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Despite the cheap and orthodox later works of the French realism artist Gustave Courbet, he has made some extraordinary and excellent paintings in his prime time such that the modern era reached the peak of realistic photographic paintings. Extraordinary to an extent as if they were from the lens of a camera. Anyone who calls himself confidently “The realist Courbet” was surely taken as someone with great skills and vision. However, we can say that during that time when Courbet was producing his paintings, the art of photography was finished up to so much extent. Taigadu Wafu (painter) once said about how interesting he felt while watching the sun rays coming from a pinhole and forming an inverted image picture of the outside scenery i.e. the Obscura technique in photography, and surely only a man with a Courbet’s like passion and thinking would want to make that inverted image as an image. With the enhanced techniques in photography, the realistic photographic painters began to dry out. Therefore, the perfectionist Courbet, whose works look like being watched from a human eye or lens of a camera, was maybe the last one to do such paintings. After him many painters come but they were just beautiful but far away from realistic photographic paintings and the rise of abstract paintings made sure the erosion of photographic paintings. With the advent of the camera, it was merely a thought to have a realist painter.
The objectives of an artist to portray and document his ideas but with the camera in business, people prefer camera overpainting. A camera does do the job for depict and documentation for visual artists but sometimes the perfect photograph does not just need an expensive and modern camera but it also requires good operation by a good skillful person i.e. the right person for the right equipment to produce a right image. Photography and painting are not the same. When cameras invented, people clicked to matched with the standards of an awful painting so we should not merge them but they have something in common that is they are both the forms of visual arts. I came across a French magazine “Art of Today” and guess what due to the painterly photographs, it seemed like an address from painting to photography. This magazine promoted abstract art (architecture, sculpture, painting) in a modern era of moving art (camera, television).
Abstract painters believe in art on flat surfaces, that’s why they use a camera and other equipment for their assistance and help and especially for accuracy. Sound leads to music and shapes lead to art (both are human emotions) and as mentioned before photography and painting cannot be the same but what if they are the same? The results would be great and amazing. What I say is that the photographer should at least learn about the basic knowledge of painting i.e. color grading, color combinations and appropriate background and to have a unique soulful signature style like painters so that we have great and realistic photographs just like from the past times’ realistic photographs.
We see things because of light. Light has always been an essential component in photography and this gave rise to a material known as Photographic papers, this is how painters see it. Painters now have a different field which is different from the orthodox techniques and can paint using light which they could not use it express emotions using the uniqueness of light and shade before its invention. Man Ray and Moholy-Nagy arrived at photograms. In Japan, Ei-Q is doing for twenty years. As cameras and photographic techniques improve industrially and chemically, ultimately, the operation should become extremely simple. Perhaps that is when we will be able to express freely, in every sense of the word, emotions as projections of light and shade. And when that is achieved, there will probably be no distinction between a painter and a photographer. In any case, even at this current stage of development, drawing on photographic paper using light and shade is certainly an interesting and enjoyable process. Following C Zanne, painters began to focus on the pursuit of pure forms and the painter's eye began to delve deep into the formative essence of art. Their interest in this direction in a sense brought a reinforcing effect to photography, which generally tends to lose its formative framework as their levels of depiction and documentation improvements.
This is just food for thought, but we could say that herein lies the “raison d' tre” for the 'painter's photograph,' or paintings on photographic paper. This kind of ethos is additionally present in human expressions. The 'deliberation' in painting happened in light of this kind of ethos, or soul in continuing with the inquiry what is a painting all things considered? indeed, even at the absolute last minutes before fruition. This is how after C Zanne, the focal point of intrigue moved extraordinarily to seeking after the developmental structure in painting. Normally, this transition to 'reflection' ought to likewise occur in photography, not to imitate painting, and but it being firmly better than painting regarding its capacity to delineate and report. Therefore, in photography, as well, regardless of how strong a developmental structure work has, delineating in the way of Courbet is it could be said obsolete. Their solid enthusiasm for the material was very evident and I felt that they had a specific feeling of freshness, both as works of art and as 'camera-less' or should I say, 'focal pointless,' photos in how they were daringly given to the image plane in making the picture. Even though at this stage their works are as yet trial, I think they show, to a limited degree, the potential advancement of this new sort of workmanship on photographic paper. What we are attempting to do is to form a topic through the eyes of a painter and to sort out it through the eyes and methods of a picture taker.
The current community-oriented procedure is as of now procuring new disclosures that react separately to the uniqueness of both the painters and our current photographic accomplice, Mr. Otsuji. The ongoing works with their illustrative structures seem to have a more grounded feeling of magnificence and lavishness than previously, yet I additionally believe that they have fairly lost their feeling of rationality. It is neither right nor wanted to treacherously isolate photography from painting, all things considered, both are visual works of art practiced on level surfaces. We should likewise not overlook the authentic actuality that painters had a critical task to carry out in the arrangement of photography. While setting up their separate positions, photography and painting should once in a while meet up inappropriate and constantly recharged trades and joint efforts.
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