The Art of Light, Shadow and Storytelling: Inspirations from a Quarter in Fine Art Photography
Photography, Philosophy, Fine Art, Resilience
The start of the year often feels like a slow inhale—a pause before momentum builds. It's a time of reflection, of fine-tuning creative instincts, and allowing inspiration to seep in from unexpected corners.
I want to take a pause and reflect on what inspired me this quarter.
For me, this first quarter has been rich with artistic exploration, particularly within photography and fine art. My thoughts have centered on color grading, composite narrative images, fine art portraiture, and the philosophy behind photography itself. Here’s what has fueled my vision and creative process these past few months.
Photography as Philosophy
More than ever, I’ve been contemplating the deeper essence of photography—not just as an act of capturing but as an act of interpreting, of translating light, shadow, and color into something beyond the moment. The idea that photography is more than representation, that it can be a bridge between experience and emotion, continues to drive my work. I’m drawn to the tension between presence and absence in an image, the way a photograph can suggest a story that extends beyond its frame.
The Power of Color: Grading and Theory
Color grading is an obsession of mine. The process of manipulating hues to evoke emotion fascinates me, and lately, I’ve been studying how great painters approached color. The Impressionists, for instance, didn’t just depict light—they interpreted it, bending reality into something felt rather than simply seen. Translating this into photography means understanding that colors are not just aesthetic choices but narrative devices.
I’ve also been revisiting seminal works like Johannes Itten’s The Art of Color and Josef Albers’ Interaction of Color, both of which reinforce the idea that color is never absolute—it shifts based on its surroundings, much like how context reshapes meaning in photography. This interplay has influenced how I approach my work, particularly in post-production, where the tonal shifts can define the soul of an image.
Fine Art Portraiture & Narrative-Rich Composite Self-Portraits
A significant aspect of my creative process this quarter has been fine art portraiture, specifically the creation of composite self-portraits imbued with layered narratives. These portraits are more than representations; they serve as visual storytelling devices, blending elements of memory, identity, and introspection. I’ve been exploring how portraiture can be manipulated to transcend its traditional boundaries, crafting images that feel both deeply personal and universally resonant.
Through composites, I can weave multiple moments into a single frame, constructing portraits that exist beyond linear time. This approach allows me to shape an internal dialogue within the imagery—one that invites viewers to interpret, reflect, and project their own narratives onto the work.
There is a possibility these particular works will be featured in an exhibition so for now I am embargoing them, but look forward to sharing them with you at some point.
The High-Contrast Aesthetic: Geometry, Negative Space & Texture
Recently, I’ve been drawn toward a high-contrast aesthetic, where stark light and shadow interplay with strong geometric compositions. There is something deeply compelling about the way negative space can sculpt an image, allowing forms to emerge with striking intensity. The juxtaposition of sharp angles and textured surfaces adds another layer of depth, creating a visceral experience for the viewer.
This fascination with high-contrast imagery ties into my broader exploration of the sculptural qualities of light—how it can be used to carve out shape, movement, and emotion. Whether in fine art portraiture or abstract compositions, I’ve been pushing the limits of how light and shadow define a scene, reducing an image to its essential visual language while maintaining an immersive narrative quality.
The Intersection of Light and Material
Light has always been the true subject of photography, but I’ve been especially captivated by how light interacts with different materials—glass, water, fabric. Inspired by the works of artists like Anthony McCall and his ‘solid-light’ installations as well as the incredible compositions of Niko Luoma, I’ve been thinking about how photography can move beyond the two-dimensional. How can light be made tangible? How can it carve space within an image? These are questions that continue to shape my photographic experiments.
The Evolution of AI and Photography
Artificial Intelligence is transforming the creative landscape. While I remain rooted in the physical act of making images, I can’t ignore how AI-generated art is being embraced by the fine art world. The recent exhibition of AI-created works at Gagosian signals a shift in perception—what defines authorship in an era where machines can generate compelling visual narratives? I find myself both intrigued and cautious, considering the philosophical implications of AI in storytelling and its potential to augment human creativity rather than replace it.
Personally, I've only used AI for planning and research to date. I haven't delved into Midjourney or any other AI generation tool or platform. I feel that the use of cameras, light and post-production techniques satisfy my creative urges more than adequately and I haven't felt the need to delve into AI generation per se.
The Photobook as Crystallization of Work & Time
This quarter has also seen significant effort dedicated to the creation of a photobook—a tangible crystallization of a body of work and a stamp on a moment in time. While digital spaces allow for infinite revision and reinterpretation, the permanence of a photobook demands a certain finality, a commitment to a particular sequence, tone, and narrative. The process of curating, refining, and printing a collection of images has reinforced my understanding of photography as a storytelling medium, one that transcends the ephemeral and enters the realm of the archival.
Bringing this project to life has been both challenging and rewarding, forcing me to consider how images converse with one another across pages, how sequencing impacts interpretation, and how the tactile experience of a book differs from that of a screen. It is a deliberate act of preservation—a visual and emotional document that anchors a period of creativity in something physical, something that can be held, shared, and revisited over time.
What Didn’t Work This Quarter
Not everything fell into place smoothly. One of the biggest decisions I made was parting ways with my literary agent. While representation is often seen as a crucial part of an artist’s journey, I came to realize that alignment in work ethic is just as important as professional connections. My approach is rooted in open communication, transparency, and a drive to make things happen, and I didn’t feel that synergy in our collaboration.
Letting go of that relationship was a necessary step in ensuring that my work continues to move forward with clarity and momentum. It was a difficult but ultimately empowering decision—one that reaffirmed my belief that the right partnerships are those that foster mutual respect and a shared vision. Sometimes, progress means knowing when to walk away.
Final Thoughts
Photography, at its core, is a dialogue with time. It is a medium that captures, but also constructs, reality. As I move forward with my projects, particularly Days to Live, I find myself constantly re-evaluating what it means to create images that resonate on both an aesthetic and emotional level. This quarter has been one of deepening artistic inquiry, of refining techniques, and of pushing boundaries—both within my own work and within the broader conversation of what photography can be.
Until next time,
Rand
If you'd like to delve deeper into my photography visit my website and Instagram (@randleebdutoit). Please reach out if you'd like to suggest a collaboration.
All images are copyright Rand Leeb-du Toit, 2025