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‘ There are stories
which are untold! ’
I have always liked this statement because photography is a speculative interpretation of life. It questions perceptions of reality.
In my work, I want to examine the relationship between photography and reality and stimulate the viewer to project her or his own interpretation,
thus becoming an integral part of the creative process.
I reject the kind of photography which runs off an ever revolving template and creates glossy views of life and glamorised faces retouched
beyond recognition. In my photographs of people, I aim to de-construct glamour by exposing people's natural beauty and the person within a body.
Another concept which informs my photography is emotions and associations: What I feel when I look at a subject, how I communicate this experience
through my photographs, and how this affects and is interpreted by the viewer.
‘ Ceci n'est pas
une pipe ’
(René Magritte)
One might argue that all photography represents reality. After all, it is just the reflected light captured in
the fraction of a moment. But is this really true? And if it is true, where is the art in it?
Photographs are not created in an instant. They are the result of a number of activities - constructing the scene,
composition, exposure settings and the pressing of the shutter release button, not to mention the various tasks
that need to be performed after the actual exposure. The photographer has a choice in each of these steps. He
decides what is real at the moment of capture. This reality may differ from the reality when the finished
photograph is viewed.
When I first set out to use photography as a way of expressing myself, reality was an important issue.
I wanted my photographs to be authentic and not altered in any way. My answer then is a little bit different:
"Ceci n'est pas une pipe". René Margritte's painting of a pipe stating that the pipe in the picture is not
a pipe explains the point. It is not a pipe - it is a painting of a pipe. My claim that the object itself,
not what it depicts, is the work of art is not a new concept - not even in photography - but it shows that
some issues in the philosophy of art are of continued interest and relevancy.
‘ A picture is worth
a thousand words ’
I don't have a specific preference for any brand or system. I feel confortable with any camera, so
don't take this list as a tools suggestion, but more as a simple information if you are curious to know
what camera I use in my shootings.
I learned that any camera brand or lenses you have doesn't make
a big difference: what is important is your vision and skills.
‘ There're no rules
for good photos... ’
... there're only good photos (Ansel Adams)
Comparing digital to traditional photography is a bit like comparing a microwave oven to fire. One has
all the ease of use, convenience and speed, but the other has style, exquisite quality and atmosphere.
Digital or traditional - there is no right or wrong and no one medium is intrinsically better than another.
The mere existence of one technology does not invalidate the use of another.
A digital photograph can be created quicker and cheaper. More aspects of a traditional photograph are
made by hand. All of this can be a good thing or a bad thing, depending on why and for what purpose a
photograph is created.
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Is my monitor calibrated?
Photographs prepared for use on the Internet usually suffer from a lack of detail in the highlight and shadow areas. The below calibration
procedure is very simple. Carrying out these steps can improve your viewing experience. It is not a full calibration procedure. If you can
already distinguish between all distinct shades on the greyscale below, do nothing. The leftmost bar is pure black, the rightmost bar is
pure white. To make adjustments, use the buttons on your monitor:
1. turn the contrast all the way up (100%)
2. turn the brightness all the way up (100%)
Now, whilst watching the greyscale, turn the brightness back down to the point where you can still just distinguish between the two
rightmost and the two leftmost bars. You may not be able to achieve this fully on all monitors; try to get as close as you can. In
many cases, between 90% and 100% works best for contrast and between 50% and 100% for brightness.
Cross-processing
Cross-processing, briefly, is a photographic technique where (usually) slide film (E6 Process) is processed in the set of chemicals usually used
to process print film (C41 Process). (Less common is cross-processing in the other direction -- print film processed in slide film chemicals).
The result is images with oddly skewed colors and increased contrast and saturation. Image contrast is usually high with blown-out highlights,
while the shadows tend toward dense shades of blue. Reds tend to be magenta, lips almost purple, and highlights normally have a yellow-green
color cast. All my Cross processing are directly produced from RAW by Adobe LightRoom 1.0 (registered version, not beta), without any
Adobe PhotoShop manipulation.
Printing with ICC and Adobe PhotoShop CS
Colour reproduction is a very complex process, there are many different colour reproduction industries, utilising
different media from one to another, although within some industries there may well be multiple media used...
In the 1993, the International Color Consortium was formed eight industry vendors in order to create a universal
color management system that would function transparently across all operating systems and software packages :
the ICC Profiles. ICC Profiles intent is to provide a mechanism for defining the colour of image data in a way that makes
it possible to exchange images between systems, while retaining any colour requirements imposed on the image. An ICC profile
provides a number of colour transformations that define the colour expected from the encoded data of the digital image, in an
open format.
Copyright and Legal notice
The images on this site and its design are the intellectual property of Philippe Buschini (aka Euristis) and, as such,
protected by French and international copyright laws. Without prior written permission, you must not print, store,
duplicate, reproduce, re-use or redistribute in any form, by any means and for any purpose, images and information
contained within this website. No permission is granted to Internet image search engines, directories and similar sites to store,
reproduce and redistribute the images contained within this website. All images and site design copyright Philippe Buschini
(aka Euristis). All rights reserved. The photographs, other artwork and information on this site are not in the
public domain. "Fair use" is not applicable. These rules apply to everyone! This includes private individuals, companies and
corporations, camera and other clubs, educational organisations, non-profit organisations, personal websites, Internet search
engines, etc. By viewing this website, you agree to observe the copyright conditions and other legal guidelines set out in this
section.
