Religious image

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

Henry Peach Robinson Henry Peach Robinson, born on July 9th, 1830, was a British photographer and prominent author on photography. Known as “the King of Photographic Picture Making,” he began his life’s work as a painter but would become one of the most influential photographers of the late 19th century. He was a prolific advocate for photography as an art form and is well known for his role in “pictorialism,” which, according to Encyclopedia Britannica, is “an approach to photography that emphasizes

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

decades, a photograph will last a lifetime. Images are more than an object to have for safe keeping. In his article, “We Are A Camera,” Nick Paumgarten discusses the uprising of the popular recording device known as the GoPro. This device is used to record events and experiences from different perspectives, whether that is from underwater or zip lining through a forest in a first-person view. Moreover, videos and photography allow people to capture images to reminisce about past experiences, to share

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

Jeff Wall emulates the internal structure of Manet’s painting and incorporates elements such as the light bulbs and and poles to give the image spatial depth. This photograph shows a reflection in the mirror of a sparse studio room split into three panels with a woman on the left, a camera framed by a window in the center, and a man walking on the right. Both images utilize reflection to breach the limits of the naked eye’s perspective and evoke a sense of mystery and ambiguity. This paper will argue