Bruce Jackson's Pictures From A Drawer

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

Sir Sidney Nolan, in full Sir Sidney Robert Nolan (born April 22, 1917, Melbourne, Australia—died November 27, 1992, London, England), artist known for his paintings

The image chosen is selected from the Sonny Brown Collection, under the title of Buildings. The intended subjects for this photograph are, the Evansville Courier Company, Local History, Historic Buildings, and 20th Century Photography. This photo shows a fantastic view of the Courthouse with lightning striking directly above it. It gives me the impression of mystery and suspense, similar to the beginning scene of a movie; leaving me to think that a storm may come, or something more dramatic might happen.

Marcel Duchamp stated that "It was his achievement to treat the camera as he treated the paintbrush, as a mere instrument at the service of the mind” (Biography.com, 2017). In addition, the photogram might seem expressive and abstract, yet on the contrary, it is the precise medium to document the everyday objects in an unrepeatable and somehow uncontrollable way. The artist cannot predict how the selected objects will be recorded under the light sources that were tampered with. From the first glance, the image completely dissociated from its original subject, allowing one’s memory to fill the gap. Yet below its surface, the image is an accurate documentation that captured a moment of psychical intensity. It revealed a new visual experience, using objects in the simplest way. One can say that the use of this medium disclosed reality more preciously due to its invisibility and mysterious representation (The Museum of Modern Art, 2017).

John Davis (16 September, 1936 – 17 October, 1999) was an Australian sculptor, renowned and celebrated as the pioneer of Environmental art, and as an Australian player in the modern art movement: Arte Povera. Arte Povera was an Italian artistic movement introduced in the 1960’s, a time of civil unrest, in which artists took to political radicalism, attacking the morale and value of the government and major industries, challenging whether art, as an expression of emotion and thought, could still fit and exist in our modern world.

Some people refer to Alfred as the father of photojournalism because his photos were good. One could observe classical balances, sharp inequalities of light and shadow, and dominant vectors of confining and expansion, as in the active movement up the street into the space and light of Times Square. Those are the artistic illusions that the photojournalists emulate up to date and will continue into the future (Clpgh.org, 2015).

Crewdson understood how to read images his interest is to understand and reveal secretes about life, his photographs helps establish order within chaos of everyday life.

Photographs are also manifestations of time and records of experience. Consequently, writings on photographic theory are filled with references to representations of the past. Roland Barthes (1981, 76), for instance,

I was drawn away because i felt his series, Pleasures and Terrors of Levitation; giving me chills as if the model themselves were watching me from a distance, staring down each photograph as they stared me

Memories can be as short-lived as the moments that created them. The recollection of events and the deterioration of memories over time is a constant process that cannot be stopped. This inevitable passing of memory is fused to the inevitable passing of human life. Emily Davis’s still life photograph of wineglasses is reflective and fragmented, allowing the image to act as a metaphor for this fleeting aspect of memory through its own memory-like qualities. The photograph is also symbolic of the transience of human life through the use of the traditional symbol of the wineglass, ultimately serving as memento mori.

"Close all shutters and doors until no light enters the camera except through the lens, and opposite hold a piece of paper, which you move forward and backward until the scene appears in the sharpest detail. There on the paper you will see the whole view as it really is, with its distances, its colours and shadows and motion, the clouds, the water twinkling, the birds flying. By holding the paper steady you can trace the whole perspective with a pen, shade it and delicately colour it from nature."

Another thing is, a photographer’s way of seeing is based on what how or what they choose to take pictures of. Determining the way or what we appreciate is really just based on the way we see or perceive something. Another thing that is referenced is how the image or artwork is viewed and how the meaning or reason of it is distorted based on reproduction and where it can be viewed. The actual pictures seem to be remembered more than the reason or purpose of painting the picture at all. This happens because images are “richer and more precise” than literature is.

Photography is the development of the authenticity of photographic images and relates to the personality of what is being represented. Edgar Allen Poe believed that in order to capture a photographic image, the truth must be revealed by those images. He imagines that the photographs acknowledge perfection with close scrutiny. The terms photograph and photogenic are synonymous which further compliment any portrait or drawing. Aerial and linear perspective, light and shade accentuate the model. Therefore, the pictures or images must be the result of this. The real essence of what Poe describes is what is seen is the truth of the sitter. The following three images are examples to describe what Poe claims. “Hermann Biow, Alexander von

In Roger Scruton's Photography and Representation the author establishes the idea that ideal photography is not art. In the same breath he says that ideal photography is not necessarily an idea which photographers should strive, nor does it necessarily exist. Yet, he bases his argument upon the ideal. In reviewing his paper, I’ll take a look at why he painstakingly tries to make this distinction between ideal painting and ideal photography. His argument is based upon the proposition that photographs can only represent in a causal fashion, whereas painters create representational artwork via intentional relations. Scruton manages to create a solid argument, but in the end I’ll decide it is not a fair assumption to say that photographs

The use of photography and paint represent the mask and reality, however, via the use of thin brushstrokes, the line between the mask and reality is blurred. This is representative of how certain characteristics become a part of your reality once you indulge in them. In these portraits Caron questions whether a mask (an act) that is put on for too long becomes a part of the person’s reality or was it always a part of their reality.