Spinelli's Phōtosgraphe

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).

The documentary What Remains follows photographer Sally Mann’s life over a span of five years as she balances being a mother, wife and photographer. In the film viewers are able to get an intimate glimpse of Mann’s creative process as she captures various images of her loved ones, landscapes, and even a new series that explores death. In this paper I will discuss Mann’s work detailing the criticism it receives as well as how my experience as a novice photographer parallels hers.

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).

One of the reasons I enjoyed this exhibit so much is because several pieces involved the viewer. There were two artworks of similar style that I was immediately drawn to, which I later noticed were by the same artist. Adam Fuss is the creator of these colorless photographs and though they share similar physical characteristics they have different meanings. “Untitled” (2002) was an image of a skull and “Home and the World” (2010) showed an image of a mattress. From a distance, I saw what looked like shiny aluminum surrounded by a picture frame. As I got closer I could see an image almost jumping out towards me, but only when the light was hitting it at a certain angle. I could also see my reflection in this mirror-like creation. This type of art is called a daguerreotype and is one of the earliest forms

This is a Book that entails Kiki Smith’s never-seen images. The artist (Kiki Smith) gives insight to how her work was processed. And how she was moved in the direction, as far as scheme of colors and so forth. Allowing viewers to have a vivid eye on how and why she did the things she did when taking her

In the world we live in today, anyone can pick up a handheld video camera and record their son’s soccer game or daughter’s school play, but to really capture the beauty of an event takes true talent. It takes the expertise of a cinematographer or director of photography as they are also known, to capture the true essence of an event and scene. Thomas Edison even once said, “By faithfully reproducing and kind or type of movement, it [cinematography] constitutes man’s most astonishing victory to date over forgetfulness. It retains and restores the things memory alone can’t recover, not to mention its auxiliary agencies: the written page, drawing photography. … Like them, cinematography prevents the things of yesterday that are useful to tomorrow’s progress from sinking into oblivion; amongst these one must count moving things, which only a few years ago were considered impossible to fix in an image” (Neale, 54). A picture, whether it be a photographed image or a filmed image is nothing when it has not been looked at with the proper eyes. When expressed through the proper lens and eye an image can really be worth a thousand words.

The world has been mesmerized by a photograph’s ability to show event after it has

“Images are proof that photography matters—now more than ever” (Draper, National Geographic). I have committed myself to a Visual History project since my grandma passed away. Capturing dramatic moments that will influence the minds of viewers is a mission I am dedicated to. I spent weekends documenting ruins of urbanization- abandoned facilities, houses, and locations; I collaborated with a non-profit organization to capture penury; I traveled to record the profligate 1%. Such a photo project is definitely not easy to work on, both emotionally and technically. If what propels me is ferocious determination to tell history through transcendent images, what encumbers my quest is an enumeration of obstructions: away from home for weeks at a time, missing birthdays and holidays, my team and I found ourselves serving as unwelcome visitors to both rural areas suffering abject poverty and fancy restaurants in metropolis. Regardless, the reward of being an activist is obvious – every time I click the shutter button I create a photo that has impact on society. By viewing an epitome of reality, the public can no longer avoid caring. My work over time reflects differentiated passions: exploration and destruction, bottom labor and the 1%, the urbane and the bucolic. By wresting a precious particle of the world from time and space and holding it absolutely still, these photos transport us to the unseen, such

Though, this only inclined her behavior and her competitiveness grew at an enormous rate. Cesily worried for her daughter’s safety, thus on their thirteenth birthday, she awarded her with her first camera and gave Saffron camcorder- changing their lives forever. The word photography is defined as the art or practice of taking and processing photographs. To Caraway Clove- it’s more than just a craft. It’s more than just possessing a camera in her hands, and her hazel blue eyes against the eyepiece. With photography, it was taking your time to focus on a single element, watching how it moves, and how you can change your point to view. The fine art bestowed the chance of a lifetime of altering life by holding time still, something Cara desperately wished she could do. With a single snapshot, she could capture the beauty a flower beholds and tell a story. A single picture can be the loudest scream. Photography transcends time. It takes you to places you have never been. It makes the world a smaller place. When Caraway photographing a landscape, Saffron, plants, animals or the stars in the sky; Her worries in life just fade away and she becomes one with her subject and the

Since the invention of the camera at the beginning of the 19th century, we human beings have felt the need to capture all of those objects, people, landscapes or situations that make a certain impact on us. The objective of photography has changed from documentation of events, such as the first war photojournalism records from Crimea in 1855 , to nowadays’ “casual, improvised, fast” photographs –usually selfies– taken “to be seen here, now, by other people, most of them unknown, in social networks” . Capturing a picture of what surrounds us is not only aimed at reaching popularity –like most of today’s celebrities– but also aimed at keeping a record of what could be relevant for us in the future. This is exactly what Martín Chambi does with

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

John Berger once said, “One can play a game of inventing meanings.” He was conveying the idea that when one person interprets a photograph to have a particular meaning, the same picture might have a varying level of significance to another person. In our culture today photographs take on many roles, both traditional and new. They are used to tell a story and are a port into a particular moment. Photography allows us to see past initial perceptions and make connections to our everyday lives. All photography is subjective to different views and therefore contains a set of diverse meanings. In recent years photography has taken on a more significant role compared to past generations; it can be used to express these diverse views, and connect people from all different cultures and backgrounds. We take pictures of many distinct and sometimes trivial moments that have a powerful meaning to us, and that meaning can now be shared with the world.

“Photography is the ability to enclose what you have seen in the frame, but the ability to

Untitled is freighted with untold stories. You feel the gentle breeze along with the heat of the day; the stale grass; the mute mutterings of the wind; and that moment smothered under the weight of its sheer lassitude. This portrait is somewhat less of a person or place but more of a single moment in time. He never has diminished what he sees but somehow enlarges both the trivial and the momentous. By supposing that photography is at its most vibrant when it seeks to understand not just a setting, but a single moment in time; or even just an feeling, or hard-to-place emotion, Eggleston makes the case for photography engaging on a deeper emotional level than simple aesthetics.

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.