User talk:Llewin2019

Proposal for redefining Wikipedia’s Fine Art Photography definition

Revised New Text:--Llewin2019 (talk) 21:40, 3 December 2019 (UTC) Fine Art Photography is photography that combines the psychophysical response associated with viewing fine art photographic aesthetics, that of which whose values lie primarily in its beauty, and the art of photography, which combines the artist’s proprietary technical and visualization skill sets. In union, culminate in forging individual artistic visions that create photographs expressing an idea, a message or emotions.

Add back already existing text: This stands in contrast to representational photography, such as photojournalism, which provides a documentary visual account of specific subjects and events, literally representing objective reality rather than the subjective intent of the photographer; and commercial photography, the primary focus of which is to advertise products or services.

_______________________________________________________ Reasons for Update: only (very recently) did I see a revision - and no explanation of the change: this being said, my definition (as a result to the definition prior to Nov 2019) and combines all relevant aesthetic and skill-based criteria formulating a comprehensive (and thorough) meaning for the phrase “Fine Art Photography”. Below see Footnotes (that include important citations and my editorials/summaries). (Llewin2019)

Citations for the revised definition; editorialized by Professional Photographer Lance A. Lewin (Llewin2019)''' 1. Aesthetics: ‘Those principles governing the nature and appreciation of beauty, especially in visual art. “Fine Art Photography describes any image taken by a camera where the intention is aesthetic, that is whose values lie primarily in its beauty”, for example, as in Alfred Stieglitz photograph, “The Steerage” 1907. Encyclopedia of Art Education an online education tool. “Art is hidden in nature” …” and that he who can tear her out of it, owns her”. Albrecht DŸrer (1471-1528), from Sadakichi Hartmanns article on Alfred Stieglitz 1898. 2. The “Art of Photography” employee’s numerous skill-sets: A. Including only two of the three methods most other art genres adhere to: selection, elimination and rearrangement - of which the third (rearrangement) is void from the photographer’s palette. The Art of Photography 1927, Irina Khrabroff explains, the photographic artist… ‘cannot use the third privilege exercised by most artists over reality, that he cannot rearrange and regroup the chosen material’. B. In addition, the Art of Photography includes mastering proprietary skill-sets in the use of the camera, where the artist can control depth of field, exposure and speed of the shutter, and in combination can alter the effects of each other, and thus it is recognized, as spoken by 'Irina Khrabroff…' “straight photography” resigns in making photography extremely difficult to master”. C. As it relates to form: the ability of the photographic artist to “see” as many cannot: ‘beyond the syntactical or compositional features of a photograph…explore the perceptual aspects of a photography’. Richard D. Zakia (1993). Zakia continues to speak about the “Gestalt” theory in photography: as the successful photographer will utilize Similarity, Proximity, Continuation and Closure: the “''Whole” as perceived as more than the sum of its parts. D. “Visualization” whereby the photographic artist becomes one with his or her environment as part of the creative process''. “The term visualization refers to the entire emotional-mental process of creating a photograph, and as such, it is of the most important concepts in photography.” Ansel Adams. Tim Davis…” Like the phenomenologist, the photographer seeks to discover the significant details that reveal the essence of place”. In summary, the Art of Photography combines the means photographic artists’ master in an attempt to create Fine Art Photography. 3. “Fine Art” to be associated with individual achievement as opposed to the collaborative efforts in creating other forms of artistic things. 4. Marius de Zayas (1880-1961) artist, exhibitor and critic, so eloquently reviewed the photography of Alfred Stieglitz (1864-1946) “Stieglitz has succeeded in determining objectivity of form, that is to say, in obtaining the initial condition of the phenomena of form, phenomena, which under the domain of human thought give birth to emotions, sensations and ideas.” Zayas dwelled in the realization that beauty (“Art”) could be so freely realized, as seen in Stieglitz pure or “straight” photography work. (M. De Zayas (1915) In 1907, Stieglitz, in the photograph which we publish in the present number of "291" under the title "The Steerage".) --Llewin2019 (talk) 19:45, 3 December 2019 (UTC)