Pictorialist Photography
Country Scene © Roberta Murray
I had been developing my particular style of photography for a few years before it was pointed out how similar my work was to the Pictorialist photographers of times past. Before then I had not even heard of Pictorialist’s. Surely I would have had some introduction to their work through my prior studies in photography. I recognized the names of such noted photographers as Alfred Stieglitz, William Henry Fox Talbot and Henry Peach Robinson, but only as being a part of photographic history. I would have seen some of these early images, but was uneducated into the whole history surrounding them and the photography movement in which they worked.
When I learned of the term Pictorialist photography I started down a road of informal research. I was amazed to discover not only the similarity my work held to these early photography pioneers, but also how similar my attitude toward the medium is. The Pictorialist’s sought to get photography accepted as a fine art on the same level as painting, and they were largely successful in their efforts. But the pictorialist movement was about much more than being accepted as an art. Pictorial photographs were intended to be beautiful or tell a story.
Composition, light and shadow, tonal qualities, textures, selective focus and other means were used to give the images a character that would appeal to the emotions of the viewer. Once the basic techniques of photography were mastered, they became secondary to the production of the image. The creative vision of the photographer was more important than process. The result had to be more than just a documentary image on paper.
This mirrors my own thinking. I want my images to appeal to people on an emotional basis. I get frustrated when people focus on technique or subject more than the feeling or story of the image. Technique is unimportant. We don’t concern ourselves with what brand of paint an artist uses, yet I invariably get asked what brand of camera equipment I use. We don’t ask an artist how many layers they put into a painting, yet I get asked all the time about how an image is constructed. This information is unimportant to the image in front of you. Whether it was printed digitally or by hand does not alter the story or meaning of the image. It should not alter the emotional impact of the image.
The Pictorialist’s strove to create a more impressionist type image, no doubt as impressionist painting was popular at the time. A style which softened sharp lines and details through either camera manipulation or post processing resulted. Some photographers would deliberately throw their lens focus out slightly, some would alter their negatives by rubbing, scratching, or using pencil or paint on them. Some would create composites using anywhere from two to 30 or more separate negatives to create the final image. Some used hand coloring or actual paintings to add in elements such as people. Some would use charcoal on tissue paper to layer on top of the negative, building up shadows and emphasizing highlights.
I have several books on the subject now and am waiting for my library to order in some other books which were too expensive to purchase. The books I do have are inspirational, both from a visual standpoint but also from a historic one. It gives my work context, which is exciting. The Internet has also provided some of my information and inspiration. Where a book may only feature one or two images from a particular photographer, the Internet becomes useful in researching more about a particular person.
I started using the website for the Canadian Museum of Contemporary Photography to look for work by some Canadian Pictorialist’s, but have since discovered it to be a great resource for historical photographs. Of great benefit is the ability, through Cybermuse, to curate your own collections from the galleries holdings. I have created my own collection of images which interest me from either a research or inspirational viewpoint. It is very much a work in progress, but you are welcome to view it.
Of particular interest is the work of Frederick George Ashton. I am currently trying to find more information about this British born Canadian photographer. Like myself, his subject matter was diverse. His images have a romantic dreamlike quality to them that I strive for in much of my own work. The image, Country Scene (above), was inspired by the work of Ashton.
In: The Subject of Art · Tagged with: art, cows, history, pasture, pictorialist photography
on July 9, 2010 at 9:00 am
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Great pictures and collection of images.
Thank you!