vehicle. Here. The soft focus is not the same is an out of focus image, and the effect cannot be achieved simply by the focusing a sharp lens. This is a technical floor, and many order lenses had soft focus. Butin is a side effect of their construction. This'll photo of a soldier in the surfeit. Normandy, taken by the iconic war photographer Robert Copper, is one of the most celebrated photos of the Second World War while under heavy artillery and machine gun fire on American Soldier charges Through the water, making his way to the beach on the Normandy course to France on June 6th, 1944. The out of focus and no sharpness image do not rob the picture of its dramatic effect just the opposite. The motion blur contributes to the value of the image and evokes strong dramatist um in its beak. The background blur intensified a feeling of apprehension, and they need a fast forwarding for the soldier Father the beach. We have the impression that cover himself is attacking along the soldiers and under the threat of imminent death, but had turned around and blow the trigger of his camera on iconic Image was Born. A True Object of art. This emblematic photograph picture of William Klein has no distinct focus, but it tells a lot more. Do you remember the verse? How can you tell the dancer from the dance? This is the same situation here to feel the beauty of the dance. We don't need to recognize the girl or to spot her features. We assure that these dance where we played by many other girls in different locations in time, this captured moment of grace in the dance is meant to lust, and the lack of focus in the image is again a valuable vehicle of expression. The fine art photography is not always a famous shot taken by a famous photographer. Recently I came upon this portrait by then unknown to me. Photographer didn't force back from New York, and here I will spare my personal commend just what touch to it. My association with the words of American writer Elizabeth Gilbert. One is made of bones and teeth and flesh. The other is made of energy in memory and faith, but they're both equally true. This picture was taken by soul lighter in the forties in New York. There is no focus and no distinct details in the light and the dark part in it. Contrast is highly symbolic here, however, we feel some familiarity with the image if America erotic thrill, which form a powerful impression despite what might be judged, is technically improper attitude. Australian born, Paris based photographer these peers explores for immunity and sensuality, which Paris night life in the 19 twenties and 19 thirties was famed for through a seductive body of work shot on location at bordellos, former venue. According to Karl Lagerfeld, she Spears shows beauty where beauty come be terribly absent the twilight of thes piers crate photos of beautiful woman causes the viewer to merge with the surroundings of the image and enter a kind of dream like vision oven. Often sordid reality shapes lose definition and imagination over ways. Perception. Riel Life is left behind the Dutch photographer San Sadness. Usually used to shutter speed of 1 25th 2nd this intended out of focus method leads to symbolically strong feeling, forms and shadows in appointment for the view away. In this picture, over 3/4 of it is out of focus. The two kids in the foreground adjust former details interviews. Look will concentrate on the third kid who drove graffiti on the wall. Jim Hughes, editor of Camera 35 wrote. Sands, a controversial Dutch photographer, did not make easy photographs. Certainly, he did not make pretty photographs. I'm not even sure he made photographs. He made explorations of people of their outsides in their insides and send back picture postcards of the upsy shares. Even if the motion blur is quite different from the out of focus, let's take a look at the picture of Cartier Bresson. The lanky Elon gated bodies of Chaka Mattis cultures bear the trademark of his modernism and are symbolic with their fragile grace. In this picture, Giacometti is part of the figural composition along with his cultures. He appears to us is a director of this motionless spectacle, Onley. 50 years after the picture was shot walking, Munn one will be the most expensive sculpture sold worldwide. Cartier Bresson masterfully shows us how the artist is inevitably associate ID with his creation. It is the slow exposure that made the effect of this blurred movement and us accented on the motionless figures in the background. There is something dramatic in the way how Giacometti's struggles in his walk, holding the sculpture and with a cigarette in his mouth, the viewer experiences a moment of total suspension of disbelief. We do not understand how Jack Committee looked like, but we learn about his character in Hiss potent imagination, a masterpiece of character by storms. Indeed, although sharp focus is not essential in art photography, let's see an exception, which proves the rule many contemporary photographers used. A focus is their main vehicle for expression, Martin Schoeller uses focus is the main means of expression. His style of hyper detailed close ups is distinguished by similar treatment of all subjects , whether they're celebrities or unknown. In this portrait of Jack Nicholson, we can see the story of his life in every little wrinkle on his face. Without the sharp focus, this picture would have looked like a photograph for a Bly's document. Let's see another picture with expressive use of sharp focus. Untitled from the Siri's some of Christopher Anderson, the picture bears the hallmark of spontaneity and at the same time is where organized the classical harmony in Tibet grounds. That escape is in contrast with the new to figure contemplating it, and we feel close familiarity with a moment of life. A touch of beauty indeed. Please feel free to view external resources attached to this lecture. You will find a link to a special pin terrorist board, which I made especially for you. I have added up many other photographs that illustrate the user out of focus as a vehicle for expression. Father. This board, as I will populated with many new and exciting examples 6. Exposure & Contrast as a Vehicles for Expression: exposure, in contrast, is vehicles for expression. There is no such thing, like correct exposure, unless we define it as an exposure that achieves the effect the photographer intended. Let me be more specific. We can over expose or under exposed the photograph to eliminate insignificant or unwanted detail. And let's see some examples. Andre Care Tish shot this picture in 1928. You can imagine how revolutionary it was at that time. While most of the photographers were looking for a different life story to present it to the public and to impress them care Tash choose something to ordinary and mundane, like this fork. But how come on artist visually impressed their audience with something so ordinary? How can one make the necessary texture from a simple fork in a wide plate on a white tablecloth? The history of photography shows that kept Tesche was not the only modernised who was searching innovative stories and ideas. Syncretic point of view. The still life of post trend here was shot back in 1916 12 years before care tests Fork note that the sharp contrast here is deliberately sought his expressive mode. One of the pioneers of the meat of overexposing is the American photographer Harry Callahan . His modernist inventions influenced many of his followers. His main object of inspiration was his wife, Leonore. I can share personal experience with you. When I first sold this photograph, I was moved to tears. The mastery in the conduct of contrast and over exposure method bring up the essence of the object toe perfection. It is not the object that speaks to us, but some invisible but powerful soul. The composition of the frame is impressive, too. The hands framed the object and underlined the focus of the picture following the rules of golden ratio, This is another big chief Eleanor. Again, the sharp contrast plays an important role here. The model is visually endorsed. I cannot hide my admiration how the message is clear, how the forms and shapes are created without help off play of shadows and light, minimalistic, simple and beautiful and at the same time gives you illusion of a three D sculpture. And here you can see one of my favorite photographs with some earth. This is a minute. The contrast has taken away all the unnecessary details in the frame for me. We'd against the sky is an example of harmony and beauty. It reminds me how fragile beauty can be. This is the Queen Charlottes Bowl by only catty vessel according to some theories of art, photography, aesthetics and, I should say, with too limited application today. Talk sharp contrast that does away the details in the black in the light part of the picture is not advisable. This is the so called blown out highlights effect. This photograph of Cartier Bresson is a good example of the effect. While some deemed these me that unreasonable, I think that if applied with some positive effect intended and by a master photographer, as it is the case here, the me that can bring up impressive harmony by completing all the element of the composition in one full structure. And I really think that this photograph has a lot of common with the 31 feels when viewing on Impressionist painting. Two years after Cartier Bresson took the former picture, the Italian photographer Mario Giacomelli starts his Siri's. There are no hands to caress photos of young priests playing in the snow. The image is impressive, with its blights period enjoy of life. Here we have a good example how the method of over exposure and sharp contrast is a powerful vehicle of the artist's message, our associations, which religious figures often remind us about. So we're contemplation and strong a citizen. However, the contrast here he hopes the photographer toe breakaway with the Moto associations and replace them with married joyfulness and gaity. Please meet Layla Ed Uar Bouba has achieved a dramatic effect just by sharp contrast, as I mentioned before. Contrast is one of the most powerful vehicles of expression in art photography. Its role is mainly to take away all them unnecessary details and toe underline and indoors the main impression intended with a strong message to the viewer. Things. To sharp contrast, one can achieve a poetic intimacy and image, and at the same time it can carry a lot of drama autism in itself. Salomon creates her own visual aesthetic philosophy based on the contrast she intended. Lee plays a lot with the contrast instead of the light and makes forms and stories devoid of unnecessary details in the frame things. To this method, her models appear very severe, even where those are just kids. There is another contrast here, which is the contrast between the everyday life character of the motor and the character of the expression, namely the contrast of the differences. Please feel free to view external resources attached to this lecture. You will find a link to a special pin terrorist board, which I made especially for you. I have added up many other photographs that illustrate the user exposure. In contrast, father, this board as I will populated with many new and exciting examples. 7. MYTH 2: The Composition Is Just Putting Together Objects Within the Frame: myth two. The composition is just putting together objects within the frame. How important is composition? Let's be clear. The composition is not just the placement of objects in the frame. Composition is a major means of expression in art photography. As I mentioned in my previous lectures, the choice, what to be on the picture is decisive, but this choice is inevitably necessary. Toby, inventive and to carry a strong message. Imagine you're viewing an object you want to shoot with your camera. You like it, but it is not some sudden immediacy that makes you feel like pulling the trigger. Before you get to this object, you may have bean through a labyrinth of emotionally charged instances you may have negotiated on uphill path. Walked in a dark wud, listen to the screams of angry birds that chilly winds take away and bring back again. You may have felt exhaustion filling up your body, your senses expiring with fatigue, but to life. And then you may have seen the most beautiful horde of wild horses you had ever seen. If you just pull the trigger of your camera and make the shot without taking into account the composition you will never express all the feelings in your mind. Yes, composition is difficult to master. How is it possible to take a picture of the wind in the willows of the song of samba screams or even of silence? What is the right way to truly express? Once emotions, though it may look impossible, Composition has its voice that is tempting. And if proper, it overwhelms to viewer, even for the viewer who had never walked in the room of misty wards with ghastly screams and scaring silence, we select what is significant within our field of view and located within the framework of the pictures edges. Thus we isolate the image from all that lies beyond that frame set apart. In that manner, our image takes on a new significance. John Tarkovsky in his book The Photographers. I point out how important this isolation is to the photographer. To quote out of context is the essence of the photographers craft. His central problem is a simple one. What shall he include? What shall he reject? The line of decision between in and out is the pictures edge compositions. Buildup is a basic element of the authorship. It is a complex tool that involves some necessary actions. You can best achieve it through form, contrast, light, color and even time. And by time I mean that passions of the photographer that remains invisible for the viewer . I will single out the various me herds of the good composition and talk about them in my next lecture. 8. Composition Through Forms: composition through forms form follows function. Who said this? I don't know. But the writer spoke well. I just quoted Edward Western, considered to be one of the most innovative and influential American photographers and one of the masters of 20th century photography in his major art production forums are not just a composition tour but the best attribute of his photographs. Western masterfully arranges the forms of his objects and often achieves. Two creates to life pictures in which single forms go beyond their context. Pepper number 30. It's rather a sculptured object than a vegetable. The different point of view has the power to change the impression and brings up unexpected association. Composing the frame is all about it. Morley Bears Picture has an interesting composition design here. Within the rectangular frame of the short, he puts a circular object, and this contrast of the forms is very impressive. Human body has ever bean a source of inspiration for the artists, and Bill Brunt is one of those artists whose interpretation of human body often allude to steal life. However, the composition here doesn't seem designed by the photographer. The body language of the model is so relaxed that we take It is nature. The viewer is tempted to follow the line of the legs. The right leg points to the distant window frame behind which the viewer can discern even the lines of a building. So we have a broad attracted moment of pleasure must flee, directed by the photographer and beautifully framed human forms by geometric lines, a spectacular play within an empty indoor ambience with outdoor contrast in the background . In this self portrait of human torso, the British photographer John Kopans distances himself from the cliche red interpretation of human body composition. Here is the main invention tool and the story behind it. It's just reduced toe, almost minimalistic geometric abstraction. Another often used tool of composition in photography is the replay shin or arrangement of similar or equal forms. Most often, those are architectural details and forms, but in this short, I would like to present you something different. Is his bid. A Mona's made this picture in 1959 and put a human figure in the center of it. However, it is impressive how Noval point of view is applied toe aware explored story within Acrobat . The white background is like absorbing air fluctuation, and this puts the human figure in the middle of nowhere. Still, the balancing rod in the lines form a good composition, which in turn is well balanced in intriguing, a very good use of geometry and a sharp eye for four to rough composition. Indeed, even more art acquired example of composition method through forms is a creation of apologies, a sort of systematic classification of types that have characteristics or trades in common . The husband and wife team of Banned in Hillah Day, huh began photographing together in 1959 and documented architectural forms refer to as anonymous sculpture for over 30 years. Their extensive Siris of water towers, blast furnaces, coal mine, tipos industrial for SAIDs and other for Nicola industrial architecture compromise on in depth study of the intricate relationship between form and function. A more recent example for formal composition in pictures is the photograph of the French artist mature Vernal. I will show you his pictures in color in my next lectures, but here is a photograph in which deforms say all minimalism serves well here, and a diagonal line divides the monochrome part from the geometrical section. Luke. How the emptiness and a geometry touch each other, like in an invisible kiss, muster for work and gracefully done. Please feel free to view external resources attached to this lecture, you will find a link to a special pin terrorist board, which I made especially for you. I have added up many other photographs that illustrate the various methods of composition. Follow this board as I will populated with many new and exciting examples. 9. Composition Through Contrast: composition. Through contrast, contrast is a powerful photograph composition tool and gives the photographer the freedom to ignore the importance of light effects. This photograph picture of post trend is a classical example. How contrast is rather juxtaposition of light and dark object within the picture frame than succession of lighted and shaded sections. In the shot, let's follow another example with composition based mainly on contrast, it is a directed arrangement of hands. Again. You can see the diagonally divided frame. Black and white hens are caressing the edge of the do sections. The fingers point to the same direction, and the viewers Luke is directed towards the corners of the frame Win. Today's are often clouded, and no direct light can be used for contrast. But reflection from the snow can be a good make up for it. Harry Callahan has a few genial masterpieces, and this is one of them. Its message is so strong that every time I look at it, I decide that it has some metaphysical mystery about it. If, in a win today six trees or six trees in snow in search of a photographer, the impression is as if those Lunke leafless black and withered trees that looked like silhouettes are planted in white marble by some invisible Demi urge. Powerful and memorable impression. I have already introduced you toe Edward Weston's Art. Here is a picture of nude body in which composition is dominated. By contrast, this method of composition is specifically visible in his still lives on dark background, in which light is accentuated Onley on the objects in the picture. In this for too rough, however, the contrast is extended over the entire form of the body. The contrast takes the role of delight along with the muster pieces of art photography. I would like to show you some less famous ones like this hair. The picture has become viral in the social media on Internet, and the author is never mentioned. I managed to trace him in flicker. His name is Ludovic Go new, and he's a French photographer in architectural photography. The architect of the prototype is like the father in Holy Trinity. In this case, this is the famous Oscar Niemeyer. Look at the contrast. Isn't it impressive? The composition follows the succession of wide and dark sections end. One has the feeling that this is a picture of Bach's fugue, the small human figure in the distance brings back the feeling of reality and completes the picture's message. The Holy Ghost of harmony has descended on Niemeyer's spiral lane. 10. Light In Photography Composition: light in photography. Composition Light is the most classical Met Todd of composition and photography. Art photography is sculpturing with light, and the goddess of photography has got to face is light and shadow. Nick and Roszina are amateur photographers. You can find their works in flicker. This is one of them, as things are never more complicated than when they look so simple. You can see here a nice example. How the best way to enforce the light effect is with a shadow. Can you tell which part is more charged with expression? The light one A. With shadow. Here, the shadow is making forms to be more distinct, in contrast, is natural. So you have three major players that give the intense feeling of the message. But light and shadow are never isolated with a strong border. Shadows here are following the openings in the construction, and you have the feeling that you watched a dance of a gifted dancer. As I said, light and shadows make the forms of the object in a photograph more definite and unmistakable. Thus, the viewer enjoys the perspective, which gives him the idea of riel life. The Chilean photographer surgery Lauren gives us a definite example for this effect. Obviously, some of the details in the scene are visually missing, but the view can imagine there are steps in the background. However, it is not clear if this is exactly a typical outdoor scene. The framing doesn't help us to see the objects in their three dimensions. Nevertheless, the light and shadows in the composition add up the impression of three dimension walls and windows. The kids in the photograph are similarly dressed and also shared the roles of light and shadow between each of them. We have the impression that these are two consequential frames of a movie picture. This portrait of the British actor Boris Karloff by photographer Cartier Bresson bears all the dramatic intensity things to the play of light and shadows within the picture again shadows here like figures in Japanese theater so they can complete the layouts composition . Serge Nashar is a Lebanese lawyer with a PhD in law. In 2011 he started posting his photographs in Instagram. End immediately was invited for exhibitions by a few European galleries. Most of his photographs represent architectural styles, and the composition is strongly based on light and shadow contrast, a human figure is always put is a counterpoint. Again. Shadows play very important role in the geometry of the frames perspective, but let's go back a century ago. This photograph of Paul Strand is a nice example. How light is not necessary major metal for sculpturing the forms. It can be used as a means toe. Add up some abstract symbolism to the forms different from their context, but in a specific harmony within the ambience in the frame. Though, this lecture is not mainly about how light can be used in different contexts, let's see your rather lyrical example for its role in the composition in this photo of Jean Do's add light is just means of calling the viewers attention to the story in the foreground. Highlighted here is the dynamic movement of the carriage and the focus force on the grains of sand in the desert showed in the foreground. Sun's rays are as though future through the dark silhouettes, so the composition brings up some reality effect with the viewer 11. How Colour Can Make Your Composition: how color can make your composition. In this lecture, I'm going to put some special attention on how color can be specific means in your building up a more vigorous photography composition. Steve McCurry is a contemporary photographer in this photo. Hey displays all the power. The color has to be a major tool for composition. Bookmark this photo as it should be on the pages of every single textbook about photography . Mark Curry visited India more than 75 times so together. But as he modestly says, he had just scratched the surface. You may find this photo a bit theatrical, but there is nothing behind the scene about it. In fact, the colors are just two. The rest is just nuances and Hughes. Reducing the major colors to just to makes visual effects stronger, with colors being basic composition element. I'm not going into details about this, but I just want to remind you about the tree attic color scheme. In it. One color is dominant, the other is like counterpoint. This color scheme offers a higher degree of contrast, while at the same time retains the color harmony. On one hand, the scene bears a porton ritual message on the other. Its color. Specter breaks up with a convention remaining compositionally sound in harmony with all its components. Composition with color. It's one of the trickiest skills to muster for every photographer they should take into account a lot of rules and specifics and possibly breakaway with them before the harmony in the picture starts speaking for itself exactly because it takes time for mastering the rules and guides in photography and then artistically breaking away with them. Nature scenes without visual signs of directors intervention, as in theater, are valuable assets for every photographer's portfolio. The other option is for the photographer toe. Arrange the objects and colors in his head beforehand end, then to direct the scene, which he finally wants to shoot. However simple it may seem, the challenges big, Ah, lot of intervention into the composition may take away the sincere emotion and pleasure with the viewer, so its message may remain silent. This photograph of Amanda Charge John is one of her Siri's you can see in her website. It shows the pros incomes of photographs, intervention in the story. The composition here is staggering, with just two or three major colors But the colors and they're Hughes are focused in symmetric zones, which helps the photographer build a strong composition, which is geometrical and human at the same time. Do you remember Blake's fearful symmetry? 12. Why Time Is Your Best Friend On The Way To That Remarkable Shot Composition?: why time is your best friend on the way to that remarkable shot composition I mentioned in my previous talk that photographers, patients is never visible for the viewer. Even the best composed photograph with the most effective balance in color, light and forms may eventually not stir people's emotions at all. Human touch can significantly change its message, but in 90% of all cases, this requires a lot of your patients. De Bresson is the pioneer off the decisive moment. Meddled In 1952 character Basan published his book Imagine a Soviet, whose English language edition was titled The Decisive Moment for his philosophical preface , Carta Basant took his Kino text from the 17th century Cardinal Do Heights. There is nothing in this world that does not have a decisive moment. Cartier Bresson applied this to his photographic style, she said. To me, photography is the simultaneous recognition in a fraction of a second of the significance of an event as well as of a precise organization of forms which gift that event. It's proper expression. Look this photo and imagine how void of emotional value would have bean it without the cyclists figure in it. But the decisive moment is not a bell ring, not a mere coincidence or some blind epiphany. It is the moment when the photographers mind clicks to his clear ideas, anaesthetic comprehension when and what he wants to see in divisor, the photographer needs to have a painter's mind. First come the composition of the elements in the frame, and then the photographer is waiting where the moment is ripe to inspire life into the objects and turn the scene into a no object of beauty that he's art. It may take hours in the moment of revelation may come late, if ever. But exactly because this patience, the story in Cartier Bresson's picture evolves so unexpectedly that, once shot, it becomes a moment to spare. Street life is a spectacle for which the photographer gets his stick it at the price of his patients, even when the blazing beauty of a rare moment dawns on him. Something wrong in the composition may spoil the broth. I'm quite confident that guarantee bison had waited this moment with punted breath. It is quite possible that in such a moment, the photographers heart would beat fast in the state, right vexed photographers, mind fraught with dark apprehensions, whether the light composition or contrast would suddenly be spoiled by something unexpected or unpredictable. However, in this photograph, everything is in its right place. The happily embraced kids, the man against the daylight. Those are memorable images that the Spectators imagination will cherish for their symbolic charge and moment of truth and beauty. It is not by chance that I show you this photograph at the end of my present lecture. This is the most emblematic image, the decisive moments I come. Generations of photographers keep it dear in their minds, like a must appease to be revert. I am sure that you have seen some similar stories in different pictures, like every must, a piece of art. This picture has influenced and inspired many others in time. But anything similar you have seen is just a copy of this opus Magnum of Cartier Bresson's 13. MYTH 3: The Fine Art Photography Is In Black & White, In Defense of Black and White Photography: myth. Three. The fine art photography is in black and white in defense of black and white photography. I will share something with you. I had bean on ardent fun of black and white photography for quite a long period of time, and at that same time I was deeply convinced that black and white photography is the Onley photography that can deserve to be considered his art form. Those were my aesthetic beliefs and understandings is a photographer. But 10 years ago, when I was studying in La Sorbonne in Paris, I started a research in this field. Here. I want to share some of my observations in the subject I'm talking about Black and white photography represents an obstruction of forms in its philosophy is to extract the objects from their context and at the same time to charge them with powerful symbolism. The idea that art can overwhelm everyday life and reality seems to be fundamental for every artists effort in search of ideas, syncretic style and personal truth. Mario Giacomelli, I'm sure you remember his photo of young priests playing in the snow had it that abstraction is only means which can get you closer to the matter of things and universal truths. But let's face it, it is not universal but artists truth that matters. This abstraction, which is born out of artists many size if efforts and with which the photographer reaches some essential spirit within a simple story. This abstraction is the decisive moment when the photographer pulls the trigger of his camera, Gabrielle Bouquet writes in his book Approach to Photography. Black and white Photography is characterized with a specific visual message. It bespeaks not on Lee of its artists, aesthetic principles and philosophy. But it is also on encoded message of his point of view, which is so much different from the point of view of a mere witness to their surroundings and mundane life actions. Photography is a mode of expression, and the more synthesized its messages are, the more nature of seem the elements of black and white in it. 14. In Defense of Colors: in defense of colors. I already mentioned to you that before I started my career as a photographer, I graduated art school with specialization in painting, so color is not a stranger for me. This is why I want to introduce you to its basics from a rather standard point of view. As we know, colors see their dominant role as a means of expression on Lee. With the advent of Impressionism about 150 years ago, the French post Impressionist painter Pierre Bona said that thinking in colors is quite different from intuition. In drawing, Drawing and painting are two different expressive methods that do not share much in common colors, surf on Lee the purpose of drawing and are subordinate to the composition of the picture. For century, this rule was dominant with the artists. Impressionism took away this rule and gave autonomous status for colors. Later on. Kandinsky even stated that realism in drawing is antagonistic with the true painting. Abstract art was born. Abstract art meant freedom for the painters. They could use colors without the restraints of the lines and figures. Colors become unexpressed sieve tool. But how about the colors in photography? How is it possible for colors to be symbolic in a picture in which too much riel life is involved? Let me quote Cartier Bresson. Colors are very important source of information, but to limited to be representative, they are not transcendent and intuitive, just like in painting. For that reason, colors in photography are difficult. Tool to be mustard color photography is not necessary based on color harmony. And when colors are not part of the message of expression, they're not active in that message, just the opposite. They might easily be overlooked. On the other hand, any intervention with special effects for adjusting the color scheme in the frame may be regarded is contradictory to the spontaneous nature photography. It is very often the case that photographers intervene and make a lot of adjustments in colors after they have shot the picture. And more often than not, this intervention is so ruthless that the photograph looks like boster. But this is a different art form, isn't it? Color photography seems to be a difficult success in time, and the challenge is obviously surpassed today's technical potentials. For this reason, all remarkable examples of success in this difficult trade are valuable assets for art photography. There are photographers who made this happen, and their efforts will inspire many colleagues to come. Their photographs have put colors in the center of photograph composition. Colors in photographs can be a story in itself, or at least the main focus of a vibrant expression. I will introduce you to some examples of this in my next lecture. 15. How Important Is Color In Photography?: How important is color in photography colors start playing active roles on Lee with the modern photography. Utilitarian use of color photography could not much effect color aesthetics in art photography. You can see now a picture of John Rollings made in 1947. Every color is dominant in particular section of the composition, and their choice is reminiscent of colors in Impressionist painting. The Impressionist message is completed by bus tell tonality and the models posture, another example of how colors can be simply and unobtrusively orchestrated so they can serve the purpose of composition. Is this photograph off? Loomis Dean made in 1956? It's impressive. Harmony is in the key of Triad IQ color scheme, and we have the impression that a painter is behind the camera. I'm sure you remember my lecture on composition through colors. This should be a textbook sample of it. Steve McCurry is a modern day photographer. End a very skillful one. Colors here are compositional elements in their own right in this picture, and a very powerful ones take notice of the main color, which is repetitive in the human bodies. It is not common that we associate red so high above the ground level. But the rest of the colors here adjust nuances that complement the main one impressive balance in a really must appease in blue and red. I'm sure you have read a lot about the color symbolism and how it effects our everyday perceptions in this picture by Constantine Manos. Minimalism rules the frame. It is only a small yellow spot that breaks the dominance of the blue. Every time I see this picture, I remember the Swedish film title. I'm curious. Yellow Minimalism is just one of the methods how colors can serve the purpose of composition. In this photo by the American photographer Graham Hamby, we have a different story. Graham shows us that more than two colors can be active elements in the composition, and still it can possess good balance in harmonious tonality. However, it is the right moment now for me to tell you that limited color palette in the pictures always works out better with the audience and bespeaks of professionalism. A nice rule for you to remember in this picture by match juvenile. The color scheme is almost monochrome IQ. This obsessive totality of the blue in the photograph for meets view a site like a heat wave. Mind that color here is not just a compliment remains of a distinct message. It is the main story, a scale in a blue song and speaking of colors is main subjects in photography. How about the works of moderates? You D'Auria. He often arranges his subjects and meticulously chooses the color scheme. In this photo, one has the feeling that the photographer is making a color study for a painting. Colors are premeditated but at the same time look perfectly natural. The color experiments allow him to end up with mustard bees still lives like this one again , this perfect harmony of color and form, this poignant source of his message, and we're not able to distinguish which method takes precedent over the other. We feel strong familiarity with the everyday objects in the picture, and at the same time we lose their brutality very in character, in a pleasurable feast for our eyes. My last example for this lecture is the photograph of the Ukrainian artist Olic Oh Prisco, who is also a strong color conceptualist in his works. However, the color concept here is more evident and the story is more allegorical than into it if we're faced with a more theatrical approach, but the photos message has got a lot vigor in it. Please feel free to view external resources attached to this lecture. You will find a link to a special pin terrorist board, which I made especially for you. I have added up many other photographs that illustrate the importance of colors in photography. Father, this board as I will populated with many new and exciting examples. 16. MYTH 4: Posing Is Preposterous, Will Steal the Performance, What Does Actually Posing Mean?: myth. Four. Posing is preposterous. Will still the performance. What us actually posing mean dictionaries give two meanings for the verb to pose. First, to assume or hold a particular position or posture, as in sitting for a portrait. Second, to represent oneself, Force Lee pretend to be other than what one is. Do you see contradiction? How can you tell the difference? What comes naturally and in photography. But when things come down toe oh dimensions human. Nothing is all too human to predict. Although portrait photography is one of the oldest jaws in art photography, it will always be a challenge for every professional, young or experienced. Its popularity photograph portrait sees in the mid 19th century, when demand for family and official portrait it's is huge. It is a major push for photography in general end for Doug Aerial Type in particular. But the technical constraints of that time made the process difficult, if not painful. The photographers equipment was voluminous and heavy. Exposition needed to be slow, and as a consequence, the model was obliged to wait and be patient, like a real model in front of a portraitists with their wizards and pains. So his posture and position were elements of a boring preparation. Most of the pictures at that time was shot in front of a monochrome canvas, with the models tearing right into the camera. Such portrait's are popular today and can be seen in numbers. Photography was a thriving business at the end of 19th and the turn of 20th century. Every big town had a lot of photographs. Studios with profitable daily production off not dozens but hundreds of portrait. It's one confined, some with autistic merits, but the majority of them were just junk trade. Let's look at the details of the early photograph pictures I have already mentioned to you . White posing was inevitable, However, at that time, the turn of the 20th century one is expected to have just a few portrait pictures in their lifetime. You may imagine how the importance of being important ruled the moment when one stepped in front of the camera for their 1st 2nd or just the only portrait. Those portrait's was seen as a passport for posterity, a nagging image for not so thankful memory of the family or just remembrance of things past . For the sake of moments bust in days gone by for pilgrims, Soul of you, haven't we all thousands and thousands of such portrait, it's and galleries of snapshots kept in boxes and albums that never see the daylight again . And if we are asked which one of those pictures is the best image of the Pilgrims soul in us? The answer. We will be hard to know for this reason. In photography, a portrait is generally not a snapshot, but a composed image of a person in a still position. A photograph portrait speaks not only of a face but of a character and not really of unmatched fattens of the human soul. The moment when this polyphony of voices that comes from the photograph image starts playing when the facial features follow that invisible fight of persons, throats and the harmony of moment reflects in those loving eyes, then on art is born, and the photographer should follow the steps of a painter who meticulously studies the model toe catch his emotional stands In general, a not photography portrait represents a person in their serene perfection in a moment of composure, when soul invades the body and keeps time stopped. And in this portrait, the person is a kid on adult human or in elder sage it once. For the viewer, it is hard to tell where sadness lies or where the happiness takeover. If a portrait represents all that drama, the trials and tribulations of a person's soul, it is an art. Indeed, however, this jackpot happens only rare. Most of the photograph Portrait's and not only portrait are too much about technical aspect and special effects and such portrait. It's me great into a different genes. They look like human still lives. This is often the case with fashion photography, more those hardy pride of their human frailty and spiritual presence. And instead of daughters of a leash, um, they're only Cinderellas of the latest makeup trend. The search for beauty by means of makeup and special effects processing is no thoroughfare . It steals the art from the photography. This is why posing, which was painful but nature with the first models in early portrait photography, becomes preposterous for more than day art photography. And indeed, it is a new challenge for the photographer. Modern day audience is spoiled with images. Viewers are often critical for their own reasons and rarely spare their judgments. My intuition says that people were more nature in front of the camera in those early days of the trade. I guess they realized the moment to be a trust like model in front of a famous painter on illusion, which can bring up the better of everyone. Photographers have their own tricks to avoid the traps of posing, and I will give you some examples in my next lecture. 17. The Grip of Sincerity. The Art of Artlessness.: the grip of sincerity, the art of artless nous. I will start this lecture with a photo by Hobart Guano, one of the best authors in humanistic photography. Don't know himself said about his work. I called it a Nitta. I know nothing else about this lady. It is delight, features or distinctive character that emanates from a person that we call Aura. One has to be quick with the camera because Aura is subtle, I said to a knitter, Don't move, Don't change anything. I'll explain you later She probably understood about the magic, and without raising her eyes, she kept silent and composed, which suited her so much. At that time one or was shooting a photo report about the nightclub musicians in Paris. He was using a middle size rol a flex camera and had no flash for it. Often he had to apply long exposition to make up for the poor light in the Locos. The little blind. This photo was because of all that, but the picture surely has some lyrical or about it. The whiteness of Anita's hens is in sharp contrast with the background. A CIF she is some bright character under the spell of the night. We can also see the reflected image of guano himself in the background, witnessing that there was no orchestration behind the scene. Cartier by song is another portrait photographer who is a classical example. In this John In 1944 he had an appointment with Iran and Frederick Sure, your caree to make photograph portrait of the two in their home. Later he shared what happened. I entered before I said Hello. I shot with my camera. It wasn't good manners. I think Cartier Bresson means he was overwhelmed by the look of the couple and didn't want to lose a second to catch that frankness in their faces. But let me take you a century back when photography is to a made in art, The French photographer Nadar made exciting portrait's of French intellectuals. At that time, Shar Butler was one of them. A genial poet, Baudelaire didn't spare Hiss harsh opinion photography as art and was author of the most unrelenting articles against it. In his words, photography will never be an art form, and photographers are only failed painters. Fortunately, time proof he was wrong and by share irony, this photograph portrait will forever remain one of the best masterpieces in art photography, like Nadar are not. Newman made photograph portrait of intellectuals in the mid 20th century. His approach was straightforward, but unlike Nadar, a studio portrait, it's Newman applied a lot of efforts for the composition in the frame. In Newman's portrait, it's we often see artifact within the composition that point to the arts. Fear of the model. Similar expressive methods are found in the works of the contemporary Dutch photographer Bad Tunis in he devoted his art extremely to photography bore treads of people from 30 countries in their domestic ambience. He called them domestic landscape Siri's. The background in those pictures is equally expressive with the human figures to Nissen's idea is to represent people in harmony with their homes and habits. A difficult task for a photographer is when they should make a photo oven actor out of their professional environment, a challenge that Albert Watson to when he decided to make a photo of Jack Nicholson in his home in his courtyard. Rather, you may remember I showed you a different port tread of this famous American actor at the beginning of this course, but this one is a special photo. Indeed, Husband rarely sees such snowfall, and Nicholson seems really excited to stand the elements in this wide blizzard. Watson left his motor outside waiting while he was enjoying some refreshments and drink inside the actor's apartment just after 30 minutes with Nicholson. Forget full of all his performances in lines. Watson went out and took the picture, which is a must Abi's portrait. Philip House Man's experiencing portrait photography made him think that people get tree of their inhibitions and are themselves on Lee. When they jump, it is sincerity, beads gravity game, especially if gravity's overcome by a royal couple. When I look at this portrait of Duke and Duchess of Windsor, I often remember the line of a song when the Saints are marching in this sameness, Houseman sought in his other portrait of Richard Nixon, Jon Steinberg, Marilyn Monroe. This is what he shared about his meddled in his own words. Starting in the fifties, I asked every famous or important person I photographed to jump for me. I was motivated by a genuine curiosity. After all, life has taught us to control and disguise our facial expressions, but it has not taught us to control our jumps. I wanted to see famous people reviewing a jump, their ambition or there lack of it, their self important or their insecurity and many other trades. Critics say anthropology is hen maidan of colonialism. Yet it's sometimes serves photography better. Many photographers are thankful for its role for their art. As you can see, non traditional anthropological features are key elements in Jack Songs Portrait. He deliberately chooses that point of view, which can allow him accentuate on those special features in the model. Very often, this expression borders with irony and distorted message. But the eternal light and austere composition bring back the harmony of aesthetic balance to it. I know when I want to make a photograph of a person, he said. They have to be special. They have to strike me for their appearance on the street. It can be anything. Maybe it's their glow thing or their physical appearance. A different approach was leading Nicholas Mirai in his portrait of Frida Kahlo. His upfront portrait was shot with a lot of behind the scenes preparation and deliberate choice of details and colors in the composition. But Carlos Composure is dominant over every other aspect within the frame. Her eyes look straight into the viewers, and this brings up the illusion that she wants to start a dialogue with the audience. One can't take their eyes off this picture. It's tears, emotions in everyone. The colors in the background are absolute copy of Kahlo's palette and her favorite and famous color combinations. Modern day photography often explores the same straightforward approach towards the model as you can see in James Mollison's Where the Children Sleep, Sary's a parallel display of a child in its bedroom. Each pair photograph is accompanied by an extended caption that tells the story of each child. Kaya, in Tokyo, who's proud mother, spends $1000 a month on her dresses. Bilal, the Bedouin shepherd boy who sleeps outdoors with his father's heard of codes. The Nepali girl, Indira, who has worked in a granite quarry since she was three, and uncool, head the kraho boy who sleeps on the floor of a hot deep in the Amazon Django. After all, we're oh such stuff that dreams are made on there. You can find links to a Pinterest board, which I made especially for you. I have added up some more examples that can show you how posing is not always preposterous for though that board, because I will keep on populating it with many new things that dreams are made on and photographs. 18. MYTH 5: Photography Is Just Mechanical Reproduction of Material Objects, The Deepest Art Secret Ever: myth. Five. Photography is just mechanical reproduction of material objects, the deepest art secret ever. It is the most kept secret in art, and only a few artists will ever tell it to you. It is the secret that artists carrying their hearts and sometimes don't even know about it . But it is so simple. Art is in material. It is born when emotion meets epiphany and that in material light evolves and winds people's hearts. And this is true for every art, especially the visual ones. And for photography in particular, Photography is not much different from the sounds of music from the magic of verse. I want to remind you the poem here is the deepest secret. Nobody knows. Here is the root of the route in the bud of the bud and the sky of the sky. This is the wonder that's keeping the stars apart. But why? This should be a secret at all. And here is the rub. How can art be profitable? How can you sell something which is in material? Where is the bud of the bud? The butt of the meta, I will tell you from my experience, is a photographer who has Bean earning his living on Lee by selling photographs in European galleries. End from the standpoint of a gallerist who I am now, people need art. They feel the urge of it, the necessity to possess it. They won't stop buying art, even if they know the secret that keeps the stars apart. But if they learn it, it will be more difficult for you. 19. The Second Secret: the second secret in order to sell their art, artists have invented the idea of uniqueness, uniqueness, cells what makes people like it. The word is vanity. People strive to be unique so they can be remembered like the art of printing, etching and lithographs. Photography is a serial art, even more so, the uniqueness of its works has never bean out of question. The gallerist will tell you that every copies numbered and signed by its author, thus the collector will be happy forever that he has exactly number 126 from the Siri's artisan material. Yes, printing technologies have improved since around the eighties are photographers. Art prints reproduced in a finally printed limited edition book have now become on area of strong interest to collectors. This is because books, usually half high production values, a short print run and their limited market means they're almost never reprinted. The collector's market in photography books by individual photographers is developing rapidly. To put it with Susan, some tax words. The most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads as an anthology of images to collect photographs is to collect the world. But behind the world that we hold in our hands, there is always an author who devoted their lives to create art. So these are the two secrets that make artists run after their. But if I Z and at the same time let other people hold the same butterflies that they themselves will never be able to catch. 20. Envoi: conclusion. Envoy. This was only the beginning. The best lies ahead. The world is full of beauty and it beckons you to discover it. It was my great pleasure to make this course for you. Many things to my friend. Boring mere Paschal. If who edited and translated the course into English into my friend Dawn to hurry Steph, who became my best voice over here. I was shut off the computer and go outside where new challenges attract. I don't know what they are, but I'm sure they keep their uniqueness just for me do the same. Go out to that open world Because believe me, unique things exist If we only trust them. We're all collectors of worlds. When I collect those special worlds in miracles, I'll be back and share them with you. Thanks to your for being with me. See you soon.