Her most impactful work on Christianity and Voodoos. Member of Magnum Photos.
Her most impactful work on Christianity and Voodoos. Member of Magnum Photos.
Photo editors play a bigger role in photographers’ lives than just choosing their best pictures. Often, it’s an editor’s voice that photographers hear in the back of their mind, urging them to strive harder for the defining image.
They are the people who pushed, pulled and occasionally strong-armed them into producing exceptional work. The people who believed in them when nobody else did — who recognized the photographer’s strength and took the time to develop it.
Morgue – a book about death. Very interesting.
In order to edit and sequence your work so other people can understand it, you need to step out of the story you’ve been working on to get a clearer perspective. It’s not easy! We become so attached to specific images, but we need to undergo this detachment process to be able to understand that other people will not have the same relation to the images. Very often, too much attachment will get in the way of clarifying the message of the project.
The other key to editing is to recognize it’s all about relativity. It’s relative to the platform—whether a gallery space, a church, one page, the cover image, online, on Instagram, in a book e.g. in a space that has four columns and this many linear meters of wall space…
It’s so important to be flexible with your understanding of your work. When someone tells me, “I always start with this image” or “I always end with this one,” I encourage them to ask why—what if you only have 3 pages? What if the space is circular?
At the magazines, I was always searching for familiar stories told in fresh ways— look for photographers who have the ability not only to see interesting things, but more importantly, to show them in an original manner. A surprising way of telling; an ability to communicate a message, a story, an emotion in an unexpected way. Maybe a punch in the stomach. Or using irony, or beauty. Whatever the tool is, I need to see you are making the effort to process and convey the information you’ve received in a striking manner.
But! Don’t let novelty get in the way of communication. Beyond the excitement of the new, I make sure to ask: What is this photographer trying to say? What is the story they’re trying to tell? Why is it relevant now? In the end, think about how you are telling your story, to whom, and how you will achieve its diffusion to suit the content.
Always be open to changing your vision, your approach, your intended goal. Remain aware of what’s going on—including what’s behind you! Move that neck, turn your head!
But after all that, take some time to sit back and think about who you are and the things that particularly interest you. Think about whom you want to speak to, who is your preferred audience. Is it just “the photo-world?” If so, make a small-run artist’s book that will only reach a few people with a maximum impact. If you want a broader audience, maybe you should put your work online or in a newspaper. Never fixate on one platform or one medium or one result. Not all work has to be an exhibition or a book. It’s important to have models— photographers who have had a path that attracts you or bodies of work that inspired you—but then go off on your own. Set your intentions and see where they take you.
Other than the choice of artworks and artists in an exhibition, the greatest wisdom you can take from an exhibition is usually found in the contextual message revealed in the order and size arrangement of the exhibited artworks.
For the same artist, which of his or her works should be placed at the beginning of an exhibition? Which work should be displayed at the end? Which work should be placed at the place that audiences should first look at when they walk into the exhibition? Which piece should be the main visual of an entire exhibition? (Why?) Then there are also questions like, how big an artwork should be? How to pick the background colour of each exhibition wall?
Contemporary art photography has reached the level comparable to “making an exhibition like a concert.” For exhibitions of this level, all works created by artists before the exhibition assume the role of “elements.” A contextual collaboration of these elements will be formed as a new metaphysical entity when they are displayed in an exhibition. The messages that this entity conveys can only be experienced by the audience attending the exhibition in person. When elements of this kind of exhibition are published as printed catalogue, the audience will experience a totally different content.
In order to learn more about photography, one should obtain nutrients from all art forms other than photography, no matter whether it is painting (the origin of photography), sculpture, poetry, music, stage performance, poem, philosophy or cinema (the derivative of photography).
The first message layer carried in an image contains the “message required as basic instincts for the survival of living being.” Within it, it contains a/plot, b/difference, c/feature of the contour line for recognizing different objects. The second layer contains “visual elements and their structures.” The third layer contains “semantic meaning of the image.” If an image can only narrate a story and relay a story like a news photo, it can only be subordinated to the state of matter of the scene, being at the level of “recording the reality” at most. In human civilisation, this kind of photo merely has news value, only used by the mass media to tell the public what is happening.
An image that wants to surpass the lowest level of narration and storytelling must achieve something in the second message layer “visual elements and their structure.” It is the basis for an image with “information thickness.” The first one that emerged is the blank space photographers intentionally produce, which is referred as “Ground” by visual psychologist (some called it negative space). In contrast, “Figure” is called “positive space”.
“Other than what the image shows on its superficial level, what possibly can the image also be?” “Did the photographer try to address a ‘metaphysical content’ through the ‘physical content’ of an image?” The metaphysical message, the third message layer, in an image is usually the art value of an image. It is also the soul of an image.
“Is this artwork’s ‘style’ stronger or weaker than its ‘content’? What kind of content should be deemed as valuable for an artwork to be invited for display in a museum of arts.
Naturally, a work of art is created by an artist as a “human being”. It is thus important that the content of an artwork is able to showcase the creator’s subjectivity.
Since the creator and the audience are both human beings, the value of the artwork is certainly determined by the content an artwork wants to carry. Is the issue an artwork tries to illuminate important and memorable to the majority of people and does it address the shared culture among people? Or is the issue (such as gender, environmental protection, the gap between the rich and poor) very important to the shared history of mankind? Maybe some of these issues have become cliché because they have been available for a long time, but then you can ask: Does the artwork in front of you approach the issue from a different creative angle? Or even when the topic is important to its creator, can it still resonate with the majority of audience?
You finally realise the value of the painted artwork has nothing to do with what was printed. You finally realise the value of artworks by renowned masters in the art history is about the visual experience you feel when standing in front of them.