The photographs at Harrison photography gallery, I found out that they are both different and similar from what I’ve learned within the text book “History of Photography”. I think they’re the same as from the book because of coloring, mainly in black and white. The difference between these photographs in Harrison’s gallery and from the text book are the sizes of the photos, clothing on portraits and prints. Each individual photograph has its own size and printing process.
-Which photographers are familiar, which are new?
Within the gallery, I was able to spot a photograph taken by Alfred Stieglitz that was familiar to me as we read a chapter on him that I found very intriguing. Aside from his photograph, his camera work book was also laid
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I think viewers such as myself appreciate the idea of letting our imagination go wild and make our own interpretation of what the photograph is or might be and develop our own side story to that photograph. Although most photographers titled their photographs, it’s a lot more fun to be creative as was she/he when they took that photo and thought of its name.
-What does the imagery say about the photographer?
I think that the photographs that the photographers took really tells a lot about him/herself. There were pictures such as flowers, kids, waterfalls and forest. To me, that tells me that he/she must be a very calming and soft hearted person. There were also photographs of people, parks and athletes (Mn Twin baseball) which also tells me that this photographer was a social person who enjoy sports, a good walk in the park and socializing with people.
-What do the photographs say about the area and the era in which these photographs were created?
Photographs taken in the older days from 1990’s were a lot colorless, blind and lacks facial expression. Which is understandable because photography was invented shortly before that time frame compare to now where most photographs are in color, are bigger in size and has different printing
It is said that “The true content of a photograph is invisible, for it derives from a play not with form but with time”. This makes me think that the real content of a picture, which is what the photographer tried to express, is not evident to perceive unless an explanatory text is provided. In fact, I believe that our perceptions of pictures changes over time as the historical context do. In addition, our opinions are never fixed as they are influenced by our environment. Therefore, when looking at a particular picture at a given time, it is certain that our perception of it will be different in the future based on what happen between the first time and second time we saw it.
In “Ways of Seeing”, John Berger, an English art critic, argues that images are important for the present-day by saying, “No other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times. In this respect images are more precise and richer literature” (10). John Berger allowed others to see the true meaning behind certain art pieces in “Ways of Seeing”. Images and art show what people experienced in the past allowing others to see for themselves rather than be told how an event occurred. There are two images that represent the above claim, Arnold Eagle and David Robbins’ photo of a little boy in New York City, and Dorothea Lange’s image of a migratory family from Texas; both were taken during the Great Depression.
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
The authors tell the reader that a picture must be interpreted like an essay or piece of writing. The motive and goal of the author or photographer must be figured out.
Davies images are usually shot from a very high vantage point, this creates vast and extremely detailed views. His images will often juxtapose natural environments with some industrial elements. He wants to create highly detailed and crafted images to convey a sense of reality in his work, but also be made in an understated way. These ideas will allow the viewer to draw their own personalized conclusions. He also gives political and historical context next to his images, but doesn’t show his own views on the changing urban landscapes. One of his famous set of images is called ‘Durham Coalfield’. These images are showing the exploration of the impact of the industry working on coalfields. The set of 33 images is an excellent example of how the composition and black and white in his images makes us perceive them in a whole different way. Image number 14 of the 33 in the set is probably the most famous. The cranes in the background of the image reminds the viewer what he is trying to portray to his audience.
Photography plays an important role in reflecting a society. In the article "Looking at discipline, looking at labor", Eric Margolis talks about the representations of the photos of the Indian boarding schools in the US. Photographs are used to demonstrate the civilization of Native America Native American Children. Not only can we see the change of the students after civilization, but also the oppressive system in the Indian School. The photographs are used as the monitoring tool of the government too. The photographs provide us evident to all of these. We can know these by comparing the photos before the Native Indian Kids go to boarding school and after they attend the boarding school. By contrasting the photos from the two periods, we can see that the civilization of the Native American Indian children is actually an oppressive system.
Different types of photomontages have been around since the 19th century. According to the Oxford University Press, photomontages “can be categorized according to its naturalist or formalist orientation.” Oxford lists Rejlander and Robinson under the naturalist
‘A picture says a thousand words’ this analogy often refers to photographs with immense amount of detail and meaning that it doesn’t need words or any description to exemplify its context. A photograph in particular engages an indicative role into promoting an issue that’s typical of the time. A photograph that highlights copious meaning is evident in Lawrence Beitler’s ‘Lynching of young blacks’. A role of a photograph is to provoke emotions and empathise within the subject of the picture. To do so, famous photographs often accommodate numerous conventions including the historical context, symbolic codes and technical codes. These codes and conventions operate simultaneously to epitomise the significance behind a
I went to the Spectrum art gallery to go observe the photography. The art gallery displayed the work of two photographers, Jonathan Rollins and Patrick W. Rhames. Jonathan Rollins photography’s theme was eclectic perspective. His photography was both in color and in black and white. Rollins work was also more based on nature, unlike Rhames’ photography. In his photography there were a lot of pictures of National Parks such as, Yellowstone and Yosemite. On the other hand, Patrick W. Rhames photography’s theme was Wandering in Archival Pigment. Rhames. Rhames photography was also in color and in black and white. Although Rhames Photography was also done outdoors, he focused more on objects than nature. For example, he focused on light houses,
In spite of this, a few photos with high detail, Henry McArdle’s The Battle of San Jacinto and Private Gustavus Sohon’s Crossing the Hellgate, were reduced to a size that didn’t properly support the authors’ written investigation of the artwork. In addition, certain photos were excluded from the book; Fanny Palmer’s illustration Across the Continent, though described, is nowhere to be seen for instance. It is frustrating to read about an artwork with no representation of it; it is further aggravating to discover that the designer of the book placed photos pages away from the writing in an inconsistent way throughout the
The photograph is a very powerful medium. The French painter Paul Delaroche exclaimed upon seeing an early photograph “from now on, painting is dead!” (Sayre, 2000). Many critics did not take photography seriously as a legitimate art form until the 20th century. With the
Some of his photos are very abstract, either overlapping two pictures and have one faded out or having multiple shapes make you look at every aspect of the photo. Other pictures focus on the simplicity ideas and parts of life. There are pictures of walls, trees, buildings. All of these pictures are in comparison with lines and shapes.
The first of the four was daguerreotype. A heavy and non flexible and fragile metal plate it was one of the least popular types of photos to get just because it was so fragile. The second was
Abstract: This essay reflects on the relationship of photographs, history, and memory based on a found and mutilated photo album. Photographs provide opportunities for disrupting and restructuring history with their attraction to memory; they privilege the subjective, creative power of the personal explanation and provide an emotional and even ideological grounding for memory. Photographs as manifestations of memory assist in the process of understanding the present.
This article from the New York Times, published in 1862, criticizes Alexander Gardner’s photographs that were displayed in Mathew Brady’s New York exhibit. It includes insight from the publisher that depicts the effects Gardner gave the public through his photos. This article was written at the time that his pieces were actually displayed, therefore it presents the real-time feedback that Gardner's photographs received. This article is found in the official archives of The New York Times, making it a reliable source.