“So what exactly is fine art, then?”


If you ask two photographers, you will get two very different answers. For myself, I’ve always regarded fine art to be a photograph in black and white. In a mono picture, when I’m looking at it, I can feel something. Something I cannot explain but something strong. I always associated fine art photography with “still life” pictures and “portraits” pictures. I think they are more creative and more emotional that the other categories. Anyways, it’s hard to visualize a good definition of fine art photography because everyone seems to have a different opinion.


Here is what a few people from the world of photography think about it.


Angelina Georgiou, wedding photographer
“Fine art to me is something hat must evoke emotions, and must draw the viewer into the picture with feeling and depth of meaning. I want to see many facets in a fine art photograph. I want to see something different each and every time I look at it, and if it speaks to my soul as well and stimulates me emotionally, then so much the better. I tend to find images in colour don’t draw out my moods as much as black & white photos. I love the mystery and depth of monotone –it makes me want to question what I am seeing. I like fine art to make me think.”


Camilla Brown, senior curator at The photographers’ Gallery
“To me it is problematic to try to come up with some form of definition of fine art in photograph. However, context has a lot to do with it. One could argue that as soon as a work is shown on a gallery wall it becomes an art object, and I have worked on shows of photographs that have been seen in the pages of newspapers or in family albums which, when shown in a gallery space, take on a different set of readings and interpretations. I believe it is in the eye of the beholder, and feel the viewers’ reading of the work is more valid than labels placed on work by artists/curators.”


Leigh Preston, college lecturer
“I’ve always regarded fine art to be mono –meaningful, superbly produced silver prints, archivally treated and presented in acid-free mounts. The prints should be alive –full of subtle tones, with detail both in the dark and light areas of the image. They should exude quality, both in ‘seeing’ and in the darkroom process. Other terms come to mind –prints should be balanced in tonality, show delicate, luminous highlights and rich ‘sumptuous’ velvety blacks. Images must have clarity, depth and resonance. They should stand up against other art and realise a timeless, lyrical feel.”


If you “google” their names, you will find the photographers personal websites. Go take a look. They are amazing!


Benoit Roberge