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This is true, Mark. As I've been working on my own artistic actions for a while now and was quite pleased with the results, due to the influence of Kevin I went down this route. As at the time I was working with a single lens I needed to get the composition right first and could then spend time on preparing the image. I was shooting a wedding in the rain so I couldn't perform any "cheating" exposure tricks as I would do in a studio. Just like Kevin's earlier work I used elements of diffusion to get the correct white balance to my liking. I don't have no of Kevin's earlier images from a trestle so I can't say for sure how they were achieved, but I think I found a safe zone to explore - which is what I did. Although I don't agree with blowing the whites completely on purpose. In my opinion the classic high key image was just as valid as any "art", just as potent in its message silencing the bride's face, just as many high key images did not have enough drama or punch to them.

I agree, Alan. I tend to think the photographer is just trying to make the best of the light, and that's what photography is all about. But getting it right without blowing out the whites or in some cases the blacks can be a challenge. As an artistic action photographer I normally start composing shots within the limitations the light is offering. If I end up with a shot with blown whites, then that's my decision. I've found that it is only ones with a personal touch to express their creativity with talented high-key "artistic" registrars that will probably do that, not just any photo. d2c66b5586