Come in! There are a few adventures I’ve written about, but most of the content offers classes in photography and mentoring for photographers, including photo theory, which, although a vital part in our profession, is largely an overlooked subject in all published media that profits from and feeds our gadget minded mindset today.
Image 84 shows Jonie sitting in front of mirrors at the onset of the FRAGMENTED SERIES.
Time lapse is a photography technique; in creating art it is also a photographer’s reality; there’s no telling how much time passes before all the ingredients gel enabling a creative idea can be realized.
It was 1999 when Cleveland, the Muse for DOUBLE VISION, ALIENS, and FOSSILS, gave James fifty small oval mirrors, after he told her of his idea of photographing her reflection from collective multiple mirrors.
Image 85 shows Picasso’s WOMAN BEFORE A MIRROR painted in 1932.
The idea was to depict the complexity of the female. James recalls that from his early youth onward this has fascinated him. It wasn’t inspired by Picasso, but it does correlate to the painter’s 1932 masterpiece WOMAN BEFORE A MIRROR, in which he depicts the many facets of a woman’s beauty and personality. She is a kaleidoscope vision, multifaceted, not completely knowable or a perfectly delineated vision, yet recognizable.
Image 86 shows color photograph OVAL FRAGMENTED of the Muse, Jonie, reflected by oval mirrors in tilts, pans, zooms, and in full.
It was in 2013 when the ingredients finally gelled. Now, having the Studio necessary for such a project, he could plan using the gift of oval mirrors, and it was that year when he found the perfect Muse in Jonie, sister of the fabulous artist Madalina Iordache-Levay.
Image 87 shows the Muse in B/W FRAGMENTED, a medium shot portrait made on square and rectangular mirrors in tilts, pans, zooms, and in full.
Jonie, originally from Romania, was exploring other places to live in Europe. On her next visit to S Florida in 2014, another take for the series, B/W FRAGMENTED was photographed.
Image 88 shows the Muse full length in FRAGMENTED in tilts, pans, zooms, and in full.
In these photographs rectangular and square mirrors were used. James reported it was a lot of fun. Sticky putty was used to position and angle several dozen mirrors for the right reflection. Then, you’d hear one and then another disengage and fall to the floor. But by holding a collective breathe on the set the “piece de resistance” FRAGMENTED was the final outcome of this series.
THE END of Scene Thirteen
This brings us up to date on photography as art by James Schot. He has produced many other fine photographs. His photographs of Horses (in Iceland), Tango (in Buenos Aires), and Electric Miami Skyline are among many other offerings regularly added to his STOCK ART “artistic” collection… (http://jamesschotgallerystudio.com/stock-art/).
He views his artistic shots as fine photographs, but not fine art photography. At their best such photographs can be highly artistic, and demonstrate the masterful visual literacy skills of a photographer; nonetheless, successful results are built on the camera’s innate propensity as a recording device. To clarify, fine photography is initiated first by an existing visual scene or subject that is desirable or important to record.
“Photography as art” is initiated by an original idea, developed artistically, and composed through the creative use of lighting, optics, and the camera.