Perceptive Vision - Developing a Personal Style

So, in a world where there are thousands of photographers making images and publishing their work, how does one take step past the obvious copy and generate a personal idea, style, or construct a universe? Based on my personal experience and work, the following is designed to introduce some strategies to develop a personal vision and style in photography.

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At some point in the process of creating a personal style, the creator has to ask personal questions, they need to have a strong opinion about something - they have to identify a philosophical position. And often the more personal and intense the position the more intense, challenging  and interesting the work becomes.

Personal philosophical position

At some point in this process the creator has to ask personal questions, they need to have an opinion about something - they have to identify a philosophical position. It might be a strong emotional feeling or view about a place, or a certain type of aesthetic or the exploration of a technique - it might be a combination of al three. And often the more personal and intense that position the more intense and interesting the work becomes.

Last Rivers Song 1984 - Dunedin Public Art Gallery

I first enraged in a personal project like this in 1983-4 when a favorite river was threatened due to a Hydro scheme. I had a huge motivation to photograph the river while it was still wild and free flowing. The project cumulated in the Last Rivers Song.

Ways of seeing

For instance, there are as many ways to see a landscape as there are photographers with cameras. If we take the time to develop it and look critically we can develop a personal style, a perceptive vision.

If we take the juxtaposition of culture and nature as a subject, a photographer might look to photograph:

•              A natural un-spoilt wilderness to show the undisturbed beauty of the location - here they might make every effort to eliminate all references to buildings and man made structures etc from the frame.
•              The visual intersection of geometric designs against the randomness of nature– here they might make every effort to include strong architectural lines juxtaposed against a visually random nature
•              The juxtaposition of nature and the effects of pollution – where they play the notion of a pure natural beauty against a toxic ugliness.
•              The successful integration of urban development and the natural environment. Perhaps this is for an article in a magazine on green communities.
•              High tech mono cropping against the diversity of nature.

While the list can be extended endlessly, the point is that in each case - the photographer has an opinion, and approaches the landscape subjectively - they might look to use a range of techniques and aesthetics to intensify their philosophical position and eliminate conflicting detail.