Kilka tygodni temu zwróciła się do mnie z prośbą młoda dziewczyna o nazwisku Gabriela Cerna. Spytała, czy nie wziąłbym udziału w jej "investigation project". Napisała, że właśnie kończy studia i przygotowuje pracę o artystycznej fotomanipulacji.
Pochodzenie jej nazwiska wydało mi się bałkańskie, tymczasem okazało się, że pochodzi z Gwatemali. Porozumiewaliśmy się koślawym angielskim, ale zrozumiałem, że mam odpowiedzieć na kilkanaście pytań.
Oto cała ankieta w języku Szekspira, publikowana po uprzedniej korekcie dociekliwej anglistki:
Which
creative process do you use to define the final photograph?
I
don't quite understand the question. First is the idea, then the
realization. I work on layers with the use of Photoshop. Until I
merge all the elements, I work on the each of them individually.
Flattening the image is not the end - I work on the tonal range, both
in colour and in b-w. Sometimes I turn my artwork horizontally, to
check whether the composition is ok. All these processes are
important, neglecting one of them badly affects the final photo.
In
your words, how does digitalization contributes to optimize the
creative or imaginative result in photography?
In
a fundamental way - digital photography is faster than analog, you
can easily see the effect. You can just look at the display on the
camera, check the focus and the histogram and, if necessary, correct
something (change settings and take a picture again). In my work this
is a great comfort. When I photograph elements needed to
photomontage, I immediately know if everything is fine.
How
do you establish composition and lighting in you photographs and how
do you enhance them on the editing process?
This
is a complex matter. PS is so powerful tool, that practically there
are hundreds of ways to enhance the image, increasing its focus or
tonal range. I operate with colour selective and distort, but the
whole process is tedious, long and complicated to explain it in few
words. That's why I organize Photoshop workshops, where I show and
explain the process.
How
does imagination contributes to the impact generated by photography?
Without
imagination there wouldn't be a good photography, not only
manipulated. Everything starts with a thought, and that it is the
most important thing in the whole process. Reckless, random images,
of course, also have their charm, but to develop your own style, you
need to have control over everything.
Which
elements do you take into consideration so photographs tell the story
in your creations?
I
usually operate simple archetyps and symbols, such as for example: a
lonely tree, a ladder, a desert, a house. It is understood all over
the world, that's why I was able to develop specific language
competition – a visual Esperanto. The positive reception of my
artworks on all continents proves that my efforts were rewarded. I am
proud of that.
Which
is the intention of the main element in your photographs?
My
intention is to provoke the viewer to think, while watching my works.
I rarely put together random elements. I look for those that
completes each other, either by similarity or by contast. Most often
it works.
Which
technical resources do you use to trace the path the viewer will
follow in your photographs?
As
I said before, I have been working with Photoshop for many years
(about 15). The tool itself is not everything, you need a strong
composition and a kind of story to tell. Previously, I was a painter,
and I use this experience in my photography.
By
which concept do you establish the dynamic of your photographs?
My
pictures are rarely dynamic, rather quiet, contemplative. To achieve
this effect, I use the central composition and square size.
How
do you integrate the photographic expression with the edition of your
images?
In
photography, I'm not looking for chaotic or extreme emotions. I
photograph in a rational, thoughtful, not wasting time and energy
way.
What
do you look for when choosing the predominating colour?
I
do usually black and white, so the question about the colour is a
little pointless. I know that the photography likes red, but it's a
difficult colour to deal with. It is always a challenge.
.
According
to the photographic manipulation you use, how does it contributes to
the expression and impact intended?
When
I construct a certain image (not registered), I can plan the
reception, the emotions that a recepient could have. Of course, It is
not predicible. In my opinion, that's the most beautiful, when
viewers can see in your work things, which you don't see.
Why
do you separate the b/w series to the colour one? Do it have a
different meaning? Which will it be?
Colour
often distracts from the essence of the image. For the b-w works the
most important is a story.
Which
equipment and software do you use?
Canon
EOS 5D Mark III, a few lenses (kit, 50mm, 85mm), Photoshop CS6.
Which
is the importance of photography for the expression of humans?
Photography
now meets a variety of functions, it is a documentary, artistic,
fashion photography and so on. The camera doesn't only record
important moments for us, but also creates a new reality. So
photography is now a tool of art.
When
and how do you consider a photographic manipulation is an art?
People
usually consider my works not as a photography, but an art.
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Muzycznie od kilku dni pasę się Golden Void:
https://youtu.be/5GB8TqvsW-s
