Photography and Painting detailed discussion

Photography and Painting

Photography involves the use of cameras to capture images and represent them artistically to their recipients or audiences. On the other hand, paintings are artworks that can be done from visual observation of reality and real objects or an artist’s imagination and representation of picturesque scenes and abstract images. Both photography and painting as opposed to video production and cinematography present a great part of still visual art. The difficulty with both painting and photography lay in the degree of sophistication the artists wishes to achieve. In this regard therefore, simple photos or simple paintings do not really involve much (Linfield 57). However, advanced photography and danced painting involve so much more in their demand for artistic creativity and even technological operations to achieve given unique effects.  It is popularly assumed that photography involves the use of cameras and that cameras alone due to their sophistication should make photography easier compared to painting. However, painting does require imaginative engagement and artistic expression while at the current level of software and photographic sophistication, there is much more to photography than painting arts.

The most paramount claim about the sophistication and difficulty in painting involves talent and given techniques regarded as time consuming and involving delicate manoeuvre. However, these skills are mastered with time and an effective painter becomes a master in the basic operations that produce their products. The surfaces for painting can be diverse but artists tend to specialize in a given field. Over time, they gain mastery and these methods tend to stabilize and become static. Nevertheless, in photography, the photographer must master many types of cameras and be able to use them under diverse environments and lighting conditions. Moreover, various cameras have diverse operations and functions which must be controlled. Without the ability to control these varied functions, it might be very cumbersome to undertake effective capture of images (Cutzu, Hammoud & Leykin 100). Another difficulty with photography is that images that need to be captured could be moving images. The photographer must have the intellectual and mechanical acumen to operate in such a complex environment.

In current state of the art photography, the artist must undertake a very exhaustive course on the use of virus cameras for various environments and lighting conditions. These specialists must also study how to deal with various clients and institutions where these photos are processed or institutions where functions or elements are placed to be photographed. On the contrary, painting involves very simple necessity for interaction. For instance, if a painter wanted to depict a leader or a building or any object. They can use the simplest camera to capture the still image and then go to their workshop to produce the paintings. Photography and its technology can aid painting but painting can very minimally aid a photographer. The painter needs very little training on handling various technologies and her work is restricted largely to a physical work or talent. These extensively changing technologies in photography make the art more expensive and complicated than the paintings in their production process.

Whereas photography must demand very hefty investment in sophisticated cameras, sophisticated photographic processing equipment, and extensive training and preparation of the specialist, the painter still needs only a painting board or table and his paints and brushes. It is also noteworthy that photography is rapidly advancing in various techniques which painters must adopt. The painter is rooted to ancient methods and ancient instruments. There could be advancements in the manner of paint mixers and brushes or techniques, but that is just all. The photographer on the other hand operates in an environment where everything changes every day (Alward 17). The technologies for the printing papers, the inks, the machines, the technologies and the cameras keep changing daily. The photographer must keep pace with a whole mass of drifting technologies without which their trade would be obsolete.

The fact that photography is more attached to reality makes it more intensely challenged and criticised. The artist can make a slight error and it could be appreciated positively. However, a photograph that misses a needed detail must be rendered useless immediately. These technical challenges make the photographer more a recipient of scorn than the painter. The painter is a producer of an unknown product which has no standard prototype. However, the photographer is a processor of what is already needed and expected beforehand in precise details. To produce that degree of lucid representation is the greatest challenge of the photographer (Mott 98). All such detail is perhaps not the concern of the painter. So many painters can work on their own time schedule and give satisfactory outcomes to their clients but the photographer must produce within the time frame the clients’ desire. Most of photography is a short deadline production cycle.

In summary, there is a very grooving divide between photography and painting. While photography has taken a brand new trajectory of technologies entailing adobe software and sophisticated cameras and computers, the painter is still largely relegated to the traditional drawing table and implements. Apart from the sophistication in technologies, the photographer operates on a very highly professional network with multiple companies and standards. The regulations in the industry are growing diversely and the painter is largely unregulated and sometime autonomously engrossed in their trade. Photographers must as a rule register and run legally established studios without which their trade would attract very little consumer responses.


Works Cited

Alward, Peter. “Transparent Representation: Photography and the Art of Casting.” The     Journal of Aesthetics and Art Criticism 70.1 (2012): 9-18.

Cutzu, Florin, Riad Hammoud, and Alex Leykin. “Estimating the photorealism of images:            Distinguishing paintings from photographs.” Computer Vision and Pattern Recognition, 2003. Proceedings. 2003 IEEE Computer Society Conference on. Vol. 2.            IEEE, 2003.

Linfield, Susie. A Little History of Photography Criticism; or, Why Do Photography Critics           Hate Photography?. University of Chicago Press, 2012.

Mott, Thomas. Images, imagination and impact: war in painting and photography from     Vietnam to Afghanistan. NAVAL POSTGRADUATE SCHOOL MONTEREY CA,            2013.

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