What can reading a biography of Aaron Siskind do for me? - a fair question. Reading about almost any great photographer can help answer two questions (at least): What should I photograph and how should I photograph it. Frederick Evans tells about the use of light, Man Ray shows how to be a photographer without owning a camera, and Aaron Siskind lets us know that for inspiration we don’t have to confine ourselves to fellow photographers.

But let’s begin closer to the beginning. Siskind (1903-1991) originally wanted to be a writer and in college had been interested in literature, especially poetry. Like many would-be writers, he ended up as an English teacher. He taught elementary and junior high school, mainly in New York City, from 1926 until 1949.

Fate struck the would-be writer in the form of a present when he got married. “I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.”

Goodbye writer, hello photographer. Siskind joined the Film and Photo League, a cultural organization of the Communist Party. Like many artists in the depression of the 1930s, he was moved to help the poor and disadvantaged. For about a decade he worked as a documentary photographer. Among his creations were Dead End: The Bowery and Harlem Document (1932-40). In the early 1940s Siskind made a radical departure from documentation. He started to produce abstract work.

At that time, the school of painting known as Abstract Expressionism was just getting started. As it was centered in New York City, Abstract Expressionism was also called The New York School.

Siskind was in on the ground floor. Many of the Abstract Expressionist painters were his friends.

Abstract Expressionism was a radical departure from traditional painting for many reasons. For one thing, the subject matter wasn’t important. Actually, there was no identifiable subject matter. To many of the movement’s painters this was a way to free themselves from “the impediments of memory, association, nostalgia, legend, and myth that have been the devices of Western European painting.” (Barnett Newman)

The absence of traditional subject matter was only the beginning. Not only was Abstract Expressionism non-geometric,
there was, in some cases, a departure from traditional method. Jackson Pollack poured and dripped thinned paint onto raw canvas laid on the ground.

Finally, there was even a de-emphasis on the finished product. To an Abstract Expressionist the act of creating the painting was more important than the finished product.

They also shared a common philosophy. They sought to express their subconscious. They were interested in Jung’s ideas about myth, ritual, and racial memory.

Although they shared a philosophy, they didn’t share a technique. There were two main branches of Abstract Expressionist paintings. Color Field, whose chief practitioners were Mark Rothko, Barnett Newman, and Clyfford Still,
and Gestural, which was produced by artists such as Jackson Pollock, Willem De Kooning, Hans Hofmann, Franz Kline, and Robert Motherwell.

Siskind was a friend of De Kooning, Kline, and Motherwell.

From the time he became interested in Abstract Expressionism, Siskind never looked back. His photographs eliminated the illusion of three-dimensional space. He produced abstract images of common flat, non-geometric objects that had been ignored by conventional photographers. His subject matter included peeling paint, drips of tar, graffiti, seaweed, torn posters, old doorways, and “found art,” all sorts of discarded objects that he encountered on his walks.

“When I make a photograph I want it to be an altogether new object, complete and self-contained, whose basic condition is order - unlike the world of events and actions whose permanent condition is change and disorder.”

In 1951, Siskind began teaching at the Chicago Institute of Design, where he remained until 1971. He finished his teaching career at the Rhode Island School of Design (1971-76).

And what is the moral of this story? There are two. The first is that, as a photographer, you have to find a style that is consistent with who you are. Remember that Aaron Siskind’s initial goal was to become a writer. He had a taste for poetry. His temperament seems, from the beginning, to have been more consistent with Abstract Expressionism than with documentary photography. And, after a decade of taking pictures, Siskind found the style that would make him famous.

The second message is that you don’t have to limit your search for ideas and inspiration to photographs or photographers.

Edward Ginsberg is currently writing a book to help the beginning photographer find true happiness as he embarks on the road to creativity. His website, http://www.line17.com, offers several free tutorials as well as a sample of his photographs.

Tags: Aaron Siskind, Abstract Expressionist, biography, master photographer, photography, SiskindAaron Siskind, Abstract Expressionist, biography, master photographer, photography, Siskind

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When it comes to photography, the digital wave is very much in evidence and yet, both operate on the same principles. Both have a lens, an aperture and a shutter. The difference lies in how the image is formed. Classic or traditional photography uses film on which the image is captured and then developed in a darkroom with chemicals to give you negatives. These need to be printed before you can see the picture in its final form. In a digital camera, you bypass all these processes because the image is captured by an electronic sensor. You aim, click and almost immediately, you can see the picture you took in the viewfinder. There is no developing, no negatives, no printing. Just the sensor which is actually millions of pixels or megapixels where light gets converted into a number.

The pixels in a particular camera are constant. So if you were to print out a picture that is larger than the usual size you print, you would find that it is not as sharp as the smaller size. So you should keep this in mind when you are buying your camera. If you feel that you will probably want to print larger pictures, go in for one with a greater number of pixels. If you are not terribly particular, it does not really matter. Apart from a slight difference in sharpness, the picture quality does not suffer. You could find out from your photography store just how big a print it would be all right to print from your camera.

The greater the number of pixels or picture elements the sensor has, the better the picture quality and of course, the higher the price. In fact most cameras have a greater number of pixels, also referred to as ‘resolution’ than a regular computer screen. The resolution is expressed in megapixels. The number of pixels for black and white photographs can be a smaller number as it only involves the two colors and the many shades of gray in between. The number of pixels needed for color photography, however, is much more. The greater the number of pixels, the better the color quality. Digital cameras usually come with the capacity to produce 16 million colors expressed as 24 bits a pixel. Professional cameras have been known to go up to 48 bits a pixel which translates to nearly 300 billion shades!

Jill Kane is a successful webmaster and publisher for Digital Photgraphy Help. To read more about the advantages of digital photography visit http://www.digital-photography-help.com

Tags: camera, digital photographycamera, digital photography

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When photographers are hired to do a wedding, these professionals know what it takes to get the right shot. These people may not always tell the client to strike a pose and shoot but wait patiently to be able to catch that memorable shot.

There are a lot of great shots that can be taken during a wedding. Here are a few basic styles and techniques for those who also want to capture the event using a digital camera.

1. The individual should take these pictures with a good background or in a not so crowded place so the attention will focus on the newly weds or those who are the intended targets in the shot.

2. If there is a nice background in the back and it is hard to get both, the photographer should shoot the couple from shoulder up. Everyone will be happy and pleased when the pictures come out.

3. If some of the guests are wearing classes, these people can be advised to stand sideways or tilt the head down a little to avoid the reflection that usually occurs when the flash is used.

4. The individual should zoom in or out if there are only two or a group of people in the picture. This will also catch everyone in the shot instead of only getting half of person’s body when the print comes out. This will be embarrassing so the image has to be reviewed at once and deleted so another one can be taken.

5. Proper lighting must be observed at all times. The person must not shoot the couple or the gusts against the light because only a dark image will appear after the picture has been taken.

6. The photographer should also get some stolen moment shots. This should be done when the husband or wife is doing something else or is not looking. This is the trademark of many professionals that is done during the ceremony or the reception.

People will enjoy shots such as the cutting of the cake, the toast and the first kiss or dance. The pictures taken can’t be done again so the individual must be alert and present to get these images on camera.

Photography is truly an art. The person must practice the basics and learn from others to be able to do well in a wedding.

Low Jeremy maintains http://digital-photography.articlesforreprint.com. This content is provided by Low Jeremy. It may be used only in its entirety with all links included.

Tag: digital photographydigital photography

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