Dissolution Chambi's Self-Portraits

A reoccurring topic of the essays, concerning photography, discussed during the course is the future of professional photographers/photojournalists. Some believe that the easily accessible spread of amateur photography can and has put a strain on the works of professionals. However, with magazines such as National Geographic still in print after

Another significant reason that has played a vital role in photojournalism of recent times is the emergence of imaging technologies. Imaging technologies has undoubtedly played a major part in the works of a photojournalist today. Based on earlier accounts on how photography itself is an inherent manipulation, the question is no longer directed on ‘how has imaging technologies manipulate photojournalism' but ‘how much more has imaging

Photographs are re-collections of the past. This essay is about photography, memory, and history and addresses the relationship between photographic images and the need to remember; it is based on the notion that seeing is a prelude to historical knowledge and that understanding the past relies on the ability to imagine. At the same time, the role of thought and imagination in the production of society--as reflected in the earlier work of Louis Althusser (1970), Maurice Godelier (1984) and perhaps more significantly, Cornelis Castoriadis (1975), suggests yet another role for photography in the construction of a social and cultural reality. Photographs in capitalist societies contribute to the production of information and participate in the surveillance of the environment where their subjective and objective qualities are applied to the private uses of photographic images in the perpetuation of memory.

The camera plays a vital role in the documentation of history by providing a record of actual events happening in that moment of time. Photos are validation to the memories. The tangible impact of photography on the society after the introduction of the 35 mm film in the 1920 was numerous

Critically analyzing of visual media artifact investigates visual culture. An analysis entails image interpretation of image equally applicable to genres of photographs as form of advertisement. In this paper, I will critically examine photographs. According to Barrett (2011) he suggested that critic starts with description that involves developing a list of facts concerning the subject matter within the image. Description is a data gathering process of photograph (p. 17). It’s also establishing a typology of the photograph’s content matter. Similarly Bathes’ (1977) suggest that “all images are polysemous” (p. 38) because of the subject matter, hence creation of complexity for visual reader in making decision what aspect to read, pay

The camera has not always been here. Before it was created there were no; picture ID 's, portraits of people, pictures as souvenirs of travel, celebrity pictures, advertisements, x-rays, images of outer space, images of foreigners or exotic people, images of sports, war, or disasters. Without the camera, nothing was really documented, so no one could understand the event in the future (Garner). Before the camera was invented, there was no way to photograph any historical event or historical person. As people tried to study different events or people, they found it hard to imagine the person or the event. Life without the camera meant, there was no way to show future generations a person or event in history, unless someone had painted a picture (Herubel and Buchanan [Page 239]). Without the camera, this world would be a vividless, dark, and gray place to live with no remembrance of anything.

Introduction John Szarkowski’s book, the Photographer’s Eye, is principally an examination of the various impressions often given by photographs. In particular, the investigation entails the study of both photographic styles and traditions. The origination of photography predominantly provided a completely new picture-making technique. However, the unique realm of photography has considerably changed from what it was in the mid-1960s (Marien 417). Today, the field is characterized by galleries, museums, college and university programs, as well as the rapidly increasing market values. All the pictures reproduced in the Photographer’s Eye were made for a number of reasons within a century and a quarter by different men with varying concerns and talents. In the book, John Szarkowski also addresses five codependent features of the photographic images. Specifically, these include: The Thing Itself, The Detail, The Frame, Time, and Vantage Point (Grange 4). These features are believed to have contributed to the establishment of various vocabularies and critical perceptions more often associated with the world of photography.

Since its inception, photography has been used to capture moments in time all around the world. This wonderful technology has existed since ancient times, and has only improved in recent history, changing society in the process.

Our society seeks satisfaction in the form of instant gratification rather than long term happiness and sadly, these techniques are materialistic and produce results that are very short lived; viewing my work in photography will help people overcome this obstacle. As something becomes of worth to a person, he begins relying on that thing as his

Smoke and Mirrors: Manipulated Realities Photography is an art form that plays with the mind. Photographs are perhaps one of the most layered and contradictory objects we can see around us. They represent reality, but yet somehow they don’t - they don’t capture the whole of reality, rather just a snapshot of it. There is always a constant battle going on between the two photographic considerations: make the photographed object look as beautiful as possible or tell the truth. What a picture finally really shows is never the exact situation as it really was, but it proves to somehow represent it. This treacherous and ambiguous relationship with reality is what makes photography interesting, yet so astounding; it raises questions about the

Photography in itself, is a means of communication, it can be used in a variety of ways in order to narrate the world around us [Campbell, D (2010)]. As a species, humanity itself has proven to be visual beings, creating pictures across a variety of mediums in order to express ourselves and represent what is happening in the world around us. Images, whether they be paintings, drawings, or photographs, have played and continue to play a very important part in our society, as everyone is able to understand the image and interpret the story from it, despite barriers such as language which may prohibit initial communication, and the work of scholars and anthropologists, and even consumers of visual culture work tirelessly to decrypt and derive meaning from these mediums [Perlmutter, DD (2003)]. Analysis and understanding of the signs that can be present within these phenomena is known as ‘semiotics’, which is derived from the Greek word semeion, for ‘sign’. It can be applied across a broad range of cultural mediums used in communication. Semiotics stresses the open-ended possibilities for any interpretation and the indeterminacy of meaning that can be taken from visual cues, and within photography, signs and visual communication of a story is paramount [Semiotics (2010)]. But is photography, in particular, landscape photography, able to convey the fullness of a story, and can everyone interpret the images and signs within those images the way they were meant to be understood, or

Digital Imaging Digital imaging inevitably undermines photography’s status as an essentially truthful medium. Discuss. Until recently, at least, it was possible to define photography as a process involving optics, light sensitive material and the chemical processing of this material to produce prints or slides. Today though, that definition is subject

It asks the potential of photographs to represent a bond between the photographer’ s self and the land with photographic texts that

Photography today is now a key tool seen as a form of expression, an art, or a hobby, but most importantly as a significant part of a

Although the relationship between travel and photographing can be traced back in the distant past, the practice of recording experiences in pictures has become especially popular after the Great War. In England from the 1920’s to the 1940’s tourism in the countryside grew dramatically, at the same time cameras were made available to the average household. Individuals lost their dependency from professional artists and photographers, and got the power to photograph a scene according to their perception (Taylor, 1994). With the continuous expansion of urban centres the appeal of rural, undiscovered and unvisited places grew side by side. In a world where changes were too fast to comprehend, people sought refuge in the past and saw the camera as a way to capture the past and take it home with them. Not much has changed since that time. These days people from different social strata still seek for untouched places and authentic experiences, where they can “feel themselves to be in touch both with a ‘real’ world and with their ‘real’ selves” (Handler & Saxton, 1988, p. 243), and photographs are believed to have the capability to capture the spirit of the place and to reproduce what was seen or experienced (Robinson & Picard, 2009).