Changing image

William Eugene Smith was born on December 30, 1918, in Wichita, Kansas. He had passion for photography; he went above and beyond extremities to carry out his work. “As a photographer he was superb, as a man he was terrible.” He chose to be a famous photographer instead of a good husband and father. After taking one beautiful photo he learned to make multiple “photo essays.” Eugene Smith had passion and integrity for his work. Smith’s work in photography began at age 14 photographing airplanes

Diane Arbus is known for her thought provoking and psychologically inducing photography; however, this was not always her name. During the year 1923, in the roaring city of New York City, David and Gertrude Nemerov had a beautiful daughter named Diane Nemerov. Besides Diane, David and Gertrude had two other children: Renee Sparkia and Howard Nemerov. Renee went on to become a sculptor and a designer, meanwhile Howard became a Pulitzer Prize-winning poet; these two individuals demonstrated exceptional

are completely valid and accepted as forms of art. The problem arises when artists start digitally modifying their photographs through the use of Photoshop and other computer processes. Benocsky asks the question “Are digitally modified photographic images still photographs, or are they some sort of ‘digital pictures based on a photograph’, or not even that?” (720). When reflecting on this highly debated question, he makes the point that some digital manipulation is required when using a digital camera

pictorial narrative be formed purely through the use of images? It is a question many have sought to answer, and one that is becoming increasingly relevant as our literary concepts evolve to keep pace with developments in modern technologies. I have chosen to use the ciné-roman designed by Bruce Mau from Chris Marker’s 1962 science-fiction film La Jetée as a reference point for my discussion. The film is constructed almost entirely of still-images, shot through a Pentax camera. Involving the “future

from Klett’s point of view. This angle places the viewer in the first person, connecting them directly to the image. Images of landscapes are often engrossing, Klett’s piece does this on two planes. In the text, Visual Methodologies, author, Gillian Rose uses semiotics as a way to make sense of an image. She defines semiotics as the study of signs and their use or interpretation, or, “how images make meaning” (pg. 75). Under close inspection of Mark Klett’s “Under

story an entire character art all in one image and you really get involved in his world. Using light and colour cinematically places a major roll, the picture becomes an operatic framing device there so rich with props and all the other little details that when you look closer you will find something different Crewdson works with a medium format camera, eight by ten colour negatives each print is fifty-nine inches by nighty inches, when you look close at his image you see clarity and detail. Crewsdon

but later darkens as it becomes apparent that the visitors are actually invaders. My chosen image (above), embodies the overall style of the book which is deliberately sparse and strange. Both text and image conveys an overall sense of bewilderment and anxiety as native numbat-like creatures witness the environmental devastation under the wheels of a strange new culture, represented by the rabbits. The image projects a painting of a striking sunset and

which was the main area in which a living could be made from the new medium. Early photographers did fairly often photograph buildings, often working from the window of a convenient room rather than at street level. Many of the images from this era can truly be described as monumental, giving the subjects

portrait for a considerable amount of time I began to see possible sadness or self-doubt in the young mans face that betrays his powerful stance. I felt a connection to the young man, knowing all too well what it was like to present a powerful outside image while knowing there was a self conscious and scared person inside.

France. The piece was, The Family of Street Acrobats: the Injured Child painted in 1873. After studying this piece of art in person I noticed many different elements and characteristics in the actual painting. These are not seen in the photographed image of the painting that is on the Denver Art Museum Online. There are many visual elements that are taken away from a painting when it is made available in an online collections website. When I saw The Family of Street Acrobats: the Injured Child I immediately