Final 10 portraits

unit 310 ~ Print Images

From previous research it is clear that if choosing printed images it is essential to ensure that the printer used is of sufficient quality, to make a faithful image of that seen on screen.

Most printers are either ink-jet or laser, ink-jet work by squirting minute amounts of ink onto the chosen medium, whilst laser printers use a xerographic printing process, the image is produced by a laser beam scanning across the printers photoreceptor.   The printers ability to accept a wide range of paper sizes and weights also needs to be considered.

Higher resolution printers will give better results with some printers able to produce up to 1440x720 dots per inch, (dpi).  However, the way in which the printer uses these dots has a significant impact on the printed image and it is better to compare results rather than the number of dpi.

Following the decision to print images, whether in house or using one of the many companies offering this service, the decision then has to be made as to what form final image will take.  Whether it be on canvas, contemporary acrylic or box framed.  It could also be presented on white card or mount board, fibre or foam board with various finishes.  Framing should also be considered and there are many types and sizes available.

Another alternative is to present as an album, see an example below:

PhotoCoverBooks

One Vision’s PhotoCoverBooks offer the photographer a unique way in which to present a photographic album. Photographic paper is widely recognised for delivering the finest quality of image onto paper. Therefore, as our core customers are professional photographers we don’t believe in sacrificing your images to anything less than optimum image quality.

We have created a solution to build a high quality photographic book for those price conscious couples or those customers just wishing to enjoy their images in a book format.

 

With a choice of 10 popular sizes ranging from 5x4” up to 16x12” we can now produce the below types of PhotoCoverBooks:

You could even print onto mugs, t-shirts, mouse mats, calendars, the list is almost endless.

Or you could present on line using one of the many companies that offer this service as seen here.

 instantmemories is the premier online sales solution for professional photographers in the UK. Established for over 7 years we help hundreds of professionals to grow their business and increase reprints. We can manage all your orders with prints being delivered directly by One Vision Imaging to guarantee the highest quality prints and products for your clients. Our great features include:

• No contract, only pay when you need to use
• Fully managed service (we do uploading, order handling, customer support, printing and delivery)
• Free Live help for your clients
• Easy to use with or without a web site
• 7 day delivery print service via One Vision
• No restrictions on web space Upload upto 1000 images per event
• Images online for 12 months
• Largest preview window on the market
• Choose your own print sizes and prices per event
• Free Slideshow
• Online members area to manage your account
• No merchant account or Paypal required
• Fast, friendly and efficient service

To try instantmemories please click here.

Digital Printing Methods

Fine art inkjet printing

Large format inkjet printers have been developed over the last two decades that use dye based inks or archival, lightfast pigment based inks that can be applied to a variety of traditional media including smooth or highly textured watercolor paper, prepared canvass, and various textiles. This has allowed for the creation of accurate series reproductions of 2 dimensional artworks. It also allows for the output of digital art of all types as finished pieces or as an element in a further art piece. This type of digital printing is commonly known as Giclee, Digigraph, and other coined or trade names. Today the artist can get the same result by using digital printing. He can produce even a single original print. Original print, is determined by a wax seal with the back of the print + handwritten artist statement.

 Digital laser exposure onto traditional photographic paper

Digital images are exposed onto true, light sensitive photographic paper with lasers and processed in photographic developers and fixers. These prints are true photographs and have continuous tone in the image detail. The archival quality of the print is as high as the manufacturer's rating for any given photo paper used. In large format prints, the greatest advantage is that, since no lens is used, there is no vignetting or detail distortion in the corners of the image.
Digital printing technology has grown significantly over the past few years with substantial developments in quality and sheet sizes. The four main digital printing presses are the Canon imagePRESS, HP Indigo, Xerox iGen and Kodak Nexpress all have their points of differences and advantages.

Color management

From Wikipedia, the free encyclopedia

 

In digital imaging systems, color management is the controlled conversion between the color representations of various devices, such as image scanners, digital cameras, monitors, TV screens, film printers, computer printers, offset presses, and corresponding media.
The primary goal of color management is to obtain a good match across color devices; for example, the colors of one frame of a video should appear the same on a computer LCD monitor, on a plasma TV screen, and as a printed poster. Color management helps to achieve the same appearance on all of these devices, provided the devices are capable of delivering the needed color intensities.
Parts of this technology are implemented in the operating system (OS), helper libraries, the application, and devices. A cross-platform view of color management is the use of an ICC-compatible color management system. The International Color Consortium (ICC) is an industry consortium which has defined:

• an open standard for a Color Matching Module (CMM) at the OS level.
• color profiles for:
  • devices; this includes devicelink-profiles representing a complete color transformation from source device to target device.
  • working spaces, the color spaces in which color data is meant to be manipulated.

There are other approaches to color management besides using ICC profiles. This is partly due to history and partly because of other needs than the ICC standard covers. The film and broadcasting industries make use of many of the same concepts, but they more frequently rely on boutique solutions. The film industry, for instance, often uses 3D LUTs (lookup table) to represent a complete color transformation. At the consumer level, color management currently applies more to still images than video, in which color management is still in its infancy.

Characterization

 

In order to describe the behavior of the various output devices, they must be compared (measured) in relation to a standard color space. Often a step called linearization is performed first, in order to undo the effect of gamma correction that was done to get the most out of limited 8-bit color paths. Instruments used for measuring device colors include colorimeters and spectrophotometers. As an intermediate result, the device gamut is described in the form of scattered measurement data. The transformation of the scattered measurement data into a more regular form, usable by the application, is called profiling. Profiling is a complex process involving mathematics, intense computation, judgment, testing, and iteration. After the profiling is finished, an idealized color description of the device is created. This description is called a profile.

Calibration

 

Calibration is like characterization, except that it can include the adjustment of the device, as opposed to just the measurement of the device. Color management is sometimes sidestepped by calibrating devices to a common standard color space such as sRGB; when such calibration is done well enough, no color translations are needed to get all devices to handle colors consistently. This avoidance of the complexity of color management was one of the goals in the development of sRGB.

Color profiles

 Embedding

Image formats themselves (such as TIFF, JPEG, PNG, EPS, PDF, and SVG) may contain embedded color profiles but are not required to do so by the image format. The International Color Consortium standard was created to bring various developers and manufacturers together. The ICC standard permits the exchange of output device characteristics and color spaces in the form of metadata. This allows the embedding of color profiles into images as well as storing them in a database or a profile directory.

Working spaces
Working spaces, such as sRGB, Adobe RGB or ProPhoto are color spaces that facilitate good results while editing. For instance, pixels with equal values of R,G,B should appear neutral. Using a large (gamut) working space will lead to posterization, while using a small working space will lead to clipping.^[2] This trade-off is a consideration for the critical image editor.

 Color transformation

Color transformation, or color space conversion, is the transformation of the representation of a color from one color space to another. This calculation is required whenever data is exchanged inside a color-managed chain. Transforming profiled color information to different output devices is achieved by referencing the profile data into a standard color space. It is easy to convert colors from one device to a selected standard and from that color space to the colors of another device. By ensuring that the reference color space covers the many possible colors that humans can see, this concept allows one to exchange colors between many different color output devices. Color transformations can be represented by two profiles (source profile and target profile) or by a devicelink profile

Profile connection space
In the terminology of the International Color Consortium, a translation between two color spaces can go through a profile connection space (PCS): Color Space 1 → PCS (CIELAB or CIEXYZ) → Color space 2; conversions into and out of the PCS are each specified by a profile.^[3]

 Gamut mapping

Since different devices don't have the same gamut, they need some rearrangement near the borders of the gamut. Some colors need to be shifted to the inside of the gamut as they otherwise cannot be represented on the output device and would simply be clipped. For instance the dark highly saturated purplish-blue color of a typical computer monitor’s “blue” primary is impossible to print on paper with a typical CMYK printer. The nearest approximation within the printer’s gamut will be much less saturated. Conversely, an inkjet printer’s “cyan” primary, a saturated mid-brightness greenish-blue, is outside the gamut of a typical computer monitor. The color management system can utilize various methods to achieve desired results and give experienced users control of the gamut mapping behavior

Rendering intent
When the gamut of source color space exceeds that of the destination, saturated colors are liable to become clipped (inaccurately represented), or more formally burned. The color management module can deal with this problem in several ways. The ICC specification includes four different rendering intents: absolute colorimetric, relative colorimetric, perceptual, and saturation.^[3][4]

Absolute colorimetric

Absolute colorimetry and relative colorimetry actually use the same table but differ in the adjustment for the white point media. If the output device has a much larger gamut than the source profile, i.e., all the colors in the source can be represented in the output, using the absolute colorimetry rendering intent would "ideally" (ignoring noise, precision, etc.) give an exact output of the specified CIELAB values. Perceptually, the colors may appear incorrect, but instrument measurements of the resulting output would match the source. Colors outside of the proof print system's possible color are mapped to the boundary of the color gamut. Absolute colorimetry is useful to get an exact specified color (e.g., IBM blue), or to quantify the accuracy of mapping methods.

Relative colorimetric

The goal in relative colorimetry is to be truthful to the specified color, with only a correction for the media. Relative colorimetry is useful in proofing applications, since you are using it to get an idea of how a print on one device will appear on a different device. Media differences are the only thing you really would like to adjust for. Obviously there has to be some gamut mapping going on also. Usually this is done in a way where hue and lightness are maintained at the cost of reduced saturation. Relative colorimetric is the default rendering intent on most systems.

Perceptual and Saturation

The perceptual and saturation intents are where the results really depend upon the profile maker. This is even how some of the competitors in this market differentiate themselves. These intents should be created by the profile maker so that pleasing images occur with the perceptual intent while eye-catching business graphics occur with the saturation intent. This is achieved through the use of different perceptual remaps of the data as well as different gamut mapping methods. Perceptual rendering is recommended for color separation.
In practice, photographers almost always use relative or perceptual intent, as for natural images, absolute causes color cast, while saturation produces unnatural colors.^[4] Relative intent handles out-of-gamut by clipping (burning) these colors to the edge of the gamut, leaving in-gamut colors unchanged, while perceptual intent smoothly moves out-of-gamut colors into gamut, preserving gradations, but distorts in-gamut colors in the process. If an entire image is in-gamut, relative is perfect, but when there are out of gamut colors, which is more preferable depends on a case-by-case basis.
Saturation intent is most useful in charts and diagrams, where there is a discrete palette of colors which one wishes to have saturated (to "pop"), but where the specific hue is less important.

Implementation

 Color management module

Color matching module (also -method or -system) is a software algorithm that adjusts the numerical values that get sent to or received from different devices so that the perceived color they produce remains consistent. The key issue here is how to deal with a color that cannot be reproduced on a certain device in order to show it through a different device as if it were visually the same color, just as when the reproducible color range between color transparencies and printed matters are different. There is no common method for this process, and the performance depends on the capability of each color matching method.
Some well known CMMs are ColorSync, Adobe CMM, LittleCMS, and ArgyllCMS.

 Operating system level

Apple's Mac operating systems have provided OS-level color management since 1993, through ColorSync.
Since 1997 color management in Windows is handled at the OS level through an ICC color management system. Beginning with Windows Vista, Microsoft introduced a new color architecture known as Windows Color System.^[5] WCS supplements the Image Color Management (ICM) system in Windows 2000 and Windows XP, originally written by Heidelberg.^[6][7]
Operating systems which use the X Window System for graphics use ICC profiles, and support for color management on Linux, still less mature than on other platforms, is coordinated through OpenICC at freedesktop.org and makes use of LittleCMS.

 Application level

As of 2005, most web browsers ignored color profiles.^[8] Notable exceptions were Safari, starting with version 2.0, and Firefox starting with version 3. Although disabled by default in Firefox 3.0, users can enable ICC v2 and ICC v4 color management by using an add-on^[9] or setting a configuration option.^[10] Starting from Firefox 3.5 color management is enabled by default only for tagged images, although support is limited to ICC v2 profiles owing to a change in color management systems from 3.0.^[11] Firefox 8.0 has ICC v4 profiles support. Internet Explorer 9 is the first Microsoft browser to partly support ICC profiles, but it does not render images correctly according to the Windows ICC settings (it only converts non-sRGB images to the sRGB profile) and therefore provides no real color management at all. As of 2011, Google Chrome does not support color management by default.

Assgmnt 212 ~ Working to a project brief

For the purposes of this course I have had to fit a project brief around my studio portrait sessions.

I initially received a verbal request from family members for a portrait of them as individuals and one each of father with son and mother with daughter.  This amounted to a total of six images which could be mounted in box frames to hang on a wall.

The resources I have available include the college studio which is fully equipped for portraits including a white backdrop, lighting including Bowens Gemini lighting kit, soft boxes, barn doors and various colour gels as well as Continous lighting kits which replicated midday light at 5500K.

In addition I have my Canon 5D Mk2, 50mm F1.8 and 85mm F1.8 prime lenses, and 2 Kingston 4GB CompactFlash memory cards.

Preparation for the shoot will include time spent with the clients discussing what type of shots they require, head and shoulders or full body shots, whether they prefer all the frame in focus or a shallow depth of field, what type of finish, glossy or matt, how they want the finished portraits framed, as well as a discussion of how the shoot should progress, the poses needed and any time constraints on studio use and client availability as well as the actual shoot time.  I estimate the preparation and shoot time in a professional studio to take approximately 1hour with post production and forwarding to a printing company taking another hour.

Costs will include any equipment or studio hire, printing and framing as well as my labour and expertise.

Legal and ethical considerations (WIPO, World Intellectual Property Organisation) Website. 

Photographers and users of photographs face certain risks when taking and publishing photographs. This article provides an overview of the general legal principles applicable to taking photographs of copyright works, trademarks and people.
It is written for photographers. However, most lawsuits are filed against the person who uses a photograph rather than against the photographer. All businesses that use photographs (e.g., in their advertising, product packaging, website or business brochure), therefore, should be aware of potential liabilities.
It is true that the applicable laws of countries are, broadly speaken, similar. Yet, there are important differences.ⁱⁱ It is impossible to deal with here every law applicable to photographyⁱⁱⁱ, or to discuss the relevant laws of all the countries worldwide. This article, therefore, cannot be a substitute for legal advice in a particular business context. To know how the relevant laws apply to specific facts and circumstances, please seek advice from a competent local lawyer.

1. Making Photos of Copyright Material
Advertising, fashion, interior design and lifestyle photographers frequently include paintings, sculptures, craft items, architectural works, jewelry, clothing, toys or other artistic works in their photographs. Often, such items are protected by copyright. Only the owner of a copyright has the exclusive right to reproduce the copyright work. Photographing a copyright work amounts to reproducing it. Therefore, before you take a photo of any copyright work, you need the prior permission of the copyright owner. Photographers who infringe a copyright may be required to compensate for the economic loss, that is, to pay the damages they have caused and sometimes also other expenses, such as legal costs.

1.1 When do you need permission from the copyright owner?

The response to this question depends on your answers to a series of questions about the subject or object to be photographed, and the use to which the photograph would be put to.

1.2 Will the photograph contain an object that is protected by copyright?

Be warned: Copyright law protects a wide range of different types of material. Examples of copyright works that are routinely reproduced in photographs are:

1. Literary works (such as books, newspapers, catalogs, magazines);
2. Artistic works (such as cartoons, paintings, sculptures, statues, architectural works, computer and laser artwork);
3. Photographic works (such as photos, engravings, posters);
4. Maps, globes, charts, diagrams and technical drawings;
5. Advertisements, commercial prints, billboards and labels;
6. Motion pictures (such as films, documentaries, television advertisements);
7. Dramatic works (such as dance, plays, mime); and
8. Works of applied art (such as artistic jewelry, wallpaper, carpets, toys and fabrics).^iv

1.6 Does a special exception apply?

Reckoning with the above, copyright considerations would place enormous restraints on photography since it is impossible to avoid including copyright items in many photographs. Fortunately, there are several legal exceptions that allow you to reproduce copyright works (in a photograph) without permission. However, the exceptions vary from country to country and are not always easy to determine. Exceptions are generally covered by what are know as limitations or exceptions to copyright which are specifically mentioned in the national copyright law, or by relying on the concept of “fair use” or “fair dealing.”^vi
It is not the purpose of this article to provide a full list of all exceptions that you could benefit from. Rather, I explain hereunder some of the most common situations in which you may be free to photograph copyright material by an exception from copyright protection.

Taking photos of buildings

Architectural works are protected by copyright to some degree, but in most countries you may photograph a building, if the building is located in a public place or is visible from a public place. You may also publish and distribute the photo without permission.^vii

Taking photos of copyright works in public places

In some countries, you don’t need permission to photograph certain artistic works that are permanently displayed in a public place (for example, in a park or on the street). You can also publish and commercialize the photograph without infringing copyright.
However, this exception applies only:

• To certain types of works: usually, only to three-dimensional works, such as sculptures and craft. So, you may still need prior permission to take a photo of a painting or a mural in a public place;
• If the work is displayed in public: to photograph a sculpture in a private house, a permission will usually be required; and
• If the work is displayed in public permanently: if you want to photograph a sculpture which is only temporarily sited in a public place, you would usually need permission.

Taking photos to accompany news reports

Usually, copyright works may be used for the purpose of reporting a news. For example, you could take a photo of a sculpture which won a major art prize, if that photo is to be used in a news report on TV or in a media article discussing or announcing the award-winner. However, you will usually have the obligation to identify the name of the creator, and maybe also the name or title of the work that you have captured in your photo.

Taking photos to accompany a review or critique

In most countries, copyright material may be used for criticism or review. For example, if you are taking photos of cartoons for a book which reviews, critiques or analyses the works. Just like for the exception of news reporting, you will usually be required to identify the copyright work and the name of the artist.

Taking a photo of a copyright work to advertise its sale

If you photograph a painting or other artistic work for the sole purpose of advertising its sale, for example, in an auction or sale catalogue, then you will usually not need prior authorization.

Using a copyright work as a background in a photo

In most countries, you will not need permission if you want to include a work in a photograph if its is merely a part of the background or is otherwise incidental to the principle object/subject represented in the photograph. However, it may be difficult to assess what is “incidental.” This will depend on all the facts and circumstances of each case. The question you need to ask is why you want to include that particular copyright work in your photograph. If it is essential to the purpose for which you create the photograph, then it is impossible to say that it is “incidental.” Conversely, if you just want to include the work as something casual and not directly relevant to any aesthetic purpose or commercial reason, then you probably need no permission.
Example: You publish a photograph in a newspaper to illustrate an article concerning some official gathering. The photograph incidentally contains a sculpture in which copyright subsists. Such use is likely to be allowed since the sculpture adds no meaning to the main subject matter. Conversely, if you would photograph that very same sculpture to print it on postcards and sell them, this would normally be a copyright infringement.

3.1 What should you bear in mind when photographing people?

There is no general legal requirement to obtain someone’s authorization to take his or her photograph. However, there are situations where photography can infringe on important social interests such as national security, protection of children, right of privacy, etc. Most of these situations are strictly controlled by national laws and regulations. Irrespective of the legalities, there are also some things a photographer should not photograph for ethical reasons. Certain photographs of people may amount to exploiting the persons concerned or misrepresenting the truth. If you, as a photographer, know the law and one’s legal rights, you will also be in a better position to find solutions that minimize your legal risks.
Often, you may be free to take a photograph of a person, but the way the image is used may give the person shown in the photograph a right to take legal action.

3.2 Are people protected by intellectual property rights?

People are not protected by intellectual property rights. But be cautious when you photograph someone who is wearing something protected by copyright, industrial design or trademark rights. For example:

• A model wearing a piece of haute couture or some jewelry;
• An actor wearing a theatrical costume; or
• A sportsperson wearing a t-shirt with a badge or logo on it.^xi

3.3 When is a permission particularly recommended?

When you snap a picture of another person, two fundamental rights often come into play: the right of the photographer to free expression and the right of the subject to privacy (the right to be left alone). Many countries have privacy laws that affect the circumstances in which you may photograph people and, to a much broader extent, the circumstances in which you may use images of people.^xii Hereafter are described some potential restrictions in many countries on taking and using images of people.

• Intruding one’s privacy

Photographers may be liable for violating the privacy rights of others when they intentionally intrude in an offensive way upon someone’s private domain. You can usually photograph someone in a public place. But if you surreptitiously or without permission view and photograph people inside their homes, business or other private areas, then you are likely to violate their privacy rights. An offensive intrusion can be anything from, say entering an individual’s house under false pretense, to setting up hidden cameras in order to spy.

3.4 Tips for Photographers

The best way to protect oneself against lawsuits - when feasible and appropriate - is probably to get a prior written permission from the subject of the picture, or the (copyright) owner of any object or property to be photographed. Remember, however, that the extent of what may be legally used will be governed by the terms and context of that consent. Even when it is lawful to photograph without any authorization, it may still be advisable to get a permission. In fact, many advertisers and other potential clients demand releases before they will buy the rights to use a picture.
If you license a particular image to a client for purposes of manufacture, sale or publicity, require the licensee to indemnify you for any liabilities arising out of the licensed use of the image. This is usually done through an indemnification clause in the licensing contract.
If you have not obtained written permission for a particular photograph, it is a good idea to add a disclaimer on the back of the picture, such as: “This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.” This may limit your liability should someone else make unauthorized use of your photographs.

Conclusions

Photographers need to know about legal restrictions concerning taking of photographs that include any copyright material, trademark, identifiable person or private affairs. Each time, they need to evaluate whether they should obtain prior written permission, or whether they should warn their client of the potential legal issues.
Similarly, businesses that use images created by photographers need to know about potential legal liabilities. It is a good practice to require a warrant from the photographer that they own or have permission to use any material that they provide to you and that the contents do not violate any law or regulation.
To be in the clear from a legal perspective is not enough. While understanding the laws applicable to photography may help deal with the legal aspects of taking and using photographs, it is highly advisable that photographers and users of photographs also formulate their personal ethical code. Publishing photographs of people can cause the suffering or humiliation of the people depicted in situations that are embarrassing, painful or private. It is in such situations that photographers and users need to balance ethical considerations associated with the taking or publishing of photographs with their legal obligations under copyright and other laws. I would like to conclude with a quote from Bert P. Krages:^xix
“The personal choices that a photographer needs to make regarding material and the manner of execution not only reflect how he or she sees the world, but also reflect how the world sees the photographer as an ethical being.”

Statement of Intent Theme 2 ~ People in the Landscape

Intentions/purpose
For my second theme I will produce a minimum of 10 textured images of people in the landscape as agreed with my tutor, Steve Davies.

These relate to the first theme due to the inclusion of human figures and the finishing process of applying texture to give a painterly effect.

These images can be used for illustration purposed in books and magazines or on the internet, for other printed material including calendars, t-shirts, fabrics, desk items, household linen or equipment, or as art prints.

Reasons for selection           

I have been inspired in my choice by contemporary artists, mostly through the Flickr website, who have been experimenting with different ways of presenting images rather than a photograph straight from the camera.

Using photoshop, which is a vast image editing system, many different and innovative art works have been produced and I have been trying to use the software to produce a style of my own.

Diane Gracy (Flickr)

Lasofabunny (Flickr)

I have also been greatly influenced by painters of the past including Turner the dutch masters and Gainsborough, through my many museum and country house visits which I have enjoyed throughout my life.

Equipment and medium

I will be using my Canon 5D Mk2 with a 24-70mm lens.  Since this is a full frame camera this lens will give me something towards a panoramic view of the scene.  I will also need a tripod and have available a number of filters including a polariser, which inproves colour in blue skies and cuts down glare and reflection on water, and several neutral density filters or varying degrees, which will hold back bright light such as the sun or other light sources so that detail can be retained in shadows.

I will use an internet based printing company to produce 10 prints on mat paper which I can then mount on board for display.

Technique

I will be photographing people at a distance so model release forms will not be required since they will not be recognisable.  My camera is set on aperture priority at F11 which is the optimal focus range for this lens using exposure bracketing, 3 shot bursts, set half a stop either side of the automatic exposure setting and evaluative metering, auto white balance and minimum iso.

I will process the images in Photoshop CS5, adding pre-made textures to achieve a painterly finish.

Control of light quality

To control light quality in the field, I can use evaluative metering system on the camera and combine ISO and shutter speed to give the correct exposure.  I will also have available a polarising filter and neutral density filters which can be used to hold back a bright light source or slow shutter speed to bring detail to the flow of water  or add a silky dreamy look to water.

Risk and H&S

To ensure the safety of myself and my equipment I will have a companion with me and we will travel a planned route, which will be notified to others. , we will have mobile phones and money for communication and refreshment and ensure we are dressed suitably for the conditions.  The route will follow public footpaths and highways to ensure we do not travel over private land and we will use a map and compass.  We will beware of other hazards such as triping or sliping and ensure that the tripod is set up on suitable ground and we are safe from hazard at all times.

Quote ~ William Howe Downess

Photography Isnt Luck

Photography is neither luck (taking 100 pictures and getting one good one) or because the photographer cannot paint. Photography is the art itself.

Art is not so much a matter of methods and processes as it is an affair of temperament, of taste and of sentiment… In the hands of the artist, the photograph becomes a work of art… In a word, photography is what the photographer makes it – an art or a trade.