Response By Martha Rosler Summary

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

Art is such an eternal concept and part of our lives. It lives on through generations, transcending many periods, and can speak through many mediums. Art is a way of expression, when nothing else can capture, but is something that can be interpreted in many ways. I chose photography—that which best portrays mankind, in that it hides nothing and only shows what is there to begin with. “It is the language most readily understandable to all and our most important form of communication among nations and cultures.”(Schuneman; Koner 59-60) Two excellent representations of this is a street

A photographer’s job is to capture a moment in a tangible form in which can last forever, perhaps in someone’s memory, or digitized in someone’s phone or modern museum and shown to the public. No matter the type of photographer, they will always take a photograph of human emotions, whatever the subject. Pepper No. 30 by Edward Weston is a simple picture of a bell pepper. What is less known about the photograph is that the exposure had taken up to six hours with an f-stop of f/240 (PetaPixel). Every piece of art always has a literal meaning based on what is immediately shown. In seeing Mark Rothko’s paintings for the first time, you feel that you can slather paint on a large canvas just as Rothko did and sell it for millions of dollars. Both

Since the invention of photography, photographers have worked to capture real life for audiences everywhere. They attempt to convey moments of emotion in order to tell or emphasise a story and transform written words into something visual. Newton (2006) argues that human beings are driven by a ‘vision instinct’ and that photojournalists purpose should be to show the truth.

Dina Litovsky is an American photographer who’s works examine and capture social behaviour and interactions in individuals and groups in both public and private settings. An example of her works where she captures aspects of social behaviour can be seen in her collection “Untag This Photo” which investigates how public behaviour has been influenced by the accessibility and availability of media and technology especially digital cameras and smart phones (Litovsky, n.d.). The image above is from this collection which captures a group of three who appear to be taking a photo on a camera and an individual on the right who is sitting along looking isolated. This image reflects social ideology which is the cultural values and freedom associated with

Photography is a great source to have for reminiscing on your life. However, it doesn’t accurately depict reality. It has the ability to deceive society of what is really happening around the world and often times has become a “form of mental pollution.” It’s hard to grasp any form of knowledge that isn’t “sentimentalism” because pathos is being used more in pictures, and hiding the truth of the situation. For example, propaganda has been around for a long time. Its main purpose is to lead you to believe something that is everything but the truth. Thus, no political knowledge is gained because due to the fact that people accept the “the world … as the camera records it” because they think it does not harm. Life has to be experienced without

In conclusion, the relationship between recording a photograph and the persuasion that this photograph has on the public is very important, there needs to be a balance in the middle for them to work. Photographs that are recorded will usually ‘fail’ in making a difference as they will be too subjectively recorded and will never completely be objective enough and therefore goes against everything that a documentary photograph is, the photographer should not base documentary photographs on something he has seen in past experience or try and manipulate in anyway. The same with photographs that are taken just to persuade tend to not succeed in making a change as the public are now desensitised to such photographs as they are something that is seen

In the modern era, the development of photography is mature than ever before. They can be easily found on various devices and forms, smartphones, video game consoles, magazines, newspapers, and much more. We, human beings are used to it, It’s been part of our lives for decades. However, during the early stages of photography, when the general public were still adapting to this brand new technology, there were a lot of challenges and struggles that photographers at that time need to face. As Galassi

From the Early Photography--Smart History, "Photography is a controversial fine art medium." Joseph Niepce, a Frenchman, developed a light sensitive surface and the basic principle of photography was born. Many thousands of years prior to photography, men and women desired to capture chronological events in a documentary form to enlist viewers both past, present, and future into their everyday lives. Photography is similar to paintings, drawings, and printmaking in the format that individuals are translating what are in depth desires or visual avenues to portrayed for alternate pathways to enrich our lives. According to Google, "Documentary photography usually refers to a popular form of photography used to chronicle events or environments

When photography first began, it was recognized as a medium in which one could capture and preserve a moment in time. Photography was seen as the revolutionary way to document reality; events, places, and people. Soon, though, artists got their hands on cameras and shifted the way in which photographs were interpreted. No longer was photography only a tool to create images of the embodied world, but it became an art medium for the imagination, just the same as paint and pastels. The once honest and trustworthy photograph became a piece of artwork that could capture more than what the human eye deemed authentic.

Roland Barthes’ analysis of the photograph in Camera Lucida is based on his introspective experience with photography’s appearance. The book consists of reflections of emotions felt during his experiences, which essentially defines a phenomenological approach. Phenomenology, according to David Woodruff Smith, is concerned with the “things as they appear in our experience...thus the meanings things have in our experience”(Smith). For photography, the appearance of the photograph is produced through the physical relationship between the referent photographed and how it is imprinted in film. Therefore, in the experience of a photograph for Barthes, the sign is determined by that physical relationship. Although, Barthes analysis of the photograph includes both indexical and iconic aspects, this paper seeks to argue that the indexical aspect of a photograph is the prominent sign of the photograph because of Barthes’ phenomenological approach to photography. To be clear, I am analyzing how Barthes perceives photography as indexical from his phenomenological approach and proving how it serves the indexical sign.

It has been well established over the years that paintings are without a doubt considered an art form. However, questions still arise about the nature of photography and how it can affect people’s view and the way it connects them to a world only seen by an image. After all, photography from the start, was meant for documentation purposes. One could argue that someone sitting and painting a landscape is just documenting reality. I understand why some people might argue that photography is not artistic and why they are images that might have been manipulated or not truthful. Photography is artistic because it works to represent and transmit ideas of what the truth is to the artist and how the person perceives and engages with the image.

121) , Although he opted to be a painter, such for the sensation of ‘…there is nothing there to start with’, Photography allows the artist to mechanically draw a subject matter, In this case Urban Photography, creating a flexibility and ambiguity to the scales of urban spaces. It allows the photographer to create an intimate relationship with the drifting of space and capturing time in its essence. However Photographers were regarded as technicians and not seen as artists, but the class of the modern-day photographer challenged the perceptions drawn out in the earlier years of the photograph, and produced it into an art.

Not only the advancement of publishing text, but also imagery, and I will focus on photography. Photography is the common possession of human since the 19th century. The purposes of creating photographs are numerous. The distinctiveness of photo taking creates different meaning, which had its power to influence the society.

As it is known, an image most of the time, has a signifier and signified and this significant photography is undoubtedly rare case. Especially today, in the era of endless images of production due to the ease of digital media. Regardless of its rarity , any major photo bears the characteristics of an artistic work, namely the living experience of the photographer and the codification of this experience in a way that the viewer, as converses with the photographic work, creates congenital content with the original meaning while is related to his personality and his experiences, so a basis for questions is created. This process clearly requires culture on the part of the author but also on the part of the viewer. Any significant picture is in the same time unique. But it would be somehow restricted to stand only there. It can be generally accepted that the significant picture does not need mentoring from others but that does not necessarily mean that if accompanied by other images, strictly selected, will lose something of its value. The indirect relationship of photography with the Silent Cinema (not the Cinema of the sound era) and modern ways of presenting a photographic project, can become allies in creating a work of art that bring data from both these arts, without catalyse the basic structures of photography as an independent art. The main advantage of this procedure, if done consciously and in a proper way, is the exponential growth of content that will probably