{"id":944,"date":"2012-01-05T18:46:32","date_gmt":"2012-01-06T01:46:32","guid":{"rendered":"http:\/\/beautiful-landscape.com\/Reflections\/?p=944"},"modified":"2023-09-04T13:53:49","modified_gmt":"2023-09-04T20:53:49","slug":"artistic-license","status":"publish","type":"post","link":"https:\/\/beautiful-landscape.com\/Reflections\/artistic-license\/","title":{"rendered":"Artistic License"},"content":{"rendered":"

Artistic License<\/strong><\/p>\n

by Alain Briot<\/p>\n

\u00a0<\/em>Art<\/em><\/strong> is the product or process of deliberately arranging items
\n(often with symbolic significance)
\n<\/em>in a way that influences and affects one or more of the senses,
\nemotions and intellect.
\n<\/em>Wikipedia<\/p>\n

1 \u2013 Introduction
\n<\/span><\/strong>A few years ago I wrote and essay titled Just say Yes<\/em>.\u00a0 The purpose of this essay was to provide an answer to a question myself and other fine art photographers are asked repeatedly: do you manipulate your work<\/em>?\u00a0 In this essay I proposed that rather than argue endlessly and often fruitlessly about why we \u2018manipulate\u2019, we could simply answer \u2018yes.\u2019\u00a0 Doing so answered the question and made the point that manipulation was an essential aspect of our work.<\/p>\n

The purpose of the present essay is not to go back over this subject since I covered it extensively already.\u00a0 Instead, my purpose is to cover something that I did not address in my previous essay and that is the reasons why<\/em> we manipulate. \u00a0The point that I want to make is that we do not manipulate just because we feel like it.\u00a0 Rather, we manipulate because manipulation is how we express our artistic license.\u00a0 In other words, manipulation is a fundamental aspect of art.\u00a0 In fact, we could say that manipulation is art, or conversely, that art is manipulation.<\/p>\n

This concept is present in the word art itself.\u00a0 Art is the prefix of words such as artifice or artificial.\u00a0 These words point to the transformation created by the artist when going from reality to art.\u00a0 Art is not real.\u00a0\u00a0 Art is an artifice, an invention, the product of the imagination and the creativity of the artist.\u00a0 In short, expecting art to faithfully duplicate reality is a misconception, a misunderstanding of the very purpose of art.<\/p>\n

The expression \u2018artistic license\u2019 says it all.\u00a0 Artists are granted a license to manipulate reality.\u00a0 This license consists of a large amount of freedom they can use to express themselves, to demonstrate their vision and share their emotions. However, one has to know how to use this artistic license. What is it exactly? \u00a0How do you use it?\u00a0\u00a0 How far can you go with it?<\/p>\n

\"\"<\/a>The Watchman, Zion National Park<\/em><\/p>\n

\u00a0<\/em>This photograph is a collage of three horizontal images taken with a super wide angle lens.\u00a0 I could not have created this image with a single capture.\u00a0 After stitching, I distorted the image to enlarge the foreground rock and also to increase the height of the Watchman, the mountain peak at the center top of the image, and make it more dominant and impressive.\u00a0 I often say that if the National Park Service wanted to use my images in their brochures or displays they would first have to agree that my images would not show what people can see by themselves in the park.<\/p>\n

2 \u2013 Different purposes
\n<\/span><\/strong>Photography has many purposes and this is at the root of the confusion some people experience in regards to the purpose of fine art photography.\u00a0 Photography can be used to to create a visual record of documents and objects, it can be used as evidence in forensic investigations and in scientific research, it can be used in commercial photography to record weddings, to create portraits, to photograph products, architecture or fashion, to create art, and for a variety of other uses.<\/p>\n

For example photographs used in forensic investigations, police work, court proceedings or scientific research are held to the highest standard of truth and accuracy in their depiction of the subject.\u00a0 These photographs are documentary in nature and have no use for artistic license because their purpose is to record objects, events and locations in a factual manner.\u00a0 To have value these photographs must be devoid of any kind of artistic interpretation and manipulation.\u00a0 When creating these photographs the goal is to create a visual record in which the role of the photographer is limited to pressing the shutter.\u00a0 In fact, in some instance the photographer is bypassed altogether and a machine is used to take the photograph.\u00a0 This is the case in scientific recording when microscopes or other imaging devices are used.<\/p>\n

Commercial photography such as product, fashion and architectural photographs are not held to the same rigid standards as forensic and scientific photography.\u00a0 However, commercial photographs must still represent the subject faithfully.\u00a0 Because these photographs are often used in advertising, it is essential that the audience recognizes the subject depicted in the images.\u00a0 If the colors, shapes and other significant attributes of the subject are altered beyond recognition, the advertising will be ineffective because potential buyers will not be able to identify the product.\u00a0 Therefore, while a certain artistic input is called for, there is a limit as to what the photographer can do.\u00a0 Usually, this means using lighting, composition and location as variables to express a personal style.\u00a0 Beyond that, things like changing colors or altering the shape of the products dramatically are simply out of the question.<\/p>\n

Wedding and portrait photography do call for a certain amount of artistic license. In fact, clients select a specific wedding or portrait photographer largely because of his personal style.\u00a0 This personal style, which is the implementation of artistic license in the work of a specific photographer, is what makes a photographer stand out among other photographer.\u00a0 It is an important aspect of salability and therefore of commercial success. However, this personal style can only go so far.\u00a0 Here too, just like with product, fashion and architectural photography, the subject, the people photographed, must be recognizable.\u00a0 The bride\u2019s gown has to be white (or whatever color it is in reality), the wedding participants have to be recognizable, and the people who sat for their portrait have to be shown in such a way that they are pleasing to look at.\u00a0 In other words, clients must be shown in a positive way. They must look good!\u00a0 Artistic license has its place in this type of photography, but it faces severe limitations.\u00a0 Go beyond these limitations after being hired and you will not be paid.\u00a0 Go regularly beyond these limitations and no one will hire you.<\/p>\n

Many of the conflicts and difficulties that photographers experience come from not having clearly defined the purpose of their work. For example, if you want to submit your work to travel magazines, creating images that faithfully represent reality is important.\u00a0 Travel magazine readers want to see images that realistically depict the places they plan to visit. They are not interested in artistic interpretations.\u00a0 On the other hand, if you create realistic images it will be challenging to develop a personal style because artistic interpretation is one of the most significant ways of making your work unique.\u00a0 Some artists do succeed in \u2018straddling the fence\u2019 by finding a way to be faithful to reality while using a certain amount of artistic license.\u00a0 However, while this approach is satisfying to some for others it falls short of allowing them to use artistic license to its full potential.<\/p>\n

\"\"
\n<\/a><\/em>Knotted Stream, Death Valley National Park<\/em><\/p>\n

The knot-like appearance of this stream on the Death Valley Playa is what caused me to take this photograph.\u00a0 However, back in my studio I realized that there were other streams that interfered with the visual knot-like effect.\u00a0 I therefore decided to clone and heal these unwanted streams until I was left with the image I saw in my mind\u2019s eye when I took the photograph.\u00a0 While this image no longer shows what was really there, I consider it to be believable in the sense that it shows something that could exist. \u00a0Plus, it is certainly far more visually captivating that what was actually there. The problem with reality is that it is often far too real.\u00a0 I use artistic license to make reality less real and more dream like.<\/p>\n

3 \u2013 No contract
\n<\/span><\/strong>These different purposes, and the limitations they come with, contrast sharply with the purpose and \u2018limitations\u2019 of fine art photography. I say \u2018limitations\u2019 because in fine art photography there are none.\u00a0 In fact, one of the purposes of fine art photography, which is similar to that of other fine arts, is to remove limitations so that the artist is free to create whatever he or she wishes to create.<\/p>\n

This is possible because of the absence of a contract between the artist and his clients.\u00a0 I am asked frequently if I consider the selling potential of a photograph in the field, at the time of capture. I don\u2019t because I don\u2019t need to.\u00a0 Unlike a wedding, portrait, product, fashion or other commercial photographer, I do not work under the umbrella of a contract that calls for the creation of specific photographs.<\/p>\n

While a product, wedding, portrait, fashion etc. photographer enters into a contract with a client prior to taking the photograph and must create photographs that meet his client\u2019s desires, a fine art photographer creates images and looks for clients afterwards.\u00a0 The two processes, when it comes to selling, are inverted.\u00a0 While a product, wedding, etc. photographer is paid because he fulfilled his client\u2019s request, a fine art photographer is paid because he expressed something unique that interested buyers relate to emotionally.<\/p>\n

4 \u2013 Expression, not documentation<\/span><\/strong><\/p>\n

There are also significant differences in regards to the goals of fine art photography.\u00a0 While the goal of most types of photography is to document reality, with or without creative license, the goal of fine art photography is to provide an outlet for the creative expression of the artist.<\/p>\n

As a fine artist I have little interest in documenting reality as it is around me.\u00a0 I see reality everyday and the last thing I want to do is to create reality-like images to hang on my walls.\u00a0 If I want reality all I need to do is look out of the window.\u00a0 Therefore, when I create art my goal is to create something other than reality.\u00a0 My goal is to express myself without much concern for whether or not what I am depicting in my photographs is real or not real. \u00a0In fact, when asked about this aspect of my work, I tell customers that if it turns out that the photograph they are purchasing from me is 100% real they will get their money back.\u00a0 I use this tongue in cheek remark to remind clients that this is art and that art is about the artist\u2019s view of the world, not about reality.\u00a0 Reality is there for the taking.\u00a0 My clients can capture it just as well as I can.\u00a0 But at the same time, I find reality boring.\u00a0 There is simply nothing unique or original about it.\u00a0 What is original is interpreting reality and creating expressive images that depict a personal view of the world. Only by doing so can I make the best use of artistic license.<\/p>\n

\"\"<\/a>Side-Lit Trees at Sunrise, Canyon de Chelly National Monument<\/em><\/p>\n

<\/em>This image of Canyon de Chelly is a collage of two horizontal photographs taken with a short telephoto lens.\u00a0 After stitching I realized that the arrangement of trees that constitute the main interest of the image was not pleasing to me.\u00a0 Some trees were located too close to each other, and one tree touched the right edge of the image.\u00a0 I therefore decided to clone, remove and relocate the offending trees until I created an arrangement that I found to be visually satisfying.<\/p>\n

5 \u2013 No right and wrong
\n<\/span><\/strong>In art there is no right and wrong.\u00a0 Art is up to the artist, his emotions and his inspiration. To be \u2018right\u2019 a work of art only needs to meet the artist\u2019s taste and expectations.\u00a0 Furthermore, if art is \u2018wrong\u2019 if somehow the piece does not \u2018work\u2019 there is no penalty.\u00a0 At worse, the audience will dislike it. In all likeness, some will dislike it while others will like it.\u00a0 This is because art is a matter of personal taste and opinion and in art opinions are always polarized. People tend to like or dislike a work of art.\u00a0 They don\u2019t see shades of grey. Instead, they take black and white positions. This is because art is emotional, both on the the artist\u2019s side and on the audience\u2019s side.<\/p>\n

Unlike a machine, art does not have to \u201cwork\u201d the way a bridge, a car, or some other engineered device has to work.\u00a0 If a bridge is not designed properly it may collapse or suffer some other form of structural failure.\u00a0 In art, failure is of an aesthetic nature, \u00a0not of a practical nature. Failure in art is in the eye of the beholder.\u00a0 If art fails, nobody gets hurt.This is why scientists, engineers and others who practice a technical profession before turning their attention to art often find creating art challenging.\u00a0 Their training taught them that to be successful in their profession they need to create things that work, things that are properly engineered, things that have been tested and that are known to stand up to the task for which they were engineered.\u00a0 Fine art is artistic sensibility combined with technical precision. While they excel at technical precision, they find including artistic sensibility in their work a challenge.<\/p>\n

Tires, to take but one example, are designed to reach a specific speed, carry a specific weight, and withstand a specific amount of heat and lateral forces among other constraints.\u00a0 Tires are designed with specific cars in mind and different tires are used on different types of cars.\u00a0 For example, the construction of a tire designed for a Ford Econoline passenger van is radically different than the construction of a tire designed for a Bugatti Veyron.<\/p>\n

Mounting the van tires on the Veyron is asking for trouble.\u00a0 Most likely they would not fit.\u00a0 However, if we can somehow make them fit, before the Veryon reaches its maximum speed the tires will explode or come off the rim, creating an engineering disaster.\u00a0 On the other hand, if the proper tires are used on the Veryon, no such thing will happen.\u00a0 This is because Michelin, the manufacturer of the Veyron tires, has engineered tires specifically for that car.\u00a0 The tires have been designed to withstand the specific forces, heat, weight and speed created by the Veyron.\u00a0 They have been tested to specifications that exceed the actual forces imposed by the car at maximum speed.\u00a0 Unless a catastrophic failure caused by an external element (debris on the road for example) occurs, the tires will perform the job they were designed to perform to perfection.\u00a0 In fact, they will be performing under their maximum abilities because they have been over-engineered and can withstand forces higher than what the car can impose on them.<\/p>\n

There are no such concerns in art.\u00a0 If art fails no one gets hurt. Tire failure on a Bugatti Veyron traveling at maximum speed will result in total destruction of the vehicle and possibly death of the driver.\u00a0 Artistic failure with a work of art will only result in negative reviews or with a displeased audience, if that much. In fact, if you are not well known, it is likely that no one will notice.\u00a0 Because what constitutes good art is a matter of personal taste, what may be an artistic failure to some may be an artistic success to others.\u00a0 In art, unlike in tires, bridges, or other types of engineering, no one gets physically hurt. Only egos maybe bruised, and even then not always and if so not necessarily for a long time.\u00a0 Art is the domain of freedom.\u00a0 Art is where one can take risks without exposing themselves to physical harm.<\/p>\n

6 – Your art is about you
\n<\/span><\/strong>Art is about yourself, not about others.\u00a0 What you do in your art is controlled by you, not by outside forces.\u00a0 Art is not subject to rules and regulations the way other professions are.<\/p>\n

For this reason it is important that you create work that pleases you.\u00a0 As long as you create art to please others, what you are trying to do is impress these other people. The minute you create art with the goal of pleasing yourself, you start to work towards impressing yourself.\u00a0 At that time your goal becomes to express what you feel, who you are and how you perceive the world.\u00a0 You no longer care if someone will be impressed or will like what you are doing.\u00a0 This is when you begin to use creative license to its full potential.<\/p>\n

\"\"<\/a>Mauve Playa, Death Valley National Park<\/em><\/p>\n

In this image, an horizontal collage of two images, I purposefully tuned the color palette towards a collection of mauve tones.\u00a0 The original colors clashed with each other and were visually underwhelming.\u00a0 Shifting colors towards a mauve palette, together with some warping and stretching of the foreground elements, allowed me to create an image that is visually coherent in terms of both colors and shapes.<\/p>\n

7 – Answers
\n<\/span><\/strong>Art is a question to which there are many answers. You are the one who decides what the correct answers are. No one else has the right, or the authority, to find those answers for you. The test of art is not whether your work is right or wrong.\u00a0 The test of art is whether your work is unique to you or not and whether it expresses the emotions you want to share with your audience.<\/p>\n

To find accurate answers you need to decide what you consider to be acceptable and inacceptable in your work. By doing this will you will define a space where you are free to create what you want.<\/p>\n

However, this space will have boundaries. Those boundaries are set by what you decide you will and will not do. All artists have to do that.\u00a0 By deciding to do cubism, Picasso decided to not do Realism.\u00a0 By deciding to do Minimalism, Jasper Johns decided not to do Hyper Realism.\u00a0 There is no way out of this process.\u00a0 If you do not set boundaries, you will be doing \u2018whatever\u2019 and \u2018whatever\u2019 will not lead to the creation of a body of work unique to you.\u00a0 Instead, \u2018whatever\u2019 will lead to \u2018whatever\u2019.<\/p>\n

Following this process will, gradually, lead to the development of a personal style.\u00a0 This will happen through the development of an artistic space defined by your personal taste and preferences, by what you decide to show and not show in your work, and by what you want to focus on or ignore. This artistic space is where you are free to express what you want.<\/p>\n

8 \u2013 Content and meaning<\/span><\/strong><\/p>\n

Artistic license extends to the content of your work. Your vision, what you decide to show to your audience, is entirely up to you.\u00a0 Regardless of what you do there will be people who, based on what you show in your work, will consider your work to qualify or not qualify as being fine art. \u00a0\u00a0The point to keep in mind is that the content and the meaning of your work are part of artistic license and as such are fully under your control.<\/p>\n

When considering content as one of the aspects of artistic license it is important to know that there are \u2018fashion trends\u2019 in art. For example a number of high end galleries and museums tend to favor a postmodern, socially critical and relatively negative content. \u00a0This is, for example, in opposition to my work which is focused on exploring natural beauty, positive in its message and not containing postmodern references. I could easily have taken a more \u2018fashion oriented\u2019 approach and decided to create images of nature that focus on ugliness and negativity and that contain postmodern references. \u00a0In fact, if you look at contemporary French art and culture, doing so would be expected of me since I am originally from France and have extensive knowledge of postmodernism having read just about every author who published on this subject while I worked on my PhD.\u00a0 The fact I chose not to go in this direction is a personal decision rather than a cultural shortcoming.<\/p>\n

What this implies is that here too you will encounter people who like and dislike what you do.\u00a0 Continuing with my personal approach to landscape photography, while some consider ‘beauty’ to be a qualifier for fine art, others consider it a disqualifier. \u00a0The same holds true for postmodernist content as well as for political, negative, positive, social commentary and any other content. \u00a0Ruling out specific content has an adverse effect on artistic license.\u00a0 If we ruled out ‘beauty’ as a qualifier for fine art, we would by the same token rule out Impressionism as a valid art movement. \u00a0What a shame that would be. \u00a0Beauty is an essential component of art, even though a number of people today consider it to be a disqualifier.<\/p>\n

Clearly what content the artist decides to feature needs to be based on the artist’s inspiration, personal taste, philosophy, message, vision and so on. \u00a0There will, and there are, massive differences between artists in this regard. \u00a0These differences are one of the main attractions of art.\u00a0 More importantly, the choices you make in this regard are fully part of your artistic license.<\/p>\n

Using meaning as a qualifier for fine art is even more superficial than using content.\u00a0 What is meaningful to some is meaningless to others.\u00a0 For example, some\u00a0 find Cubism totally devoid of meaning while others consider Cubism to be one of the most important movements of the 20th century and consider Cezanne, whose painting Maisons a l\u2019Estaque<\/em> (1908) is at the origin of the term Cubism, to be one of most important artists of the 20th century.<\/p>\n

9 \u2013 Defending
\n<\/span><\/strong>There are times when artistic license needs to be defended.\u00a0\u00a0 Just saying yes<\/em> only works when people ask you if you manipulate.\u00a0 If the questions is more precise, if it points to a specific aspect of your work, a more detailed answer is necessary.<\/p>\n

For example, I have been asked what is my position in regards to the fact that realistic photographs of nature have played an important role in nature conservation efforts, for example in helping create National Parks and pass legislature protecting natural areas from development.<\/p>\n

My answer to this specific question is what started me doing landscape photography was not the desire to raise awareness about the importance to protect nature. Instead, it was the desire to create art that expressed my vision of natural beauty. There are plenty of photographers out there who are doing a fantastic job of bringing awareness to nature conservation and I let them take on that responsibility. Personally, my goal is to express myself and provide my audience with images that convey a vision of nature not available elsewhere.<\/p>\n

In that regard I may be distancing myself from the main direction taken by landscape photography and getting closer to non-photographic art medium such as painting. This is a personal decision based on the fact that not all art has to be representational. In fact, most art is not representational.<\/p>\n

I have also been asked why should people care about images that do not show something real? My answer is they care for the same reasons people care about art movements that do not represent reality. Surrealism, Cubism, Fauvism, etc. are popular movements even though they are not about representing reality. To some extent, Impressionism, a movement in which nature is one of the main subject, is not about representing reality but rather about presenting an impression<\/em> of reality. Photography certainly had a large following of practitioners who made it a point to represent reality faithfully, but then again when that reality is presented in black and white, or with a contrast ratio much higher than what we see with our eyes, or with extensive darkroom or digital adjustments, even though no removal of objects or distortion of the image were performed, one can question how real that reality is. In fact, Susan Sontag in On Photograph<\/em>y makes the point that photography is by nature surrealist, not realistic, and she is talking mainly about straight photography.<\/p>\n

The number of questions you can possibly be asked being endless, providing an extensive list is futile.\u00a0 The whole idea is that at times you will have to defend yourself by describing your personal goals. \u00a0Who cares if I am not following the conservation movement, or if some people lose interest in my work because it is not ‘real’. What matters is that I am doing what I love, that I create work that is unique and that collectors purchase my work and enable me to make a living doing what I love.<\/p>\n

10 \u2013 Stylistic Variety
\n<\/span><\/strong>Finally there is the issue of stylistic variety in one\u2019s work.\u00a0 In the days of film, having a variety of styles was challenging because changing photographic styles involved changing camera equipment, film processing, printing and other variables.\u00a0\u00a0 For this reason most photographers adopted a style and used it all their life. A few had a couple of styles, usually one for commercial work and one for fine art work, and that was it.<\/p>\n

Digital capture and processing removed most of these hurdles.\u00a0 Digital processing allows us to process the same photograph with a variety of styles.\u00a0 The question no longer is how do I create a different style, the question is how many styles do I want.\u00a0 Photographers who explore digital possibilities are more likely to have issues with offering too much diversity than too little.<\/p>\n

The fact that stylistic variety is no longer a challenge makes it possible for photographers to create different bodies of work each with different approaches.\u00a0 For example, last year in addition to landscape images such as the ones used as examples in this essay, I created a series of car photographs, a series of layered images, and a series of reportage style images.\u00a0 Each of these series used a different approach.\u00a0 The car photographs were processed entirely in Lightroom using global and local tinting, gradients and vignettes.\u00a0 The layered images were processed in Photoshop and made use of multiple colored texture layers giving them a grunge look.\u00a0 The reportage photographs were processed in Lightroom and had hardly any processing done to them besides color balance and density adjustments.\u00a0 These series were done in addition to my landscape work, which remains my primary activity, and received only minor advertising on my site. The goal of these series was to change my mind by doing something new and different.\u00a0 However, taken as a whole, these different series make it challenging to decide what my approach is because each series is treated differently.\u00a0 For this reason it is best to say that creating different series of images, each with its own unique treatment, is another aspect of artistic license.\u00a0 One doesn\u2019t need to use the same style all the time.<\/p>\n

11 \u00a0\u2013 Conclusion
\n<\/span><\/strong>When you purchased your camera and decided to use it for the purpose of creating art you gave yourself license to do what you like and to have fun with it.\u00a0 In other words, you gave yourself artistic license to do what you like.\u00a0 Unless you are under contract and have to please a client, use your artistic license to have fun with your work.\u00a0 This is your money, your time and your efforts and if you are not doing what you like something is not going right.\u00a0 Remember that in art you can never please everyone, so let others think what they may.\u00a0 There will always people who will praise what you do as long as your work expresses what you feel and is unique to you.<\/p>\n

About Alain Briot
\n<\/span><\/strong>Alain Briot creates fine art photographs, teaches workshops and offers DVD tutorials on composition, image conversion, optimization, printing and marketing. Alain is the author of Mastering Landscape Photography<\/em>. Mastering Photographic Composition, Creativity and Personal Style<\/em> and Marketing Fine Art Photography<\/em>.\u00a0 All 3 books are available in eBook format on Alain\u2019s website at this link: http:\/\/beautiful-landscape.com\/Ebooks-Books-1-2-3.html<\/a><\/p>\n

You can find more information about Alain’s work, writings and tutorials as well as subscribe to Alain\u2019s Free Monthly Newsletter on his website<\/a> at http:\/\/www.beautiful-landscape.com<\/a> To subscribe simply go to http:\/\/www.beautiful-landscape.com<\/a> and click on the Subscribe link at the top of the page.\u00a0 You will receive information on downloading the table of contents, plus over 40 free essays by Alain, immediately after subscribing.<\/p>\n

Alain welcomes your comments on this essay as well as on his other essays available. You can reach Alain directly by emailing him<\/a> at alain@beautiful-landscape.com<\/a>.<\/p>\n

Alain Briot,
\nVistancia, Arizona
\nJanuary 2012<\/p>\n","protected":false},"excerpt":{"rendered":"

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