Before concluding that photography cannot be art, Objectivists might want to familiarize themselves with some of the techniques used by famous art photographers like Jerry Uelsmann, Laszlo Moholy-Nagy, Bill Brandt, Man Ray, etc. Photography, even back in the old pre-digital days, has never been limited to reproducing “various aspects of the given, i.e., of an existing concrete” as Rand suggests.
Anything that can be imagined can be produced on film, including without photographing actual existing objects, by using techniques such as multiple exposures, orthographic masking, projection and in-camera masking, time exposures, color and distortion filters, dodging and burning, negative and positive film alignment, etc.
Here’s a simple example of a photo that I created (in the early 80s when I was first exploring experimental art photography) of something that didn’t exist in reality:
http://farm1.static.flickr.com/73/212794949_c4a5801970_o.jpg
It’s not a real flower, and it wasn’t made of any real objects. It’s not a cutout, and it wasn’t drawn, painted or in any other way rendered by hand. The image was created using nothing but lights, lenses, film, filters, a light table and various exposure techniques.
But beyond the issue of being able to create a photograph of anything that one can imagine without photographing the “given,” I disagree with the common view among Objectivists that photographing real objects cannot be an act of “selective recreation of reality.” Here’s an image in which a photographer created a romanticized fictional scene:
http://farm1.static.flickr.com/22/96847642_9f52d710d1_o.jpg
Clearly it’s a “selective recreation of reality” and an imaginative “visual conceptualization” in exactly the same way that a movie is. So, even without special effects, still photography that is fictional or symbolic is just as valid an art form as fictional or symbolic motion photography (which Rand recognized as a valid art form).
J