I stumbled across the world of mobile photography a year ago this month when I purchased my first iPhone. Yes, I was a bit behind the times in regard to the little rectangle of metal, glass and plastic that people have been addicted to for some time now.
When I first got my iPhone I had plans to use it for everything but taking photographs. Having just graduated with my Masters of Fine Arts in photography from the Academy of Art University the month prior, the use of my iPhone to create images worth keeping was truly a hard sell in my mind.
And then I stumbled across iPhoneart.com. To say this website was a life changer for me would be an understatement. The brilliant work I witnessed as I perused the galleries of images on this website blew my mind. How could this be possible? These images were shot and edited on an iPhone? Really??
I began to download photography apps and thus began my own addiction with my iPhone. Before long I realized it truly does not matter what tool a photographer decides to use. What matters is the photographer behind the lens, and the end result of its use. This has been true throughout the history of photography and the multitude of cameras made available to create photographs.
Not everyone who picks up a camera of any sort can create images that can stand next to the best in regard to subject matter, composition, use of light, line, color, and texture. But those who understand the technical and conceptual aspects of photography and are blessed with a bit of natural talent can indeed create compelling images no matter what tool they choose. It doesn’t matter if that tool is an SLR that uses film, a pinhole camera made out of an orange juice can, a plastic Holga, expensive large format, Polaroid, DSLR, point and shoot, or an iPhone; all have been tools used by some of the greatest photographers in the world.
What I have found endearing in the world of mobile photography is the controversy in some circles surrounding composite photography, better known as “photomontage.” Photomontage is basically joining two or more photographs through the use of layers into an illusion to create a surreal or artificial virtual reality. Photomontage has existed in the world of photography since its beginnings, long before the digital age, and was still considered to be “photography” because it was, and still is.
A great example is the image “The Two Ways of Life” by Oscar Gustav Rejlander, created in 1857. This piece was assembled from 30 individual negatives and printed onto one large piece of paper. Rejlander’s piece was first exhibited at the Manchester Art Treasures Exhibition of 1857 and Queen Victoria purchased a copy for Prince Albert.
In the early 1900′s, the Dada movement out of Germany was instrumental in moving montage work into the limelight with their political protests against World War I via photographers such as John Heartfield, Hannah Höch, Kurt Schwitters, and Raoul Hausmann. The Surrealists and Constructivists continued the trend of photomontage, which has moved on into the modern-day contemporary photography movement.
The grumblings in the world of mobile photography seem to arise from the lack of knowledge of the history of traditional photography. Some of the individuals heading the “movement” appear so caught up in the tool itself they seem to forget that it is just that, another tool to take photographs. It is really nothing new, other than being super portable with the all-in-one ability to edit photographs directly inside the same tool that takes the images. If someone uses an iPhone, it does not magically make them a photographer.
Photomontage, composite photography, photographs with a painterly effect, etc. are all accepted in the world of fine art photography and are exhibited in mainstream galleries around the globe. Photographs taken with mobile phones have also begun to show up in these same galleries with the same level of acceptance as traditional camera photographs.
Of course there are rules and ethics surrounding composite photography in the world of photojournalism, as there should be. Yet, the remainder of the medium along with those who lend their support to photographers (whether film, digital, mobile or otherwise) should remain open to not only “straight” photography but also those who choose to express themselves by way of “fine art” photography (manipulated or not).
As others have stated before me, eventually all this brouhaha surrounding mobile photography will subside. The iPhone will be viewed along with all other cameras as simply another means to an end. We saw it happen with the Holga, the Polaroid, the first digital cameras. Before long, every digital camera on the market will have the equivalent editing capabilities of the mobile phone.
The most important change will occur when photographers who choose mobile phones as their primary tool begin to compete on the same level as the master photographers who have come before them. Many have begun to enter that realm already with success including Karen Divine, Chase Jarvis, and Richard Koci Hernandez. These photographers view the iPhone as another tool to take photographs and they treat this little rectangle of metal, plastic and glass in the same way as they treat their more traditional cameras. It is one of their tools of choice to create the compelling imagery that comes from a space of technical and conceptual mastery. It is as simple as that.
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