Especially the “photographic”, it would seem, “Degas” decomposition was the fruit of a long observation and purposeful constructive efforts, the “inexorable will” (Valerie), the accident was not copied, but creatively recreated. Instead of the traditional ways of organizing artistic integrity, Degas found others, but the very principle of unity was not questioned by them. Degas compositional techniques: a “dynamic” frame that cuts through objects and figures and leaves part of the image “behind the scenes”, unusual, nontrivial views, contrasting plans, non-equilibrium masses, displacement of the compositional axis, etc. – subsequently, they were often perceived and condemned as “blind imitation of a photographic lens.” one)

It was not at once that those deep changes in the artistic outlook were realized, which were revealed and actualized by impressionism and thanks to which the aesthetic emancipation of photography and photographic arts as independent types of creativity became possible. A whole period in the development of photography, marked by violence against its nature, arose as an imitation of the texture of the Impressionists. With the help of uncorrected lenses, soft focus, sophisticated chemical processing of the negative, they tried to create the impression of uncertainty of details and blurred outlines.

I am sure that the majority of impressionism is associated with paintings by French artists of the late 19th century. At that time, the main buyers of art were the urban bourgeoisie, and therefore professional portrait painters, including photographers, strove to adapt to its requirements and tastes. It is impossible, of course, to carry out a complete analogy in the development of painting and photography, but the main trends in their development coincide in many ways. Artistic photography, like painting, survived decadence, expressed in the destruction of form, pretentiousness of drawing, allegorization.

In 1912, the popular magazine “The Sun of Russia” published a special article “Photo Impressionism”, illustrating it with the works of Munich photographers. In photo-impressionism, there was a departure from the clarity of real forms for the sake of a light spot, a vague silhouette. The melting contours, the transparent haze of half tones, the fragmentation of the composition – all this demonstrated the neglect of the material objectivity of the world. Some critics, in the heat of surface comparisons, singled out in photo-expressionism the predominance of sharp-contrast, “Rembrandt” light. Thus, the epigonism of the formalists manifested itself, expressed in the rejection of the ideological and figurative knowledge of reality.

Multiple exposure allows you to get fuzzy boundaries of objects, passing paint objects. For example, the American photographer Pep Ventosa (Pep Ventosa) superimposes on each other many pictures of the same famous tourist place, while receiving a fuzzy, but unusual image. Playing with water, shooting reflections in the water and any fancy mirror surfaces is another way to get impressionism in photography. Similar to the paintings of impressionist artists photography creates Barbara Cole (Barbara Cole), a photographer from Toronto. A series of photos of Chromatics from the first time is easy to take for pictures, but not for skillful underwater photos.