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The photographic image has become integrated into society to the extent that some scholars believe that photorealism is the bedrock reality in which we live today. The visual world has become so saturated with photography that, should one omit its presence in contemporary communication, messages would seem incomplete.

This surfeit of photographs surrounding us poses the question that is ‘Fine Art Photography’ not an oxymoron?  If fine art is unique objects conveying messages of social importance, does the mass-reproducibility and social inconsequentiality of the majority of published photographs not present you with the nemesis of fine art? How then do you differentiate between art and spam?

Even though countless photographs falling under the heading of ‘fine art’ have photojournalistic merit, not all documentary shots can occupy the category of fine art with the same irrefutable stead. What distinguishes the fine art photograph from the rest is its ability to preserve a timeless truth that holds within itself a concept, which stands independent of any sub-texts validating its existence. The Fine Art Photograph’s conceptual eloquence and ability to facilitate some sort of transcendence in the viewer is its primary reason for being

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