Several days ago, I suggested that perhaps one of the reasons that abstracts don’t have as much broad appeal as, say, landscapes, is that they might be too personal. Steve made an interesting comment in response to that post. He said:
“I take flower images and photoshop them in such a way that they are vaguely reminiscent of O'Keefe paintings. These images are very popular because that artist, long ago, struck a chord with a segment of viewers. I wasn't looking to copy anyone when I started out doing that, but found that others saw in these photoshopped images that same chord that the original artist had discovered. I suppose that I too was influenced by this artist and just hadn't recognized that in myself. So, I do think that abstract images that are done with an audience in mind aren't too personal but have a more broad appeal, and thus successfully attract a following.
What do you think about working with an audience in mind?"
I thought that was a very interesting concept, the idea of making abstract images with a specific audience in mind. I responded to his comment by saying that the idea of photographing with a specific audience in mind seemed quite reasonable to me, perhaps even desirable, if the subject was one that the photographer already had a genuine interest in and that they would have already wanted to photograph independent of the audience.
I went on to bring up the example of an annual vintage car show that is held near my home. I go to this show every year to take photographs and typically show them to friends of mine that I know have an interest in antique cars. However, although I tend to show them to people that like cars, I took the images for myself.
"Supercharged"
"852"
"Godspeed"Images Copyright Howard Grill
Honestly, in general, I know very little about vintage cars. What I do know is that I absolutely love their amazing lines, shapes, and colors. If I didn’t find them so appealing as a subject, I doubt that the images I make of them would be of much interest to my friends that like cars. I believe it is hard to make good images of a subject that one has no interest in or passion for.
I had previously written about Huntington Witherill. He has put together an amazing collection of black and white vintage car abstracts as a project entitled “Chariots of Desire” (you have to click into the website to locate the portfolio, as individual web pages on the site are unable to be linked) that is well worth spending time looking at.
Finally, I think I would be remiss if I didn’t at least mention the specific show I am talking about. The Pittsburgh Vintage Grand Prix is held one weekend each July or August in
Interestingly, I mentioned in a prior post that I find it very difficult to ask strangers if I can take their photo. However, I find it to be no problem at all to ask people I don’t know if I can set up to take photographs of their car. No one has said no. On the contrary, they are very excited to have “a serious photographer” take a picture of something they have worked so hard on. I usually offer to send them a photograph of their automobile.
If you have any interest in photographing vintage cars, this show is really a wonderful opportunity to do so.
6 comments:
Outstanding photography.
That first image is so yellow that I just had to stare at it for a while and then kept going back to examine some detail in it-- beautiful color.
The second image is elegant and seems like a mysterious photo-- an almost, art nouveau like quality. Something I like very much.
The third image is sexy and makes you want to run your hands along the shiny chrome. The exposure seems perfect in this. Was that an overcast day?
You say that you take these for yourself; but I wonder if, as a photographer, your function is to record these images for others. You enjoy doing something so that other like-minded people can enjoy your point-of-view of the world you live in. I suspect you have a following that looks forward to seeing your work.
I fear that playing to an audience may keep a photographer from doing their own work.
Hi Billie,
I think it is a tough issue because in the end, as artists, we pretty much all want an audience of some kind. I totally agree that if one starts out by defining the audience first and then trying to come up with a project afterwards it may well distract them from what they might otherwise want to do and from being true to themselves.
But I wasn't so much thinking about first picking an audience and then trying to come up with a project to please it, but, rather, the idea of photographing what one wants and is interested in (ie doing what you would have done had there not been a pre-picked audience) but just knowing ahead of time to whom you are going to be showing, marketing, etc..
I guess though there always remains the chance that, even though we might be photographing the same subject we otherwise would, that we do it differently, in some way, because we know that ultimately we want it to be more sellable or be more attractive to a certain gallery style.
Interesting thoughts to ponder.
Steve, thanks for the kind words.
Howard, have you read Art and Fear by Ted Orland and David Bayles? It is a book that I go back to from time to time to help me stay focused. A quote from the book:
"The lesson here is simply that courting approval, even that of peers, puts a dangerous amount of power in the hands of the audience. Worse yet, the audience is seldom in a position to grant (or withhold) approval on the one issue that really counts--namely, whether or not you're making progress in your work. They're in a good position to comment on how they're moved (or challenged or entertained) by the finished product, but have little knowledge or interest in your process. Audience comes later. The only pure communication is between you and your work."
Whew...probably quoted more than copyright allows. For me personally, I try to think in terms of small personal projects and not go to thinking a Gallery Show or Photography Book (although now with Blurb, photography books are just a few hours of work away). I just feel that this allows me more room to explore. If I start thinking "Gallery Show" my old corporate, project managment self kicks in and the project becomes a straight line rather than a meandering path. But then I'm not on the photography career track either.
Billie,
Art and Fear is a book that I have heard recommended several times, but never read. I think my first move after this will be to go over to Amazon and get it. There is definitely a lot to ponder when it comes to staying true to one's self and the art.
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