Composite Photography:An Overview and Stigma Disruption

by Aaron Benenson - Lowkey Ventures & Cath Simard

Introduction

With growing innovation and technology, the digital art world has begun cementing itself as a form of self expressionism. The growing phenomenon has opened endless doors of creation, disrupting the art world, while creating a new artistic class in itself. What was previously seen as an impossible feat, has now been proven possible.

Notable, digital art acts as the overarching umbrella with an array of subcategories forming under it. In its simplest form, a digital artist will utilize their preferred tool whether it be a camera, tablet, or AI generator to begin creating illustrations. As they create, they leverage the available technology to develop a satisfactory final product. There is no need to strategically plan out each layer of work nor meet perfection on the first try. They can constantly iterate their work until it meets their standards, even compiling new material to do so. 

Some may think of this as a downfall for the art space but the level of precision and attention to detail is jaw dropping. A perfect piece, in the eyes of the creator, is always attainable, allowing one to elicit the intended emotional reaction. Further, these iterations can be compared to traditional canvas work where artists typically paint over portions of a canvas to better tailor it to their liking. 

One can endlessly talk about the growing subsectors in the space but this article will focus on our favorite, photography. Photography has been around since the early 1800s but, as of recent, has gained considerable traction in both the digital and physical realm of art. Prior to the rise of digital ownership, the collector appeal towards photography was slim. Yes there have been distinguished photographers such as Ansel Adams, Cindy Sherman, and Annie Leibovitz, however many of the most talented and thought provoking photographers were never granted the attention they deserved. Further, photograph ownership was difficult to grasp, one could display it physically but another could replicate the photograph and do the same. The human desire of ownership was lacking. But as technology advanced and intricate forms of ownership developed, the world of photography has been opened to all. The reason photography appeals so greatly to the masses of digital and traditional collectors is simple. Photography, at its core, lives digitally. It was created with the use of digital tools and edited on digital platforms. So why not own it digitally? With time collectors began to rationalize this thought process and finally grant photographers with the respect and recognition they deserve. 

Just as photography falls under the digital art umbrella, specific photographic styles and approaches fall under the photography umbrella. We will touch on three: 1) Time Blends, 2) Composite Photography and 3) Pictorialism. Each offering a unique perspective to capturing the world.

Time Blends

With each millennium, comes human evolution. The late 1700s brought the First Industrial Revolution with a focus on coal. The late 1800s furthered human advancement with a gas centered Second Industrial Revolution. With human connectivity still lacking, inventors discovered the power of electromagnetic waves in the late 1900s, marking the Third Industrial Revolution. At this point, human advancement accelerated exponentially, driving humans into the development of the internet in the early 2000s which marks the Fourth Industrial Revolution.

Humans now find themselves at a point of inflection with growing absorption of blockchain technology with hopes of it going down as the Fifth Industrial Revolution. However, rather than rushing to today’s day in age, we want to focus on photographic advancements following the Fourth Industrial Revolution. 

As the quality of picture quality grew, so did the creative freedom for photographers, uprooting the pursuit of photo manipulation. As photo editing applications flooded the market, photographers began to leverage the tools, allowing them to implement a signature splash to their work. With time, photographers began to mess around with Time Blends. 

A Time Blend is a special exposure technique, which is typically used to combine several photos of the same scene that have been taken over an extended period of time. Why did photographers lean towards such technique? It allowed them to stay true to the surrounding natural elements. 

In its most basic form, a photo is meant to capture an instant. But instances change as surroundings do. The development of Time Blends allow a photographer to capture the natural landscape while showcasing distinct elements as they progress over a certain period of time. For instance, the sky can be filled with clouds or lie completely empty, thus, providing varying effects on the foreground shadows. The landscape can be filled with morning mist but be crystal clear by mid day, again, portraying different absorption effects. As such, Time Blends allow a photographer to create an image that is impossible to grasp with a singular shot - overpassing camera limitation. 

Specifically, one can minimize the noise in the foreground by taking a photo at blue hour, leaving the camera without changing its position, and taking a photo of the star filled sky later that night. In short, a Time Blend captures the endless view of a singular snapshot. Highlighting, that a view can rapidly change with its surroundings.

While Time Blends capture a moment, Composite photography takes it a step further, attempting to capture an experience. 

Composite Photography

Composite photography builds on the manipulation done when utilizing the Time Blend technique. Rather than focusing on a singular frame, Composite photographers further push the viewership experience by strategically combining different photos taken at varying moments and/or locations. Producing a final product that is mesmerizing to the eyes as one attempts to unravel the layers. The most skilled Composite photographers embody the techniques to recreate an experience, opposed to a moment, giving a still image the ability to race through time.

Our favorite metaphor in showcasing the magic behind Composite photography is as follows:

We ask the reader to join us in this breakdown by first recalling a memory. Now take it a step further and begin running the memory through your mind. Taking into consideration the good, bad, and everything in between. Once one feels comfortable with the memory’s recollection, block it out completely and hold an empty mind. Now in an instant, recall the memory. That instant mental snapshot is what a composite photographer is attempting to deliver every time. Intertwining all components of one’s memory into one snapshot. Thus, providing the vehicle for a viewer to live through it. 

Notably, there are multiple iterations of Composite photography with some using it to simply add minor details to a distinct shot. However, Composite photography separates itself from different photographic means when one is able to invoke a sense of journey within a singular frame. A viewer begins to unravel the elegance of such illustrations. Understanding that a photographer's intention may not be to evoke a sense of realism but rather recreate a dreamlike memory.

We asked Cath Simard, one of the top composite photographers in today’s era, to further shed light on the beauty behind composite photography.

Full Creative Freedom

Cath views and captures landscapes as little pieces of a puzzle, often visiting the same location multiple times until her vision is given direction. She collects little fragments of reality, converging them to make it her own. Sometimes she shoots the same scene at different times of day or even varying years. This allows her to best formulate an understanding of the landscape and its movements. 

On other occasions, she combines multiple locations into a singular image, creating a landscape of her imagination. One that has been developed by constant exploration. Through combining separate elements, her goal is to reflect her experience through her art and to elevate the landscape to match her imaginative lens of the world. Her art is a means of expression, granting a viewer a glimpse into her life’s exploratory journey.   

Overpassing the Limitations of a Camera

Composite photography allows a creator to surpass the limitations of a singular frame to fit the creator’s imagination. At times, multiple elements cannot be taken in a single frame, thus, necessitating the need for multiple frames. This allows the photographer to capture the foreground, midground, and background at their prime. Further, by blending and manipulating the initial frame, it allows a photographer to illustrate their creative interpretation and expression of what lies ahead. 

The goal is not to stay within the lines of reality but to bend the lines of reality while creating a new, envisioned reality. 

History of Composite Photography

Composite photography has come a long way since it's been invented - in part due to exponential technological advancements. However, the initial birth of composite photography was driven by curiosity. Leveraging the historic, in-place tools of photo manipulation to disrupt what a camera can produce. To best understand composite photography and its purpose, one must look back to its origination.

Prior to the invention of digital cameras, photography was considered a delicate practice. One would utilize fragile film, which if handled incorrectly would manipulate the crispness of an image. There is hidden beauty in historic photography as a photographer must trust their eyes given they are unable to instantly see the output. Following the capturing of the image, the real fun begins. One must take the negative into a dark room and develop the final product. 

There are some who find this component to be a nuisance but this step is where photographers were able to separate themselves from the pack. It’s a delicate procedure but one with room for creativity. Combining the creative flexibility of capturing an image and development were the main references in the artistic debates determining whether photography is classified as an art in the mid 1800s. An argument that is still rooted in today’s world. Nevertheless, photographers continued to push the bounds of what a camera can behold. 

History deems it difficult to determine which photographic evolution came first, Pictorialism or Composite, but we like to envision Pictorialism as the parent to Composite photography as Composite is a specific example of how to blur the lines of what is reality. 

In short, Pictorialism is the practice of manipulating a photograph to carry characteristics of traditional artistic displays. In other words, making it difficult to conclude whether the illustration is a photograph or not. The rise of Pictorialism opened the door for the likes of Gustave le Grey to begin the journey of Composite photography.

Born in 1820, the French photographer, Gustave Le Grey, made it his life’s mission to have photography regarded as an elegant work of art within the highly judgemental universe of artistic representation. His intention was pure, he understood the sheer joy of recreating an eye’s perspective of the world. Allowing a viewer to instantly immerse themselves into Gustave’s lens of the world. 

His era was one of exploration. Photographic technology and its abilities were in its beginning stages, leaving endless room for photography to invent and create new means of representation. Notably, this was an era where technology only permitted shots in black & white, making the use of shadows and light development ever more vital. Remarkably, even with photography’s technological limitations, Gustave Le Gray, among others, created profound images that would rival similar shots taken in today’s era.  

In 1852, Gustave stated his intentions purely: “it is my deepest wish that photography, instead of falling within the domain of industry, of commerce, will be included among the arts. That is its sole, true place, and it is in the direction that I shall endeavor to guide it. It is up to the men (and women) devoted to its advancement to set this firmly in their minds.” 

Given the explorative nature of this era, Gustave pushed the limits of what a camera can absorb. His intention was always to recreate the eye’s view but was limited by the camera's ability to capture the correct balance of light for both the foreground and the sky. However, he began to think laterally. He understood that he can capture both shadows on individual negatives and had the revolutionary idea to combine and blend the negatives together. Birthing Composite photography. 

Shortly after making it his life’s mission to have the term “photography” to be used synonymously with “art,” he created his first masterpiece,  “Mer Méditerranée - Sète” in 1857 (pictured below).

As a viewer can see, if one never mentioned that such a photograph was a combination of two negatives, there is little to no evidence to suggest it. The image, in a revolutionary manner, evokes a pure eye’s view illustration of the Mediterranean Sea. A sea that is the root to endless memorable experiences. A sea that is held in the mind of many. 

General Composite Process Overview

A Composite is about capturing an experience. Weeks to months to years go into preparing a Composite photograph much like creating a physical work of art. The process, although simple at first glance, takes patience and dedication to perfect. Like anything, it is easy to create a Composite but to create one that catches the attention of all, must be approached delicately. 

Step 1 - Sourcing 

A photographer must first source a location. They may ask themselves. What experience do I want to capture? One that is reachable by the masses? Or one that only few embark towards a year? Once they have a high level idea of what they wish to capture. One then needs to find its exact location. This can be done in a variety of ways. Oftentimes photographers will leverage social media. Playing around with hashtags or locations they have briefly heard about. Travel magazines and blogs are great resources as well. 

Photographers find themselves scrolling through hundreds, if not thousands, of photos until they find one that speaks to them. One that will allow them to produce the experience they are seeking. Once they have triangulated the location, they do further research as often there is much to absorb in these disclosed ecosystems. This is where the real magic begins. 

As stated above, a Composite photograph is about capturing an experience rather than a moment. It takes multiple strategic snapshots to elicit this experience. As such, a photographer will leverage the use of satellite technology to better gauge the surrounding landscape with hopes of discovering an untapped region. Maybe they notice a crackling rock formation or a glimpse of a hidden waterfall. As they discover more, their envisioned experience slowly becomes clear. A blurry thought becomes sharper. 

Once they are done doing their personal research, they will continue to reach out to people who have first hand experience with the landscape. Is there something that went unnoticed? This step is where a photograph gets a glimpse of what lies in between the lines. 

However, at times, it is impossible to get any worthwhile information from a location as often, photographers are venturing out to secluded, laborious sites. Often, sites that are yet to be fully explored. The unknown is what drives landscape photographers. Granting them a perspective of the world that tends to be unattainable by the masses. Yet, there is a risk associated with these adventures. One can find something or nothing.

Step 2 - Planning

Once a location is sourced, the planning begins. How will one arrive at the location? What equipment is needed to pursue the exhibition? What safety measures are necessary? Does one need to reserve a time slot to pursue the adventure? These are some of the many questions that need to be answered prior to venturing out on the journey. Each holding immense importance in the execution of one’s artistic vision. Contrary to traditional canvas work where an artist can remain within the confinement of their studio, a landscape photographer must take additional measures to execute their intention. 

Step 3 - Preparing

With the location and planning sorted out, a photographer must physically prepare for the journey. Oftentimes, landscape photographers target demanding topographies and altitudes. As such, they must be physically capable to combat the physically draining environment.  

Step 4 - Trip

Now, the time has come for the photographer to begin the exploratory journey. They arrive, explore, and capture throughout their time in the landscape. Often taking time to scope the area prior to snapping shots. As the trip progresses, they absorb the scenic views while further determining the best angels, times, and items to best capture their vision. 

Notably, there is always an associated risk with respect to the trip. For one, the weather disruption can provide hurdles in reaching certain peaks or obtaining a cloudless sky. At times, hampering the photographer's visions. These instances occur more often than not, but adaptable photographers can, in real time, evolve their vision or conclude they must return to the site to complete their vision.

Step 5 - Processing

The processing stage can be anywhere from one day to years, depending on the trip's volume and the photographer's state of mind. During this time, one begins to break down their emotional state throughout the trip, slowly identifying the aspects that they wish to focus on when piecing it all together. This is an integral part of the creative process given that living through the journey is only half the process. How one reacts to an experience carries equivalent weight.

Step 6 - Creating

Once one has identified the emotions they wish to evoke, they begin to assemble their vision. Sourcing through their materials and deeming what needs to be baked into the final product. 

A creator constructs an image to best allow a viewer to partake on an emotional journey. Each layer carries drastic importance and helps guide the eye through the image. Naturally, the eye is attracted by the most prominent/bold elements, with that in mind, a photographer will assemble the composite to push the eye to certain details in a streamline order. 

Step 7 - Editing

The puzzle has been pieced together but now a photographer leverages the power of editing to give it a more natural feel. The intention is not to piece together a colleague but evoke a sense of realism with a splash of imagination. The final step gives the photographer leeway to manipulate the photos lighting, helping to guide the viewer through the image while evoking the desirable emotions. Some composites may be more fantastical, some more realistic, and are dependent on the creative intention of each artwork.

Further, the blending of all sections is extremely important as it will dictate the reaction of the viewer. A blending that lacks natural components will immediately bring the viewer into fantasy, while a blending that is natural will make a viewer question if the scene is real or not. In the end, it depends on the creative intent.

Such a creative process carries similarities to strokes on a canvas. As paintings tend to have iterations and edits through repainting portions of a piece, Composite photography does the same through digital editing. A photographer such as Cath Simrad has the ability to elicit profound emotions via heightening or adding certain colors. A splash of red can bring out senses of danger or internal conflict while blue sheds openness towards opportunity and exploration. This further opens the door to strategically utilizing an array of colors, taking the viewer through a rollercoaster of emotions. More so, playing with the color palates further guides the eye. Typically, eyes tend to begin with colder aspects, later pulled to warm/cool aspects. Photographers leverage the typical flow of eyes to better tell their story by guiding a viewer’s attention to certain parts of the frame. The possibilities are endless. In the end, one is left with the photographer’s remembrance of the scenery. One that holds reality and imagination.

Just as a canvas painter would typically lay down a base color, followed by overlaid strokes and modifications, a Composite photographer does the same with the use of layers. They tend to separate the layers into four main subsections: the foreground, midground, background, and sky. With each layer potentially beholding multiple elements such as clouds, mist, birds, vegetation, etc. Each layer tells a part of the story. A story that a viewer is granted. 

The above is a generic overview of producing a composite photograph within the landscape umbrella. Now let us look into Cath Simard’s creative process, specifically “Gnossienne No.1.”

Cath Simrad Creative Process - “Gnossienne No.1”

Cath’s creative approach with Composite photography has evolved over the last few years. Originally, it started with combining different elements from varying places, including different countries. Now, she prefers to combine elements that are taken from the same area within the same trip. It allows her to retain a certain freedom, while creating an image that represents an experience.

Let’s take Gnossienne No.1 as an example. Pictured below.

Step 1: Research & Conceptualization

The artwork was created from images taken during a five-day expedition throughout the coastal mountains of British Columbia, Canada. In fact, the location was sourced a few years ago via Google Earth which opened the door for Cath’s obsession to blossom. Following immense research and to Cath’s surprise, she discovered that only a handful of photographers have previously captured and ventured to the area. After reading countless trip reports and digging deeper into the topography, she began to create a vision of the ideal image she wished to create. Furthering her research, she discovered a variety of wildflowers growing on the ridge and within the valley. As the landscape’s details become more clear, Cath conceptualization of the piece became clearer; a foreground with a prominent element, perhaps some lupines, a subtle middle ground and an impactful background featuring the peaks. 

At times, the conceptualization and creation of the piece can also be influenced by other artistic mediums such as music, paintings or Artificial Intelligence. For this piece, Cath wanted to emulate a specific musical composition, “Gnossienne No. 1” by Erik Satie, and portray emotions evoked by the beautiful musical composition.

Even with never-ending research and planning, it took about 4-years to pull off this expedition due to its remoteness, logistics, and other elements outside Cath’s control (i.e covid, wildfires, etc.). However, the wait allowed her to simmer different ideas and paint a clear image of the final artwork she wanted to create.

Step 2: Scouting & Shooting

The adventure started with a helicopter drop in the middle of the mountains, far from civilization. The next 6-days were focused in scouting as many compositions as possible while individually capturing the elements needed for the final envisioned composite, one that has already been brewing for a few years. 

The scouting generally took place at any time of the day and involved a great deal of off-trail hiking and scrambling. The goal was to find elements that fit Cath’s initial visions but capture them separately. Then, once Cath found elements she liked, she would come back to each location to photograph them under the necessary light needed to create the image.

For “Gnossienne No. 1,” the scouting started down by the lake, doing a few river crossings, while absorbing the perfect angles and flowers. A few days in, Cath was able to capture a clear night sky, however, she found most of the elements near the end of the exploration - far up the ridge.

The foreground and middle ground were captured at sunset while the background and clouds shot during sunrise. Overall, all elements were taken from varying places, angles, and moments, but within the trip and immediate area. Simply put, each element represents a piece of the 6-day trek, while the final piece showcases the overall experience.

Step 3: Editing

The editing process is where the emotions and memories of the journey are processed. Below are the raw images that were captured during the trip for Gnossienne No. 1.

For “Gnossienne No.1,” Cath wanted to evoke the emotion she felt during the trip and listening to the musical piece. Calmness, melancholy, and mystery with a glimpse of hope and adventure were all focused on. Such emotions are represented through strategic combinations of different layers, colors, and contrast. For instance, the delicate lupines in the foreground in contrast with the prominent, mystic illuminated peaks in the background elicit a sense of calm headed exploration. However, the near absence of the middle ground gives a viewer a sense of vertigo looking down the lake, emphasizing the abruptness and danger of the area which Cath experienced on my occasions throughout the trip. Finally, the different clouds were added to incorporate a mysterious scene to illustrate a misty and chilling late night wolf encounter on her last night camping.

The editing process, which took a few weeks, continued until Cath felt the image balanced on the edge of surrealism and reality. 

The above is an overview of Cath’s perspective and desired emotional reaction. The below is an overview written by Lowkey Ventures, the collector of the piece, and their respective viewers' perspective on the piece. One that carries similarities but sheds light to new details. 

Where do we even start with the exceptional, world-traveling Cath. For starters, let's try to define her style. At her core she is a photographer of nature. But Cath’s signature is her delicate choice of layers, creating a surreal atmosphere. One must not know much of Cath to enjoy her creations as they capture dreamlike moments not experienced by many. However, in our eyes, the magical component of her work comes when one processes the story that Cath meant her viewers to experience.

We recently collected “Gnossienne: No 1”. A piece titled after a song composed by the great Erik Satie. To be completely honest, we at Lowkey had never heard of the renowned pianist and composer till Cath pointed us in his direction. Nevertheless, once recognized, we quickly went down the rabbit hole.

A while back Cath produced a thread laying out his significance in the music world so we will keep this overview short. He is recognized as a disruptor in the musical space, blurring the lines between minimalism and modernism. Overlaying both styles, showcasing that as life has no defined structure, why should music have it. His musical endeavors inspired composers to take risks in their creations. Setting a foundation for discovery. Remind you of anything?

For us, it instantly took us to the 1980s and 90s when the likes of Keith Haring, Kenny Scharf, George Condo, Basquiat, and later Kaws blurred the lines of what defines art. Their artistic influence opened the door for artists to create for the sake of creating, allowing them to express their inner emotions and world perspective through any means. There was no competition to be the top of your class at a prestigious art school nor keep one’s creations within an approved societal box of style. These waves of artists created for the simple joy of creating, showcasing it freely on the streets for all to enjoy.

What went on in the 1980s and 90s is no different than what we are currently experiencing. Making this a great opportunity to acknowledge a special variable of the developing space. Although there is one unique owner, all are given the opportunity to experience a viewer's experience. Traditional/Tangible art has a similar ability, however, digital art in nature lives online. It was designed to be enjoyed digitally. Some may view its digital characteristics as a downfall but we, at Lowkey, view it as its comparative advantage. Allowing one to showcase a piece in front of millions on a day to day basis with hopes of making a viewer’s day better - even if it is just for a quick moment.

What makes Gnossienne: No 1, so special is how the vivid, purple flowers guide you through the piece. Taking your eyes on a mesmerizing journey. Slowly revealing tailored details of each zone - from the raw ground to the bright sky - while building off each other. Perfectly embodying how a distinct segment carries individual beauty but when coupled together, they all create a precious representation of harmony. One that would feel empty if missing a component. Highlighting how life should be experienced together.

Thank you Cath for opening this door of thoughts.

Composite Photography Stigma

Since the creation of photography in the 1880’s there has always been a negative stigma and controversy surrounding its manipulation. Today, landscape photography purists believe that landscape photography should remain mostly untouched, with minimal editing. The controversy and stigma surrounding photo manipulation is usually divided into 3 categories: Photo Editing, Composite Disclosure, and Effort.

Photo Editing

How far is too far? How does one define reality? Where do we, as photographers, draw the line between a photograph and a composite? As we discussed previously, Time Blends are generally used to overcome camera limitations and layer different images that represent a “real” scene. In such a technique, there is a desire to “preserve” reality. However, the action of layering images, by definition, is image compositing.

For some, an image shifts from a photograph to a composite when “fleeting and ever changing” elements are added. These elements can be as simple as mist, rays of light, clouds, etc. For others, it happens when “permanent” elements are added such as mountains, waterfalls, trees, etc. 

In the greater photographic world, there is not a clear definition of what makes an image a composite, with the classification varying between creators and viewers.

Composite Disclosure

Do artists need to disclose if an image is a composite?

In its simplest form - artists should do what feels best for them. Some might prefer not disclosing, keeping the mystery or even as a fear of being “judged” for using editing composite techniques. However, from personal experiences, Cath has found a lot of pride and satisfaction in disclosing when an image is a composite and even indicating its different layers as well as the distinct settings and photography equipment used. She believes education allows people to understand the laborious work that goes behind the creation of such images, both in the field and behind the computer. Not disclosing if an image is a composite may perpetuate the stigma surrounding this art form

Another interesting argument is the use of composites by travel pages on social media. Many times, a travel page will share an image without disclosing if it's a composite or not, possibly deceiving the viewer. Unfortunately, there is no way to control how the media is sharing images, even if composites are disclosed on the artist’s page. They view the images as a marketing tool and will likely continue to do so.

Personally, Cath always suggests photographers to research the places they wish to visit on different platforms, including social media, blogs, trip reports, and books to paint the best picture of the area.

At times, some artists may choose to pass composites as “real.” A famous incident is “Moonlight Dreams” by Peter Link.

In short, indifferent to a photographer's initial disclosure, there is no need to mislead the viewer unless it is part of a “creative performance.” If they ask, be honest.

Effort

The last argument that tends to be discussed is that composite photography can be perceived as “lazy.” Composite photography, like landscape photography, includes many different genres and creative processes. Some require more planning, scouting, and efforts in the field, others require more time behind the computer. Each genre requires a specific skill set which requires an “effort” and it is unfair to generalize all creators under one umbrella. 

Conclusion

The above article’s goal is to provide a high level overview of Composite photography’s technique, history, practice, and current stigma. We believe as “experts” in the arts and “ordinary” observers become more educated on the topic, they will become more open-minded with the practice, slowly understanding the beauty that lies with such creations. 

It is an evolving practice, one building on growing technological advances, and will continue to provide the foundation for photographers to differentiate themselves in the space. Creating imagery that not only makes one appreciate the simple beauty of an eye's view of the world but allows them to delve into their thoughts while creating new conclusions on the world. 

Composite photography isn’t about capturing the pieces of the landscape, it is about capturing the pieces of the self, experiencing the landscape. - Cath Simard