Have you ever taken a picture or been looking through a photo album and felt a sudden rush of emotion? Do you wonder what caused that emotion? Many find themselves captivated by a photograph and overwhelmed by the emotions that the photograph arouses. Believe it or not the arousal of emotion from those photographs was not caused by the content of the picture but by certain elements within the photograph. When a photograph is viewed it is not only the subject that triggers the overwhelming emotional response, it is the length of time that the film was exposed to sunlight, the way lighting is used and played with, and the strong detail of colors or lack thereof. While many believe that the subject acts as the primary stimuli to emotions, the
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.
Uelsmann’s work was not well received in the photography community. His creations were not considered photography; however, he was well received in the art community. John Szarkowski hosted a solo exhibit at the Museum of Modern Art in 1967. Uelsmann was considered “iconoclastic” and “set out to convince critics that photography offered alternatives to the conventional “purist” sensibility…” Uelsmann debated that photos could “evoke elusive states of feeling and thinking triggered by irrational and imaginative juxtaposition” (Kay). Uelsmann has succeeded in finding a following among photographers and artist alike. In the past forty years, Uelsmann’s work has been exhibited in over 100 solo shows throughout the US and overseas. He has permanent instillations in museums worldwide (Taylor). Uelsmann’s photos are now revered for their original technical form as well as their surreal matter (Johnson).
Early Landscape photography used the same principles as painters in order to create pieces of art. Before the 18th Century, artists used landscapes as backdrops and as a frame for the principal subject. Towards the later part of the century, however, artists such as Nicolas Poussin started to romanticize the environment, instead using it as a principle subject in paintings.
No matter it’s effect, photography was and is very pivotal throughout society. Photography can be a beautiful but yet haunting form of art. It displays an image which is characterizing
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
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,
When going for a walk, a person takes in the beauty around them. On this particular day, the refulgent sun is extra bright, making the sky a perfect blue. White, puffy clouds fill the sky, slowing moving at their own pace. The wind is peacefully calm, making the trees stand tall and proud. There is no humidity in the air. As this person walks down the road, they see a deer with her two fawns. The moment is absolutely beautiful. Moments like this happen only once in a great while, making us wanting to stay in the particular moment forever. Unfortunately, time moves on, but only if there were some way to capture the day’s magnificence. Thanks to Joseph Niépce, we can now capture these moments and others that take our breath away. The
What is a photograph? The simplicity of taking a photograph leads many to ponder its artistic value. Yet, it is undeniable that there are some photos that cause an emotional reaction deeper than simply observing a recorded point in time. Surely, there are photographs that cause more reaction than some modern art pieces. There seems to be two types of photographs. The first classification is the ‘time capture’ photo – an image with the sole purpose of recording a particular event or point in time. The second nature of a photo carries a ‘deeper meaning,’ which has the ability to change the observer’s mood and cause a reaction. But what distinguishes these two varieties? There are a
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
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
Between the use of film or digital photography, film is the more effective method when looking for originality and creativity. With the adoption of digital photography, the younger generations, as well as the older and more current photographers are becoming lazy. These groups must recognize that the art of the photograph is being jeopardized by the digital camera and the camera phone. For the current photographers as well as amateur photographers, this essay will serve as testimony to film as well as other chemical methods, and how they shouldn’t be ignored, but preferred. The digital era has had a massive impact on the art world and all of its mediums, but for photography this impact has resulted in the removal of the human from the photograph making process. This intimate process is what makes it an art form. All of films imperfections and unique qualities, as well as its monetary value and scarcity are just a few factors that have made it so precious. To replace this entire process with a microchip is offensive and undermines the importance of the process that is needed to make a photograph. Anyone can take a picture but you must make a photograph, and this skill is being simplified to a digital camera. The impact of the digital era on photography has hindered the process of making a photograph; painting the art form obsolete in today’s society.
Benjamin’s death in 1940 at the age of 48, is rumored to be a suicide when the Naza’s took office, but is still a mystery. His ideas and concepts however, would live on for decades to come. Much of what he wrote about when discussing art came essentially after the development of photography and film. In his work, “Art in the Age of Mechanical Reproduction,” Benjamin addresses his perception of the changes in art and the aesthetic experience congruent with societal changes. He writes with concern of how the great artworks are viewed after the introduction of photography and film. His idea of mechanical reproduction changed the art world as society knew it, particularly in how the public views artwork and the value of that work as more and more people are able to own, view and discuss it. This paper will specifically look at aspects of Benjamin’s groundbreaking essay and how educators can relate his ideas to the practices in their art classrooms.
Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of