Impact Of Photography On Artists

Various inventions in the field of photography saw the raise of more advanced concepts of art in various scions. This can be attributed to the fact that, though art principally dwells on individual’s imagination and creativity, photography revolutionized the whole conventional art set up. Therefore, by early 19th century, various factor had cropped up and in the consequent years saw the raise of use of advanced colors, texture as well as light in painting,however,the advent of photography which required less materials and consumed less time and manpower negatively derailed the world of ordinary art. Think of Toulouse-Lautrec who  throughout his calling, which spanned less than 20 years, produced 737 canvases, 272 watercolors, 362 prints and posters, 5,080 drawings, some stoneware and discolored glass work, and an indefinite number of misplaced  or stolen works. His obligation to the impressionists, in particular the more metaphorical painters Manet and Degas, is evident.  (Charles,2000)

Likewise, his style was also leaning towards the orthodox Japanese woodprints which sprout and became trendy in art circles in Paris. In his works, it can be accrued that there are numerous links to Manet’s isolated barmaid. By capturing this primitive work in the fall of 19th century, it’s apparent that though the order artistic works were savvy and classic, film, lighting and eventually uprising of photography set new standards which pushed or almost annihilated the conventional art, hence, the very survival of such artists as Manet and Degas among others depended squarely on their unmatched artistic imagination, and unequalled talented that propelled their works beyond the mantra of photography.

Therefore, in principal, the diverse environment on which the 19th century plied their trade dictated much on their fascination with nature, for instance, Toulouse-Lautrec works such as Vincent van Gogh (1887), Portrait of Gabrielle (1891) and The Medical Inspection at the Rue des Moulin’s Brothel (1894) were heavily influenced by his subtle relationship with the larger society and his addiction to alcohol. Therefore, compared to the work of photography that was sending waves across the art world, this work excelled at capturing the community in its operational surroundings, with the color and the pressure group of the extravagant night-life present, though glamour uncovered in a paradox manner(Alonzo,2007).

In addition, it can be established that, the conventional artist, employed the masterly of capturing horde in which the facts were highly individualized unlike in photography where sole individualism determined the end result, falling short of imagination and fascination that was brought about by the environment. therefore, the major differences which the early art employed to influence their work principally anchored around the way they painted, the distinctive images in his larger paintings that could be recognized by silhouette, this treatment of subject matter, whether as portraits, scenes of Parisian night-life, or close studies, has been described and viewed by modern artist as both sympathetic and dispassionate.

Hence, Toulouse-Lautrec’s accomplished portrayal of people relied on his painterly approach which was highly linear and gave huge importance to form. Many of his works can best be defined as drawings in colored coat. Meaning, no fine photography can much such works. Basically, the exotic styles current among these early artists in the nineties was defined by intrepid design, cursive lines, vivacious patterns and brilliant planes of flat color – a loom riveted from influences as varied as Gauguin’s works and Japanese carvings. From the Far East they also borrowed such illustrative plans as the silhouette, the hastily condensed outline, and the radically distorted perception.

Their approach was naturally forged towards the simple and advanced nature of graphics as well as the newly discovered concept of print. Therefore, the focus substance this class treasured was primarily metropolitan. Toulouse-Lautrec fancied the world of Montmartre’s demimonde, while Bonnard routed the avenues of Paris streets for his descriptions and subjects that influenced his drawings, interestingly on the other hand Vuillard concentrating confidentially on homely interiors. Many of the 19th century artist also presented designs for illustrations and posters, diminishing the barriers linking the fine and ornamental arts. When photography was invented and became civic in 1839, painting was the sphere of influence for artists and associates handling varied issues. Many of the artist’s works and performances were basically practical and carried a substantial chunk of social duties. In real perception, photography almost religiously eroded the basic tenets of civilization and basic pillars and configuration of society. As Painting also became a popular platform for the free phrase of the imagination. The Romantic custom re-brought the conception of painting as Art, free and independent from descriptive duties. All in all, no matter what its purpose, practical or expressive, and however adapted or dignified the end product, artistic interpretation was at all times anchored on the rule of illustrating essentials identifiable from the discernible world.

Constant outrageous creative visions or ideas were articulated via identifiable signs. For instance, one of earlier artist who had faced the era of photography head-on was  Piranesi’s  whose artistic fantasies were cast in stone, while Blake’s adored angels had well curved  wings of feathers. Therefore this concept of primitive art compared to the work of photography was richly endowed with captivating terrains that told and captured the world as it was, subconsciously; drawing from life was the principal and unavoidable orientation of the artist, painting from nature held the artist secrecy. Translating, thoughts and dreams were fervently developed systematically, through the gathering of facts and opinions. As a matter of fact, the cardinal input which the novel modus operandi of photography may possibly make to painting and other artistic forms was to release Art from its strong rooting to pragmatism, and raw factuality. However, the conventional or rather primitive art faced unparallel challenge from photography in that present no need for the artist’s pencil or brush to work intensively as to capture, depict , record the populace, happenings or things which the photographer could have documented through his lens with gradual  simplicity and velocity. Art was at liberty on its path to pensiveness. Though the passage was not so rapid, however, nor the purpose so instantaneously apparent. Hence, the French painter Paul Delaroche is attributed with the claim that “from today painting is dead” on learning of the invention of photography. Even so, eventually Painting blossomed through the 19th century within a monumental time-honored set of conventions and moved on in the earlier half of the 20th century to the pushy challenges of generalization, , leaving to photographers the task of making visual records. Photography may have endangered the livelihood of artisan painters, the minor portraitists whose role was eclipsed by the new photographic portrait studios, the topographers or architectural artists whose painstaking work could now be done within a brief exposure of a photographic plate. Many artists, however, recognized photography as an invaluable aid, using the camera directly as a speedy sketching device or using published or commissioned images as visual reference and inspiration. There developed a steady trade in photographs made as artist’s studies, etudes pour artistes. In conclusion, the advent of modern photography almost virtually killed the primitive art however, the 19century artist stood the ground the art grew (Morris, 1976).

The photographic work of the era had also numerous negative impacts, and this was translated in many numerous ways in the artistic work. The invention of devices that could capture images as a technique of picture production was a real drawback to the artistic creativity. Whereas the use manually developed skill and creativity experiences, it was quite essential in expressing one own feelings in a way in areas that could positively impact the community. This killed the spirit of ones expressions as the manifest of one’s own ideas were of less importance with the use of devices that mostly gathered the picture as it was in reality. The performance level therefore was in no bound to decline especially with the advancement of the devices from simple to intricate ones.

skills of photography

Portrait photographing skills and post-production of “MoriGirl Style”

Using the backlight to produce dazzling outline light around the figures and building a kind of very wonderful atmosphere is a good way to shoot mori style’s photos. Post-production revising also can let the screen with more “MoriGirl Style”.

The glare photographing portraits when use the backlighting skillfully

The photographer Warrior likes to use glare to photograph backlighting portrait, he does not use flash to fill light, because the flash can darken the background in a certain extent and destroy the atmosphere of natural environment, so you should control exposure value well under the glare.

When the glare is relatively strong, you can reduce the exposure half a block after carrying out photometry of the face, then you need to adjust the position of the camera. The aperture is F1.4 and shutter speed is 1/1250 seconds, set sensitivity to ISO 100, use Canon 5 d Mark II and Canon EF35mm F1.4 L lens.

Blow the hair back, and the sun is on the bottom of the model’s head, while the arm appears the glare, it does not affect the subject, so he adjusts the horizontal position of the camera number and captures this moment.

Use smoke to build “Tyndall phenomenon”

The above photo was photographed an hour before the sun set in the evening, at this time, all around were bathed in golden warm light of the setting sun, it was also the golden period of photographing backlighting. Aizi wanted to photograph the dreamy feeling in memory. When photographing, she used the smoke cake, he asked friends to fan up on one side to let the smoke spread, it was around four o ‘clock in the afternoon, the sun was right, the original beam that through the leaves became more obvious under the influence of the smoke, this was what everyone always said “Tyndall phenomenon”. She used Nikon D700 external Nikon AF – S35mm F2 D lens, when photographing the medium shot, she let the model ran in the mist, which presented a dreamy atmosphere, some film used decoking photographing so as to make the pictures have a dream feeling.

Use optional color and color balance to control fundamental tone

For the post-production of “MoriGirl Style”, Nikki often uses optional color and color balance to control the tone. Optional colors focus on adjusting red and yellow to let the environmental tone in the photo tends to warm tone and bright and fresh, adjust the brightness appropriately to add some magic feeling to the photo, match white balance and selective color adjustment to make transparent color of skin coordinated with the environmental tone, and finally remove defects, grinding skin, etc.

Portrait photography commissions

The biggest single challenge for a corporate headshot photographer is to understand the client’s perspective about having a portrait taken. I would say that 80% of the portraits I took so far this year have been of people that did not really want the portrait taken. Unless a individual can see a direct benefit to themselves of having a professional corporate headshot taken they do not want to get involved with the process.

When I am offered a commission it normally is sourced from the marketing dept of a company. The marketing people can see the benefits of capturing good professional staff portraits of all their peole to use in all areas of the companies media. The problem is that when I am called in to take the portraits I am normally confronted with individuals who would rather be getting on with their work. I have developed techniques to help things run more smoothly but you have to be aware that you are not going to get an easy ride. Making people relaxed and comfortable is important. You have to win them over and make them see that you are there to take a good photo of them, and that this will be a business benefit to themselves and their company. I normally let them see preview images on the back of the camera, if they like what they see they relax, give me a bit more time and tell the next sitter that it was ‘not that bad’

Commissions for social media are the exact opposite. Clients are normally commissioning me as they can see a direct benefit to themselves.

This series of portraits are taken from an earlier commission for Jon Lisby from Kreston International. He required some portraits of himself looking natural and informal. I decided to shoot these outside his office in Chiswell Street as just opposite was an interesting new glass fronted building which I new would make a good graphic background.

Jon new the benefits of a good headshot that would make a great first impression on LinkedIn, Twitter and Facebook.

Business portrait for James Potter who advises clients on using LinkedIn to their full advantage. You can find him on LinkedIn where he has an impressive 120 recommendations.

James needed a portrait that made him look like an expert and a confident, approachable person. He gave me lots of time to do the portrait, was open to suggestions and wanted to be part of the shoot.

Digital Photography Technical Tips

Digital Photography Technical Tips

Choosing Camera

The most relevant question that users have is what kind of camera they should choose. Camera users are categorized into three main categories: amateurs, hobbyists and professionals, and knowing in which category you are can help you identify what features might be important, and what type of camera would suits  your needs. Do you want to just take a few pictures of family and friends, capture your vacation memories, or produce shots of nature and landscapes to prepare a portfolio? Also think about how much quality you are ready to trade away for portability, as cameras can range from large and bulky professional quality SLR cameras (Single Lens Reflex) to small ultra-portable cameras, and some of the cameras may not even have a flash. You may be in any one of the above said category and Indian Institute of (IIP), online school of Photography guides you in knowing more about camera selection though their Online Photography courses with hands-on experience.

Camera categories

Cameras are typically divided into groups: ultra-compact, compact, prosumer or hobbyist, and digital SLR, and most manufacturers bring out units in several categories to capture more of the market. On each end of the range, the ultra-compacts are made to be the most portable, often fitting into pockets easily and can be used as key chains, while the digital SLR cameras are professional quality tools having the widest range of options, such as external flashes, lenses and tripods (often  the largest and most cumbersome to carry). Most units are under the middle two categories, with built-in having a good range of quality, resolution, and options, and the prosumer range includes higher quality and greater control over manual options and accessories.


Buying by only the megapixel rating will mean you, miss out the other features of the camera portability, accessories, a good quality flash, but it is one of the most important considerations. Less than 3 megapixel cameras are much suitable for basic snapshots; the camera will be small and smart enough to take basic ‘I was there’ shots, but the images will not be as clear if you want anything larger than standard 4×6 prints. Between 3 and 5 megapixels, you can have the best range of everyday use and vacation cameras by which you can fill your photo albums with shots from cameras in this range and will be able to make good quality prints at a variety of sizes. From 5 to 7 megapixels, you will find serious, higher range cameras for hobbyists that want to explore photography as an art and the images will take up more hard drive space but will be perfect for taking print out in larger sizes. Choose a camera of 7 megapixels or more if you are a professional and expect to be paid for the work you do, as these cameras are overkill for casual everyday use, but most ideal for professionals who need the highest resolution for larger prints, and more flexible cropping options.


Zooming is one of the important considerations with digital cameras and we have two kinds of zoom: optical zoom and digital zoom. An optical zoom factor relies on the lens itself magnifying the light coming in, so that what is distant appears larger and closer in the resulting image. A digital zoom factor takes the resulting image and magnifies it after the fact. It is well known that an optical zoom factor is much more important than a digital zoom factor which produces better quality results.