Thanks to my New Years resolutions, I took my camera on my walk this morning. Making photos every day — what’s the big deal? Photography is just a matter of pressing a button, right?

I did the same walk around the harbor that I do every day when I am in Wilhelmshaven. But today I felt exhausted afterwards, and it wasn’t from the physical weight of the camera. I felt tired because I used my out-of-shape “photographic vision,” a special way of looking at the world through a camera. It took about half an hour of walking and shooting to get into “photographic vision,” and it now persists for some time after I put down the camera. “Photographic vision” lets me take photographs without using a camera, in a sense. I assume all the photographers have this; probably the professionals live with it all the time. For an amateur like me, it yields a sort of “mental muscle ache,” something like what you feel when you first start exercising muscles that you didn’t realize you had. All the more reason for the daily workout!

We have had much discussion about painting from photographs (e.g. here, here and here). What about painting on photographs? Artist Erika Meershoek and photographer Dennis Moet of Haarlem have teamed up to do just this. Their work is a powerful synthesis of the two media, which, beyond its visual impact, turns the photography versus painting discussion on its head.

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Paul Butzi recently showed this photograph on Art & Perception. I fell in love with it at first sight. There was no discussion of the image in the post itself. I asked Paul if he could write something about the picture, and he did. At that point, I decided to buy the print.

This weekend Paul’s print arrived in the mail. I was not sure exactly what to expect, because Paul uses an Epson printer to produce his prints, and I had no idea what the result would be. Now that I have it here, I am surprised but pleased with the result. The print is crisp (despite my lousy photo of it above) and has lovely gray tones. It is not like a “normal” photograph, however — it is matt rather than glossy. This does not diminish its beauty, but does give it a different feel — say, like a fresco as compared to an oil painting.

Am I ready to “upgrade” to the 40″x50″ print for $2500? I’d like to Paul, though I’ll have to wait on that one. But I am most encouraged with my first foray into the online art market.

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“I walked into my new studio and this was the view, these water towers – which are typically New York. I thought, ‘yeah I should do that.’”

In early 2005 Dan Bodner changed the focus of his artwork from the human figure (painted from life or imagination) to cityscape. At the same time he began to use digital photography to study his subjects and his own work.

Bodner often makes photographs under conditions that would be difficult to paint from life, like the night scene above, or snow storms. He is in particular interested in the effects of city lights on the sky. From a large number of photos he selects a sample which he studies by making pencil drawings.

The drawings are not direct copies, but interpretations that combine elements from more than one photo. After he finds the composition, Bodner makes small oil sketches to study color. Then he makes a large painting based on all of these elements. In the end, some paintings are similar to the original photographs, others diverge substantially from the source images.

Photographs are not only Bodner’s subjects, but a way to study his own work. He has found that by making a photograph of a painting, he can see it as though looking for the first time. As Bodner explains, “By making the photographs daily, I can get a distance from the work as I’m painting it.”

Photography is associated with all aspects of Dan Bodner’s cityscape artwork, a connection which he finds appropriate. Bodner explains:

I want to use photography as a source for my work because we cannot separate how we see from the way photography has informed our vision. I think photography allows painting to be what it is today.

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first part of this interview

To paint from a photograph is inherently different than painting from life. Some artists avoid photos, others use them, perhaps covertly, for practical reasons. But to American artist Dan Bodner, painting from photos is not merely a technique, but a way to focus on his role as an artist. I interviewed Bodner recently at his studio in Amsterdam.

Question: When you work from photographs, do you ever ask yourself, what is the point of making the painting, when the image already exists in the photo?

Bodner: No. A photo is a record of a moment that has passed, a dead moment. I don’t feel that I own the image as a photograph until I paint it as a painting. The photo itself always refers to the past. But a painting of the photo is a creation, which goes on living. The painting defines its own continuing moment in time.

Question: Does painting go beyond the goal of simply making an image?

Bodner: What painting is for me is part of human desire. Every kid smears his food, or shit, and that is really connected to what painting is. A kid makes a mark and has the satisfaction of knowing “I made this and it will stay there.” For an adult I think it is connected to fear of death, which is innate. And it is connected to the desire to procreate. As you get older it gets existential, of course. To take things out of you and put them into the world, there is an absolute satisfaction in that. To do this from a photo emphasizes the act of creation, bringing life to something dead.

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In the next post, more about how Dan Bodner uses photos, his subjects and his methods