Nature of Photographs

*Nature of Photographs by Stephen Shaw*


Colour changes the atmosphere in the photograph because the eyes are lead differently around the image because the colour catches our eye not the subject, colours can be used to manipulate because different colours have different meanings and people associate them with pre ingrained connotations. The tonality of the colours (or saturation level) can also affect the mood that the photograph emits as a dull (desaturated) image gives off a more negative connotation than a brightly over-saturated one will.

Black and White photographs do not mean that the image is more real, however the connotation of B+W are that the photograph is more artistic and that it is 'real' because of the first images that were able to be made were B+W because of technical limitations.

Context will also affect the way that photographs are read, images seen in newspapers are often dismissed yet if the same photograph appeared on a wall in a gallery there would be a different reception received. Depending on the subject the location of the photograph can be equally important as the photograph.

When people view an image they do not think of what has been omitted; these omissions are just as important, as if they had been included would the entire meaning of the photograph change? Would the atmosphere be different? Have these elements been omitted just so that the photographer can reinforce their own point instead of showing the whole picture/story?


There are two different types of framing: passive and active. A photograph with a passive framing means that the main focus is in the centre of the image and there is negative space or just small background elements against the edge of the framing. An active frame is a photograph that leads the viewers eye outside of the photograph, this could by placing the model on the edge of the photograph.

Tom Sparks
(an example of passive framing)

Darren Rowse
(an example of active framing)

Robert Adams
His works show how that man is affecting the shape and lay of the land.






Thomas Joshua Cooper
emerging / submerging / emerging
The work that he does are beautiful commentaries on the nature that surrounds us




William Eggleston



Stephen Shore



John Davies
he influenced :

The Bechers
"conceptual artists"
taught at Düsseldorf school

these people were taught at the school :

Andreas Gursky

Axel Hutte

Thomas Struth