Category: Photography

Introduction

It is important to note that using written or oral means of communication are highly useful when trying to deliver information, but they are rather weak when it comes to sharing an experience. Photos that tell a story are vital because they contain more depth on visual aspects of ones narrative. When it comes to individuals and even society, photographic essays enable a richer understanding of the environment, setting, people, and experience of the story. A better medium could involve a video with sound to enrich the communication both in visual, oral, written, as well as acoustic aspects.

Importance of Photos

After researching photographic essays, one can learn the value of such a medium as photos. It is stated that A photo essay is intended to tell a story or evoke emotion from the viewers through a series of photographs. They allow you to be creative and fully explore an idea (Expert Photography, 2022, para. 1). In other words, the given format captures the most significant highlights of a story in order to deliver comprehensively and conveniently. Some experiences and stories cannot be fully communicated with the use of the word only. For example, my own personal photographic essay can be accessed in Photos 1 to 10 in the Appendix below. A hiking and travel experience I had with my friends when we traveled to British Columbia, Canada, was phenomenal and breathtaking. Many images presented in these photos cannot be described through oral or written forms of information delivery. The latter is especially true in regards to the scenery and the overall atmosphere of the surrounding environment. The main reason is that these elements contain a multitude of details, which would require a large amount of text, assuming that they are even remembered correctly.

Moreover, the process of making a photographic essay is naturally inclined to structure the narrative as accurately and deliberately as possible around the central message. Whenever a person engages in the act of creating the given format, he or she has to choose the most interesting, meaningful, and relevant photos from the general pool of images. In other words, producing a photographic essay is highly selective and precise to the entire purpose of its essence. It should be noted that photo stories are not just a collection of cool photos. They must use their visual power to capture viewers attention and remain unforgettable (ONeil, 2022, para. 3). Thus, one is forced to be mindful of what each photo communicates, reflects, and signals to a viewer.

Value of Photos: Individuals and Society

Photographic essays provide individuals and society with a unique medium of communication with its own advantages incomparable to text, speech, or video. From a persons perspective, such an essay is a powerful tool to tell ones intricate and personal experience in a story format. People are inclined to generalize and assume that others live or ought to live in a similar fashion as them, and any deviation from the perceived norm leads to judgment and elements of tribalism. Whenever an individual decides to express his or her personal experience, many important elements will go through the listeners or readers filter, which is based on ones internal biases, assumptions, and knowledge. Therefore, providing a photo instead of a text or speech can reveal critical details of which the narrator was not aware if they were important to the receiver of the message. For example, a photo of an impoverished child in a developing nation can invoke a greater degree of emotional response and understanding of what horror extreme poverty and hunger bring. The latter is superior at communicating the message instead of simply stating a statistical number or weight to height ratio.

In the case of society, humanity is comprised of a diverse set of groups, which can be differentiated on the basis of race, ethnicity, disability, sexuality, gender, religion, citizenship, occupation, age, and many other factors. One homogenous group will not understand what it is like to belong to another group. Therefore, a photographic essay can be a powerful tool to breach this gap of misunderstanding. For example, a mere image of police brutality against an African American will provide more emotional context rather than knowing this information conceptually. Many beautiful or ugly aspects of an experience can be disturbed by the noise of written or spoken words, which is why photos serve as a better medium to directly show what is important and what is irrelevant. Seeing the crying parents of school shooting victims cannot be filtered or argued upon, whereas merely speaking about it loses the core meaning in petty debates of why solving the gun violence problem is critical.

A Better Media

A better medium could be videos since they bring an additional layer of depth in the form of sound and visual dynamics. Video essays can also incorporate textual and oral information as well as a background narration. This is the reason why movies and films are the most popular storytelling formats. However, it is important to point out that the medium has its own weakness, which includes less viewer control and time. In other words, a person watching a video will be carried through the narrative, and he or she will not have control over the preferred pace. In the case of a photo, an individual can look, stare, and appreciate an image as long as one desires to, which makes the experience superior in this sense.

In addition, videos can be time-consuming without knowing which parts of the video could be considered highlights if the creator does not provide such information. With constant development in technology, videos can eliminate their drawbacks and become a superior form of media to photos without losing resolution and enabling far greater control to a viewer. For example, GIFs are usually used as photos with elements of movement. TikTok became more popular among youth than Instagram because the former focuses on short-duration video content while the latter is primarily designed for photos. Therefore, the trend of moving from text to photos and from photos to videos is indicative of video becoming a better medium for communicating information and experience.

Conclusion

In conclusion, a photographic essay is a powerful tool to deliver information in a succinct and comprehensive manner without any loss of depth of the context or narrative. Words are limited in their ability to transfer the visual message, and considering the fact that humans heavily rely on their eyesight, photos are undoubtedly effective. The given format is valuable for both individuals and society. Each person is unique and special when it comes to his or her personal life and personal hardships. Therefore, photos enable a greater understanding of ones struggles and moments of happiness. On a societal level, many groups tend to live to consider their way of life as normal, while others might be viewed through a lens of bias, assumption, and judgment. Photographic essays can be highly useful at breaching these gaps of mutual misunderstanding and bias by showing the accurate message in the relevant context.

References

Expert Photography. (2022). What is a photo essay? 17 examples and ideas. Expert Photography. Web.

ONeil, D. (2022). How to create a photo essay? Peta Pixel. Web.

Appendix

Introduction

In the last hundred and twenty years, photography has developed immensely. The beginnings of this development are shown in the styles of black-and-white photos and their evolution into modern-day color photography. Broadly stated, black-and-white photography is an artistic interpretation of how one imagines the world should look. This sort of artwork transcends mere color and technique to portray the very essence of what the photograph depicts, making it the pinnacle of creative expression. Black-and-white photography stems back to a more intimate era in which tales were shared visually and verbally (Jhally 75). In ancient times, black and white photography was used in European paintings, Japanese woodblock prints, and shadows of Chinese scrolls (Chen 104). The purpose of this paper is to discuss the history of black and white photography, beginning with the earliest forms of photography and moving up to the digital age.

Black and White Photography Influences on Events

Black and white photography is one of historys most influential art forms. It has been used to document events, create propaganda, and change public opinion. One of the most powerful examples is the way black and white photography changed how people perceived the world around them (Jhally 98). When it was first invented, black-and-white photography was primarily used for scientific purposes. Scientists were able to capture images of things that were previously impossible to see, like the interior of bodies and microscopic organisms. This allowed them to study these things in detail without having to handle or cut open an actual specimen. They could also compare different samples side-by-side, which helped them understand how they were similar and different.

Scientists quickly realized that black and white photography could also be used to document events at the time, not just static objects like plants and animals. They began using cameras on battlefields so they could capture images of soldiers who had been killed in combat (Jhally 101). These black-and-white photographs made it possible for families back home to see what their loved ones looked like after death. It comforted them, knowing what happened when a soldier was killed suddenly in battle without warning.

In addition, photographers also realized they could use their cameras as tools for political protest. They began photographing demonstrations against slavery and other forms of injustice. For instance, in 1851, black and white photography was used to document the Crimean War (Jhally 130). The Times of London sent Photographer Roger Fenton on assignment to cover the war (Jhally 148). He took what was called scoops of soldiers in camp and at the battle, as well as landscapes that were shot from a birds eye view (Jhally 150). His images were so shocking to Victorian sensibilities that they were deemed inappropriate for publication in newspapers. However, after he died in 1869, Fentons work was published as a book titled The Crimea. (Jhally 164). This book helped establish photography as an art form rather than an amateur hobby.

Overall, black and white photography has shaped how people see the world, remember their pasts, and share them with others. It has changed history by allowing people to preserve moments that might have been lost or forgotten. It has altered peoples perception of reality by showing them what was happening at any given time in historyeven things that happened long before anyone could have seen them with their own eyes. This makes black and white photography so powerfulit allows people to experience something they would never otherwise have access to, and it will enable them to keep those experiences safe for future generations.

Photography of the Wests Influences on Congress

In the late 19th and early 20th centuries, photographers traveled through the American West with cameras, capturing images of what they saw. They were drawn to the landscape, unlike anything they had ever seen. These photographers did not just travel through the West for fun; they were also there to document it for posterity (Chen 113). They wanted to preserve these scenes so future generations could look back at them and see what life was like in this rugged, beautiful part of America (Chen 113). These photographers black and white photographs were sent back east and displayed publicly at museums and galleries throughout New York City and other major cities in America. These black and white photographs were trendy among people who lived in big cities like New York City because the landscapes looked so different from what people had seen before; it was like traveling through another world.

As a result of all this attention, the black-and-white photography of the West influenced congress to create the national parks by showing them that there were beautiful places out West that needed to be protected. The black and white photographs showed congress that these beautiful places were disappearing rapidly; if they did not do something about it soon, they would be gone forever (Chen 113). Another way black and white photography of the West influenced congress to create the national parks is by showing them what they could do with those areas once they were protected. The black-and-white photography showed congress how beautiful these areas were and how much potential they had for growth and development. It also showed them how much money they could make off those areas if they were adequately developed.

The final way black and white photography of the West influenced congress to create the national parks was by showing them what could happen if those areas were not protected. It showed them how quickly nature could take over a place after humans had left it alone for so long. It also showed congress how quickly these areas could become damaged if humans tried to intervene too early without understanding its natural growth cycle first.

Images of Migrant Workers during the Great Depression

The Great Depression was a time of great hardship for many people in the United States. Many people lost their jobs, and many more could not find work. The stock market crash of 1929 had a significant impact on the country, but it was not the only thing that contributed to the state of affairs at this time (Chen 115). When people think about the Great Depression, they often think about images of migrant workers who were forced to leave their homes due to drought and dust storms that rendered their farms useless. These images helped support President Franklin D. Roosevelts New Deal policies, which helped stabilize the economy and make life easier for those struggling during this period (Chen 124). Further, the images of migrant workers during the Great Depression helped pass the New Deal because they provided a visual reminder of how dire and desperate working conditions had become for many Americans.

These pictures, paired with reports from journalists and other observers, helped convince many Americans that the government needed to take action to help these people. President Roosevelts New Deal included many policies to help those who had lost everything during this time. One such approach was called social security, which provided unemployment insurance benefits for those who lost their jobs during this period elsewhere (Klein 75). They could still provide for themselves while looking for work elsewhere without worrying about how they would pay bills or feed their families while searching for new employment opportunities.

Another New Deal policy that helped migrant workers was the Resettlement Administration. It was created in 1935 to help poor communities find work and improve their quality of life (Klein 75). The Resettlement Administration hired photographers to document how poor people lived during this period, and those images were used to educate people about the realities of poverty. These images helped convince many Americans that something needed to be done about poverty and unemployment during this period.

The Artistic Movements of the Industrial Revolution to Today

The industrial revolution was a time of significant change in the world and also changed art. During this time, artists tried to find new ways to express themselves and their culture. The art movements that developed during this time are still important today because they influenced the art that came after them. One such movement was realism, which focused on realistic depictions of people, places, and things. It was most popular between 1820-1870 (Barr 94). Realist painters wanted their paintings to be more natural than previous artists who used less realistic styles. Realists believed that art should accurately represent reality as closely as possible so that viewers could connect emotionally.

The second movement was Pictorialism, which started around 1860 and lasted until 1890 (Skilton 66). The action was characterized by soft focus, exaggerated lighting effects, and an emphasis on staged photography. The goal of many Pictorialists was to create images with an emotional impact rather than strictly documentary or informational ones. In this way, they were similar to impressionist painters who wanted viewers to feel what they saw rather than understand it intellectually.

Futurism and Cubism were two other early artistic movements that influenced black-and-white photography. Futurism began around 1909 and lasted until World War I; Cubism started around 1907 and lasted until 1914, although some aspects were still being practiced into the 1920s (Barr 101). The movements emphasized experimentation with perspective and color. It led artists to experiment with how light could be used in their workincluding using it as part of their compositions rather than just as a secondary element behind their subject matter.

Advances in Black and White Photography

In the past, there have been many advances in black-and-white photography. The first image was created in 1839, but it took another 50 years to realize that it could be captured on a photographic plate (Rancière 53). This discovery produced authentic black-and-white photographs that were not just monochromatic. In 1861, an inventor named Louis Daguerre perfected the technique for capturing images on a silver-coated copper plate, known as a daguerreotype (Barr 180). This process produced high-quality images that were sharp and detailed. Unfortunately, these photos could only last about ten years before they faded unless they were somehow preserved with chemicals or other methods.

In recent years, several advances have been made in black-and-white photography, allowing photographers to create better-quality images. The invention of Kodaks cellulose nitrate film in 1889 changed everything (Skilton 127). Now photographers can work quickly and easily without worrying about wasting precious materials or having too much light ruin their exposures. It allowed them to take more risks with their shots, which led to more significant innovation in their work and increased accessibility for everyday people who wanted to learn about photography themselves.

Another advance is the development of Color Negative Film, which has been around since 1935. Still, it was not until recently that it became widely available and affordable enough for amateur photographers. Professional photographers use this type of film because it allows them to manipulate color information after exposure (Rancière 88). They can also change the color balance by adjusting their camera settings after taking the image. In addition, Digital cameras are now so standard that many people do not realize how much better they are than traditional film cameras when capturing black-and-white photos. Digital cameras offer several benefits over traditional film cameras, including faster processing times, lower cost per photo and greater control.

Conclusion

In conclusion, the evolution of black and white photography is awe-inspiring. Over time, methods for developing and viewing black-and-white films changed considerably. The chemicals become more effective, the cameras become more advanced, and the photographers become better at what they do. Indeed, there are a lot of parallels between black-and-white film photography today and digitally-shot black-and-white digital photography. New tools like Photoshop and Lightroom allow the photographer to control their photos like an old-school photographer could master their fixed-film camera. Thus, though it may sometimes be easy to forget when people view some older pieces of artwork, the history of photography is not so much about one kind of technology being replaced with another. It is about one kind of tool continually changing to keep up with technological innovations.

Overall, this creative art form has brought to light the world as we see it and continues to bring a varied perspective on what could have been missed with color photography. As a photographer looking to break out of the limitations of color, black and white will capture ones artistic appreciation for being human. With its popularity continuing to increase, people can only expect this timeless art form to continue being loved for years and years to come.

Works Cited

Barr, Alfred H. Cubism and Abstract Art: Painting, Sculpture, Constructions, Photography, Architecture, Industrial Art, Theatre Films, Posters, Typography. Routledge, 2019. Web.

Chen, Jerome. China and the West: Society and culture, 18151937. Routledge, 2018. Web.

Jhally, Sut. Enlightened racism: The Cosby Show, audiences, and the myth of the American dream. Routledge, 2019. Web.

Klein, Naomi. On fire: The (burning) case for a green new deal. Simon & Schuster, 2020. Web.

Rancière, Jacques. The future of the image. Verso Books, 2019. Web.

Skilton, Mark, and Felix Hovsepian. The 4th industrial revolution. Springer Nature, 2018. Web.

Introduction

Human society cannot be imagined without art and its various forms. It always accompanies individuals, evolving with their needs and responding to the changes in world view and mentalities. At the same time, art is impacted by external factors, and technology is one of them.

Discussion

The scientfific discovery and the emergence of innovative devices provided creative people with fresh ways to reflect their feelings and emotions and attract attention to particular messages and ideas. Photography and cinematography can be viewed as an example of the new forms of art linked to technology. Being comparatively young, these forms are already extremely popular and possess a high inspirational power. The camera offers the chance to select the area, movement, moment, and scene to create a unique shot (Jacobus & Marin, 2019). A final picture can convey numerous meanings and make viewers think about contexts (Li & Xie, 2020). It can also inspire others to create and make their shots.

The strong effect of photography on others can be evidenced by real-life examples. For instance, the photo Lunch at the Purple Thistle by Keith Dotson is one of the examples of modern art:

It was made in 2019 as an attempt to capture the beauty of nature and its unique moments. It is a black-and-white shot of a butterfly gathering nectar from a flower in a field (Dotson, 2019). The artist caught the moment and managed to show the unique character of every movement. Using only black and white colors, the photographer emphasizes the form and the objects in the image.

I am a big admirer of nature, and the photo by Dotson pushed me to try and make my own image reflecting the beauty of the world where we live. As a result, I created the following shot:

Similar to the previous photo, this one also focuses on the beauty of nature. A bumble bee sits on the purple flower collecting nectar. The work is made in Autumn, meaning it reflects the last moments of blossom, and the insect has one of the final chances to eat. The photography captures the rare moment when a bumble bee is relaxed and enjoying its position. It represents the brightness of the world and its unique nature.

I think these two pieces are closely connected and have similar themes. Both photos celebrate the beauty of nature, its tiniest details, and its elements. The little creatures sitting on flowers show the unusuality of the planet. The choice of objects helps to understand the theme and central message. The lines, shapes, and forms as elements of design are similar. At the same time, the first artwork is black and white, while mine is full of colors. I wanted to show the brightness of the world and its attractiveness rather than focusing on shapes. Moreover, I used the same medium as it helps to appeal to aesthetics and the visions of beauty.

Conclusion

Altogether, comparing the two photos, it is possible to say that they have numerous similarities. The image by Keith Dotson and the main themes touched upon by the photographer inspired me to make my own. The beauty of nature, the perfect moment of life, and its mystery have always been essential topics in art. They impact other people, their feelings and emotions, and make them create something new. In such a way, photography is a unique form of creativity that remains a potent tool to affect others and interact with them.

References

Dotson, K. (2019). Lunch at the Purple Thistle. Web.

Jacobus, L., & Marin, D. (2019). The humanities through the arts (10^th ed.). McGraw-Hill Education.

Li, Y., & Xie, Y. (2020). Is a picture worth a thousand words? An empirical study of image content and social media engagement. Journal of Marketing Research, 57(1), 119. Web.

Introduction

A vivid study of the use of photography by Roland Barthes throws light on how the photographic documentary is held in life writing. I dispute that photographs in real-life writing encourage readers to look further than what is imaged to their own experiences relative to various sort of general reality. When photographs are duplicated in writing, the subjective and not the aim is supreme in determining their evidential worth. That is, the photographs evidential worth is held through a transformative method that is being put into play by a dynamic engagement, a stride into the image, on the readers part.

Each time the word documentary, is mentioned an image comes to my heart of a gritty black-and-white picture making, still or moving.

Martha Roller, my thoughts about Documentary

Sontag disputes the assumption of reality linked with photographs, explaining that they are as a great deal of an explanation of the world as paintings and drawings are. She expresses the responsibility of the photographer in shaping the coverage, light, quality, and geometry of a photograph (Sontag P.116).

Photographs are identities whose evidential ability is rivaled by not many if any other varieties of image representation Created by a chemical-optic method and probably not by an individual hand, the photograph has all the time been appreciated as an objective document, one that reproduces, mirrors, record the real world. Though this observation has been gravely disputed by revisionist practices and hypotheses that question the guessed idea that photographs illustrate some pro-film event (Barthes 182), the employ of photography in writing addresses a continuing yearning and motion to correct photographic truthfulness. This is principally clear when photographs are duplicated in life writing with which readers connect one basic rule: speaking the truth (Rosler P.115).

This paper asks how photographs in life text serve as means of truth.

A close assessment of the subject in Roland Barthes will put light on how the photographs documentary worth is held in life text. This manuscript is typical for its hypothetical and practical focus on how the photographic illustration communicates within the specified artistic space of autobiography. Barthess ultimate concern with the falsehood of objectivity, the knowledge of self and its illustrationboth oral and imagetogether with his undeniable influence on the lessons of photography makes his handling of photography in Roland Barthes principally instructive for knowing the photographic documentary.

Though a few critics have scrutinized the photographic album duplicated at the start of Roland Barthes, there is an extensive body of work on Barthess remarks on photography.

Photography in life writing

It will not be sustained that photographs in many life writing are clear, objective proof of the account given, for such a dispute would contradict both the role of semiotics in representing the photographs coded nature and that of artistic approaches to photography that assume photographic proof, documentation, and reality as in history constructed and bound. For instance, it will be disputed that photographs in life text allow readers to see further than what is imaged to their knowledge relatively than to some kind of general reality. When photographs are duplicated in writing, the subjective and not the aim is supreme in determining their evidential worth. Photographs persuade readers to hold what is imaged to their passions and to engage in an artistic construction that accomplishes well beyond admiration of ontological specificity and an understanding of the discursive practices involving the admiration of the photographic illustration. In life writing, the photographs evidential worth is held through a transformative method that is put into play by an active commitment, a stepping into the image, on the readers part.

Exposing the Photographic Documentary

All through history, opponents writing concerning photography have asserted the photographs outstanding epistemological position, which strongly relies upon photographys mechanical method. As about 1839, the year that recorded the official emergence of photography, the desk of the French Sciences Academy, John Tagg, explained photography as a precise and fast& means of duplication that created faithful illustrative records. By the beginning of the 1900s, the connection between photographys mechanical method and the photographs consistency as a straight (and, consequently, honest) thought of the visible worlda relationship accentuated by the stable increase of photographs in newspapers, manuscripts, and displaysgave rise to a general admiration of the photographic documentary. Photography came to be hypothesized as the synthetic confirmation of a fact (Sontag P.125), distinctive among the arts in that its reason for existence, as Paul Strand puts into writing in 1917, is a complete unqualified objectivity (Barthes P.141). Likewise, photographs were progressively valued as straight (ibid& 143), precise Sontag, sincere, practical likeness accurately for the fact that they are products of a mechanical method that brings in not an individual mediator but a firmly precise optics. Martha Roller wraps up the photographs exceptional ontology and its connection to photographic reality when she states that it is the mechanical birth of the photographic illustration that forces viewers to admit as genuine the existence of the object duplicated re-presented, set earlier than [them], i.e., in time and space.

In his application of the semiotic hypothesis to the photograph, Barthes expand on this idea of indexicality (linked with time and space beyond) to highlight that photographic reality consists not so much in showing how a thing was in a presentation that it was. Barthes explains that photograph as a communication with no code, stating that though the Panzani poster is filled with symbols, there however remains in the photograph a type of natural being-there of objects, insofar as the truthful communication is satisfactory: nature seems to generate the represented picture quite impulsively (Rosler P. 279). According to Barthes, this usual being-there, the photographic images definite causal relation with the real world, is what differentiates it from all other images. He retraces the photographs indexicality in Camera Lucida and maintains, I call the photographic referent not the optionally genuine thing to which an illustration or a sign refers but the essentially genuine thing which has been placed before the lens, exclusive of which there would be no photograph (Barthes P.76). The photograph is the outline of a real event. Photographs are first and principally indexical signs, images that are chemically and optically caused by the things in the world to which they refer. As directories, they are very influential images in that they show what John Tagg labels unadulterated meaning and Susan Sontag after him explained as unadulterated, almost worthless factuality, I.e., one that only says that a thing is there, that a thing has happened. thus, their documentary vigor depends not on image resemblance or match but on a genuine, authentic contact with the object that the photographic representation points back to (Tagg P.8).

Even though the photograph is defined practically as indexical, it is nonetheless very important not to underestimate the iconic logic that frequently informs its evidential admiration and that is, like its indexicality, expected as an automatic process. Any attempt to taunt out the photographs outstanding documentary force must recognize that an almost steadfast belief in the photographs mimetic ability ensures that the kind of photographic images one comes across daily are normally mistaken for their referents.

As John Tagg explains, the illusion of photographic practicality is relied mainly on the tendency to willingly and easily conflate the image with the thing represented (Tagg P. 24).

Sontag labels it as a mirror of truth, the photograph as an object seems to vanish in total. The photograph itself fades away, allowing the referent free from the restraints of illustration for the reason that of the ability with which the photograph validate[s] human view in the quasi language of vision (Tagg P. 2).

Although the current review of the photographic documentary has been fairly successful in revealing the past determinacy of the photographs evidential strength and dispelling belief in its transparency, theorists who observe photographys position in life writing tend to nod toward, but eventually to avoid, the rhetoric of photographic certification.

Instead, they highlight how readers perceive the world through photographs (John Tagg 251). Martha Rosler begins her investigation of the use of photography in life-history by emphasizing the referential difficulty they share. Both photography and life history are at once simple, clear signs of reference and multifaceted, misleading constructions caught up in historical, artistic, and technological improvements.

Although Rosler sets out to resolve what she calls inexperienced (unsophisticated) and complicated (critical) illustrations of photographs, she eventually recognizes photographic iconicity as the dynamic force behind the photographic documentary. Astonishingly, she wraps up that photographys control to unequivocally signify reality (ibid& 232) lies in the truth that there is a thing very special about photographs& a fact in photographs (ibid& 235) that surpasses the image itself to comprise the very thought of photography. In her assessment of how photographs in life-history serve as documentary proof, Rosler eventually values the photographs intrinsic objectivity, its specific ability to signify the genuine, over and beyond the artistic practices that have comprised the documentary of photography.

Staging the Photographic Documentary

The uncomfortable blending of the referential and the unreal and its documentary insinuations intrigued Roland Barthes throughout most of his time At the pinnacle of French structuralism, Barthes explores how, in contemporary realist illustrations or discourses, Like past narratives and photography, visual constraints are impregnatedat slightest as an excusewith referential restraints. Barthes suggests the view of the reality effect to explain the complicity of opposing constraints in illustrations that stage a pure encounter with the genuine. In such depictions, the signified is excluded from the sign (ibid& 15) or, just as he stresses for the photographic representation, in particular, the communication is without a code (Barthes P. 279). The real effect is accomplished when the illustration announces itself and maintains to pass for the genuine. Once the reality effect is exposed as an image, it becomes unfeasible to stick to the traditional concept of the real as that which is further than meaning or transparency and practicality as to which puts off or, better, opposes additional meaning.

Conclusion

A logic that underlies the depiction of identity: to exist, the identity must be characterized; to exist genuinely, it must be autonomous of all illustrations. The voice of one that is looking at the photographs of his himself criticizes them as inadequate, deceitful images. Both representations are without clear evidential value since neither, as he asserts, looks like his real self. The rash assertion of the photographs incapability to validate what it represents is established by the dispute (possibly delivered by a Barthian character who is conscious that he exists only through illustration) that Barthes is not his person, but just only an illustration of his person, to challenge with. Photographs in life inscription have tended to be a documentary purpose not for the reason that they tell readers the way things look in the real world but relatively because they give way the number of possibilities. Therefore, an equally defining association between reality and imaginative thought is the composition of authenticity guaranteeing that the documentary is not ensnared, certainly, suffocated, inside the confines of the photographic illustration. Born of relations involving photographic document and reader, the documentary arrives to be an unclear mixture of truth and fiction that moves readers to belief. To inquire as to whether the photograph is analogous or code is not a basis for good analysis.

The most important thing is that the photograph expressions possess an evidential vigor and that its proof bears not on the object but on the exact time. From a phenomenological point of view, in the Photograph, the supremacy of confirmation goes beyond the power of illustration.

Works Cited

Barthes, Roland. Camera Lucida: Reflections on Photography. London: J. Cape, 1982.

Rosler, Martha. Around and Afterthoughts: White Mythology of Photography. New York: Penguin, 1996.

Sontag, Susan. On Photography: Touching the World. Princeton, NJ: Princeton University Press, 1997.

Tagg, John. The Burden of Representation: Sexuality, Colonialism, and Social Dissent. London: I. B. Tauris, 2004.

The works of Carrie Mae Weems and David Plowden have critically served to inform peoples unique understanding of American culture through the evolution of the art form of photography. Both artists have captured the essence of their respective eras and provided an intimate portrait of life in the United States. While their work is similar in its ability to communicate an emotional message, the styles of the two photographers differ significantly.

Carrie Mae Weems is an African-American photographer whose work often focuses on social issues such as racism, sexism and inequality. She has created powerful works such as The Kitchen Table Series and Grace Notes: Reflections for Now which feature a combination of family photographs, text, and other visual elements. Weems work is highly emotive and often conveys an important message about the experiences of African Americans in America.

David Plowden is a white photographer who is known for his black-and-white images of rural America. His work has been called poetic realism as he captures the beauty of the American landscape and the lives of rustic communities. Plowdens photographs often feature wide-angle shots of small-towns, farmlands, and other rural settings. His work is often seen as romantic and nostalgic.

The works of Weems and Plowden both serve to inform peoples understanding of American culture. Weems work provides an intimate look at the struggles and experiences of African Americans, while Plowdens photographs capture the beauty of rural life. Both artists have used the medium of photography to show different aspects of American life, and in doing so have helped to shape our understanding of the culture.

The evolution of photography has been an important factor in shaping the perception of American culture. As photography has become increasingly accessible, it has allowed for a greater variety of perspectives and interpretations of American life. Weems and Plowdens works have been instrumental in helping people to gain a better understanding of our nations culture, and their contributions to the art form of photography have been invaluable.

The distinct photography of Weems and Plowden differs not only in their subjects and styles but also in their historical contexts. Weems emergence as a photographer during the 1980s positioned her work as a response to conversations about race, gender, and inequality that dominated the public consciousness (Goodlin). Her photography serves as an instrument of challenge and confrontation to challenge the normative narratives of American culture, with a particular emphasis on illuminating the experiences of historically marginalized groups.

Conversely, Plowdens photography from the mid-20th century captures a distinct historical era in American history. His work portrays the lives of rural communities during a time when the country underwent rapid modernization and industrialization (Plowden et al.). Plowdens work reflects a yearning to document and preserve a vanishing way of life as urbanization and other societal changes impacted small towns and rural areas.

Even with the differences in their respective historical contexts, Weems and Plowdens photography each serves as significant records of American culture. Their photography encapsulates distinct periods of American history and enables a nuanced understanding of American lifes intricacies (Plowden et al.). Through their photographs, both artists have challenged established stereotypes and given voice to historically underrepresented communities.

To conclude, the photographic works of Carrie Mae Weems and David Plowden have made exceptional contributions to the art form of photography and have shaped peoples understanding of American culture. Their unique styles and subjects have captured significant moments and experiences in American history, and their photography resonates with audiences today. Through their distinct styles and subject matter, they have provided a unique insight into American life and culture, and their contributions to the art form of photography will continue to inspire and inform for years to come. As photography continues to evolve and transform, it is crucial to recognize the profound impact and influence of these artists and their works.

Works Cited

Goodlin, Lisa. Carrie Mae Weems. Carrie Mae Weems, Web.

Plowden, David, et al. David Plowden: Vanishing Point: Fifty Years of Photography. W.W. Norton & Company, 2007.

Introduction

Photography has been a recognized and a distinguished form of art. Many renowned artists have worked as photographers each specializing in the different fields. This paper shall be discussing the works and the inspirations of renowned photographer Paul Politis who specializes in the black and white photography.

Discussion

Paul Politis has been a well-known photographer in the modern days and he has successfully redefined the photography. He has been known as an proletarian photographer and he is a proclaimed self-taught photographer, as he has no special training in the field of photography. The artist belongs to Canada and is currently working and living in Montreal, Canada (Paul Politis, black and white photography). Paul Politis had started printing and developing the photographs since the 1980s however currently the rate of photography has been lesser, nevertheless intriguing.

The traditional darkroom has been given up by Paul Politis and has been working on the digital photography these days. According to Paul Politis, the digital darkroom has revealed some quality results as anticipated however the traditional darkroom is being worked upon.

It has been mentioned in the interviews by some magazines that currently the photography interests of Paul Politis include capturing the beautiful lights in the night photography. The main aspect that has been observed in Pauls photography is the art of capturing the quiet emotions in real life moments. These moments are frozen in the cameras in the unique black and white tones. According to the artist, black and white is the combination that can capture these hidden aspects in the best possible manner (Fine art photography by Paul Politis).

It has been observed in the photographs of Paul Politis that the human presence has been kept to a minimum and the focus has been given to the emotions that are hidden as these are the photographs that tend to bring forward the hidden passions and the emotions. The materialistic objects have been put behind by the emotions that are presented in a stronger manner in these photographs. The work of this artist is a proof of the fact that the emotions have a rather stronger presence as compared to the presence of the human himself.

Apart from the emotions that are strongly displayed in the photographs, it has been strongly observed that the artist has focused on the patterns of lights as well. It has been argued by the artist that the best way of portraying the patterns of the light is by the magnification of these patterns in black and white. These photographs try to kindle the viewer in a kind of stronger empathy for the objects that are portrayed in the photographs. This empathy is made stronger by the addition of elements of the lights and shadows that are emphasized and enhanced by the perfect combination of black and white. According to the artist, the empathy, which is gathered by the viewer, might be his or her own personification. This is the main theme that has been used by Paul Politis in his recent work by strongly making use of the black and white theme.

The second main theme that has been used by Paul is the urban landscape of different cities. It is believed by the artist that the cities and the ways they are built have lonely feelings associated with them and these are the asphalts that are enhanced by the artist. The lonely and the isolated feelings that have been associated strongly with the city walls are the ones that are enhanced by the black and white tonalities within these photographs. The cities have been noticed to be rife with the still lives, the walls and the concretes and these are waiting to be photographed just in the right and an accurate manner.

The recent exhibition that exhibited Paul Politiss work was in Ottawa by the La Petite Mort Gallery. There are many international magazines that have been able to review the work of this artist and these magazines are inclusive of Shutterbug Magazine, Black & White Photography which is based in UK, The American Muse, Spiritus: A Journal of Christian Spirituality and CHIP Foto-Video which is based in Romania. Canadian Geographic has included the work of this artist in its collections as the 2006 edition displayed the Ottawa Valley ghost towns collection of Paul Politis. In addition to this, the National Arts Centre in Ottawa keeps the personal collection and the portfolios of this artist (Art, Architecture, and Geometry: Black and White Photographs by Paul Politis).

Conclusion

The art of photography has been considered as a strong tool of portraying the hidden emotions and the feelings behind the hard standing city walls, the concretes and the materialistic existences of the human beings. The urban landscapes and the human emotions have been the ones that have been finely portrayed by the artist and it has been seen that these are the themes that have gathered the attention of many renowned artists.

Works cited

Paul Politis, black and white photography. 2007. Web.

Fine art photography by Paul Politis. 2007. Web.

Art, Architecture, and Geometry: Black and White Photographs by Paul Politis. 2007. Web.

This photograph is a daguerreotype of San Francisco taken right after the 1906 earthquake and fire. The photographer, George R. Lawrence, used kites to get photos of San Francisco after the quake. He specialized in large formats and designed his cameras. Amazingly, he got this shot with no plane and heavy panorama cameras. One wonders how many shots he had to take to get this one. This sepia tone is from a digital reproduction of the original. His large-format panorama camera got a very wide-angle view from above of the entire cityscape, including the docks in the early morning after the quake. It shows the extensive damage, but it also shows that a great part of the city is still standing.

What interested me about this photograph was the floating quality it gives to this city, which was devastated after the 1906 Earthquake and fire. In a close up the flattened and blackened buildings of the downtown area can be seen, but in Lawrences view, we know they are there. However, this view of the city, floating in tranquil waters, with fluffy cumulus clouds overhead and the heavenly rays of the rising sun is a picture of hope. The city is damaged, but still there and ships are docked at the ports arrayed like lace collars on a portrait of a sophisticated elderly lady. We can see a reason for naming the not as yet constructed bridge the Golden Gate as the morning suns rays burn off the early fog. It would be built in 1935 to join this floating metropolis to the Marin headlands at the upper right. It is peaceful and we can see Market Street bisecting the photo. With all the other streets beginning there or at the Embarcadero. There seems to be some smoke still rising from the ruins of the downtown area, mixing with the clouds on the left. We can just see a bit of Golden Gate Park, where most of the newly homeless gathered afterward, and the distant San Bruno Mountains which divide San Francisco from South San Francisco. There are some taller buildings still standing in the background and, significantly, the clock tower of the Ferry Building still stands like a sentinel at the center of the Embarcadero. It is guarding a now peaceful city as it rests after the disaster as a symbol of survival. The city will rise again.

In my opinion, this is a prime example of the very best in news and landscape/architectural photography, and it preserves the very best view of a historic disaster. The technique is innovative and the presentation is stunning.

References

Library of Congress on line. 2010. Selected Photographers & Examples of Their Work.

The massive social and cultural changes of the previous century challenged many of the established traditions, including the perception of art. The introduction of innovative tools such as photography further complicated the matters and initiated a debate on its artistic merits. The current paper analyzes a chapter from the book by Freund (1980) in order to identify its main points and determine its historical and practical value.

Summary

The chapter in question details the emergence of photography as a new phenomenon and the interpretation of its artistic value by both artists and the society in general. The precision and relative ease characteristic of the technology, as well as its resemblance to the well-established art form of painting, has led to an inevitable conflict of attitudes and served as a basis for heated debates within the artistic community throughout the twentieth century. The author illustrates the said debate by summarizing the stance of the representatives of the movement of realism and providing the comments of the notable artists of the era.

According to Freund (1980), the first major development that contributed to the recognition of photography as an art form was the shift towards the new perception of reality caused by the technological and industrial advancement. Both the artists and, eventually, the general public showed a growing appreciation of nature. Simultaneously, the objectification of reality grew in importance in the process of its presence in art, and, by extension, the precision of depiction became one of the necessary conditions.

Obviously, photography became a perfectly suitable candidate in terms of technical properties of the medium, which led to its wide adoption in artistic circles. The emergence of realism, a movement that favored impartiality and precision and despised subjectivity and interpretation as a source of falsification, further strengthened the position of photography in the domain of art. Consequently, the proponents of the movement emphasized the diminished role of imagination in their works and distanced themselves from artists in the traditional sense, preferring the term craftsmen (Freund, 1980).

Such strong adherence to naturalism raised concerns among many artists who perceived it as a threat to art. For instance, Lamartine pointed to the accuracy of depiction offered by the technology and the lack of artists involvement and suggested that photography can only be considered an act of plagiarism of nature through a lens (Freund, 1980, p. 77). Baudelaire argued that the simple appeal and accessibility of the new medium made it more attractive for the uneducated masses and thus compromised its true artistic value. This effect was unacceptable as it damaged the reputation of both the movement as a whole and the art of the actor (Freund, 1980).

Some critics, such as Ingres, condemned photography on the grounds of tradition, which necessarily differentiated the sacred nature of art from the mechanistic creation facilitated by the industry. Thus, the fact of the technological agency was sufficient to render photography worthless from the artistic perspective. However, some of the critics considered it a valuable tool for assisting, rather than priming, the artistic process. For example, Delacroix pointed to the fact that the works copied from a photograph could be spotted by the characteristic lifelessness conveyed from the source print.

Finally, the mass-production factor introduced a discouraging possibility of the devaluation of traditional art pieces, as was illustrated by the case of Yvon, who was concerned about the possible drop in the value of his painting had the source photograph become widely available (Freund ,1980). Such diversity of factors inevitably complicated the recognition of photography as an art form and expanded the boundaries of the criteria of art in general.

Evaluation

The summary of the chapter reveals several distinct motives exhibited by the critics. The motives can be roughly categorized into three groups. The first group includes the advocates of photography as a medium that has artistic value based on its scientific accuracy and impartiality. This aspect of photography aligns it with the values and goals of the movement of realism and, to some extent, can be considered one of the influences responsible for its formation. From this perspective, the ability of a photographer to copy the nature is its main strength. The second group includes the critics that emphasize the lack of artists agency in the process.

While they appeal to different elements of the artistic process, it is evident that the interpretation of the artist is a key component. From this perspective, the act of plagiarizing the environment cannot be considered art unless the human agency is present. However, such viewpoint does not necessarily render photography non-art since it is debatable whether such agency is allowed by the technology in question.

This allegation is best illustrated by the change in attitude displayed by Lamartine after getting familiarized with prints that utilized illumination to enhance the visual aspect of the print. Initially a vehement opponent of the artistic value of photography, Lamartine later admitted that the photographers impact on the process (e.g. the manipulation with illumination of the scene) was doubtless and thus he could no longer call it a trade; it is an art and a solar phenomenon (Freund, 1980, p. 77).

A similar stance was displayed by the positivist, who specified the role of the photographer as responsible for the choice of the appropriate subject, the assessment of the most appropriate framing for the scene, and the determination of the light and shadow that could best convey the intended meaning. On the other hand, some artists found such role insufficient for the creation of the new meaning and argued that the mechanistic nature of the process devaluated the outcome to the status of a lifeless copy.

Interestingly, some of them tended to dismiss it as a minor issue if the photography was used to assist the process of painting but cautioned against overreliance on it in the process of creation. Finally, the third group included the artists that appealed to tradition and rejected photography as incompatible with the established norms. The first basis for the rejection was the photographys industrial origin that was incompatible with the divine at of Romans and the school of Apollo in general (Freund, 1980, p. 77).

The second aspect was its evident appeal to the wide masses both in terms of comprehension and financial threshold. This shift was seriously disquieting for the aristocracy who viewed a loss of monopoly on the perception of art a sign of its devaluation.

It is important to note that the author of the chapter did not argue in favor of any of the identified perspectives. Instead, her goal was to provide a historical snapshot of the debate and supply all aspects of the discussion with the relevant examples from the prominent figures of the era.

Thus, Freund (1980) chose neither to comment upon the cited viewpoints nor to arrive at any conclusions regarding the issue. With this in mind, it would be reasonable to consider the chapter an accurate account of the controversy that accompanied the introduction of the photograph. In this light, the diversity of perspectives presented by the author is undoubtedly its strongest point. While the systematic approach to the presentation could improve the understanding of the piece, it is a minor weakness and is acceptable for the narrative format chosen by the author.

Implications

The insights offered by the chapter allow us to systematize the available knowledge on the history of the photographys introduction to the art scene. Interestingly, it also puts into perspective the other ideas from the course. For instance, it becomes clear that the definition of aura provided by Benjamin (1939) in his essay on photography aligns both with the artists agency and the rejection of the mechanistic component of the phenomenon as incompatible with the nature of art.

On the other hand, the decreasing cost and increasing fidelity of the produced imagery can be viewed not only as a cause of but as a response to the changing requirements of the modern society, as suggested by Tagg (1988). From this perspective, the alleged shift from art towards the accessible and affordable form of evidence is not only expected but in a certain sense, inevitable. In this regard, the mechanistic nature of the process, as well as the possibility to mass-produce the images, is an improvement over the initial authoritative status of art since it offers the opportunity to utilize it for the needs of the society.

Finally, the surge of photographys popularity in the money-conscious social class confirms the concept of art as property introduced by Berger (1968). Specifically, the dominance of portraits and the changes in their size is consistent with the idea of monetary value as one of the driving forces behind the pieces status.

It is worth noting that the main points identified by Freund (1980) have not lost their relevance today. The emergence of the digital photography has reignited the debate, with some organizations adopting strict definitions according to which the absence of chemical processes as well as the degree of automatization of the process make it impossible to consider digital photography either art or craft due to the lack of artistic input (Newcomer, 2016).

Upon closer inspection, it becomes apparent that the arguments used in this case are mirroring those highlighted by Freund (1980) with one important difference  namely, the adjustment of the criteria to the point where only some of the novel elements can qualify as art. At the same time, the growing number of tools for image manipulation creates a situation where the resulting product bears more signs of the authors interpretation than the source of the print. Finally, the nature of digital copying makes it harder to assign value based on the originality of the work (Thein, 2014). In this regard, the piece by Freund is both a valuable historical insight and a primer for further insight into the artistic merit of the phenomenon.

Conclusion

The work by Freund (1980) provides an overview of the debate on the artistic value of photography in the early phase of its development. Admittedly, the broad scope chosen by the author does not allow arriving at a definitive conclusion or even determining the strengths of any given standpoint. Nevertheless, it can serve as a basis for the identification of the components that would likely strengthen or undermine the status of innovative tools in visual arts.

References

Benjamin, W. (1939). The work of art in the age of mechanical reproduction. In W. Benjamin, Illuminations (pp. 219-253). New York, NY: Harcourt, Brace & World, Inc.

Berger, J. (1968). Understanding a photograph. In G. Dyer (Ed.), John Berger selected essays (pp. 215-218). New York, NY: Pantheon Books.

Freund, G.. (1980). Attitudes towards photography. In G. Freund, Photography and society (pp. 69-82). Boston, MA: David R. Godine, Publisher.

Newcomer, J. (2016). Is photography Art ? Is it a craft? Web.

Tagg, J. (1988). Evidence, truth and order: Photographic records and the growth of the state. In J. Tagg, The burden of representation: Essays on photographies and histories (pp. 61-66). New York, NY: Macmillan Education.

Thein, M. (2014). The line between art and photography. Web.

Photography is an art and a science. Reflectively, the process is more than just capturing images. Instead, balancing, coloration, proportionality, and introduction of effects determine the quality of an outcome. To produce a masterpiece, experience, and understanding of the CameraCamera is necessary. Over the years, my passion for cameras has enabled me to endure and acquire useful knowledge. Also, experience and in-depth satisfaction have reflected on the vast assignments and pictures I have taken over a long period. Through relentless determination, I am destined to achieve great heights in the field of photography.

As a tool for fast-tracking this determination, I have engaged myself in a series of short photography courses in addition to practical work. In this reflective narrative, I intend to demonstrate strength and weaknesses in the use of conventional analog cameras and digital cameras, align positive photography objectives and ethics behind a successful photography career, and make an informed recommendation on the use of analog cameras or digital cameras depending on the environment and effects to be generated. Besides, I intend to introduce studio lighting and the use of natural light in my collection of photographs taken from conventional analog and digital cameras. In the analysis, an informed analysis captures the essence of natural light and studio lights in different photography settings.

The narrative is also specific on techniques and optimal conditions for the ultimatum goal of capturing quality pictures at night and creating special effects. In demonstrating the above objectives, I will intrinsically apply my experience to quantify specific functions and features unique to conventional and digital camera use in shots in natural light and studio light settings. On several occasions in the recent past, Olympus cameras have come in handy in my photography career. Thus, the center of focus will be on Olympus Cameras Companys products, especially the EVOLT E330.

My interest in cameras started at nine years from a seasoned uncle who had a successful photography career. I was thrilled by his collection of priceless pieces of shots from different settings. As a seasoned photographer, he had an array of other cameras, with most of them being the conventional analog models. I recall having been allowed to take a shot with one of his single-lens Olympus light reflex cameras at the age of ten, and a copy still hangs in his gallery. As his assistant in the home studio exhibition, I had firsthand experience with analog and digital cameras at a young age. On my eleventh birthday, he gave me a single lens light reflex camera as a birthday present. Every day, he would marvel at my shots and encourage me to take more. This trend contributed majorly to my passion and determination to become a professional photographer.

Reflectively, his training equipped me with the basics of handling a camera, balancing images, introducing effects, and focusing on different settings. A great entrepreneur who valued quality, he was strict on the quality of the final image irrespective of the use of light or studio light. In an incident, he made me repeat a photo shot ten times until he was satisfied with the outcome. Over time, I have mastered the use of both conventional analog and digital cameras, especially the Olympus model, which was my uncles favorite model.

In order to remain relevant and appreciate new inventions in this career, I enrolled for a short online course at Betterphoto.com between the years 2006 and 2007 and gained vast knowledge on Mastering Your Canon Flash, The Business of Photography, Digital Wedding Photography, and Making Money with Your Photography. At the same time, I was pursuing a course in Entrepreneurship at Delaware Technical Community College and graduated with a certificate in Microeconomics, Macroeconomics, Technology-Enabled Entrepreneur, Effective Business Planning, and Legal Issues for the Entrepreneur, and Inspirational Leadership that is vital in professionalism and proper etiquette.

After several years of experience with simple light cameras, I bought my first digital Olympus EVOLT E330 in 2002, which has remained relevant. By this decades standards, the image quality is as clear as those of the 2011 models. Since I was introduced to the business of photography, I have remained flexible to the dynamics and evolution of simple cameras into complicated ones with better image quality. However, with vast experience in photography, the technology of the EVOLT E330 model has remained relevant and useful. As a matter of fact, this model of digital CameraCamera is very user friendly and produces quality pictures. In addition, the functionality manual is self-explanatory. Being a highly motivated Entrepreneur, relevant and useful in photography has enabled me to grow a small business into the top wedding photography studio in the Southern Delaware region within a period of five years with the Olympus EVOLT E330 models, which four-thirds DSLR format.

The EVOLT E330 Olympus digital camera is essential in the photography industry due to the inclusion of the features that can enable a photographer to customize and make modifications in the setting to achieve the desired needs. As a wedding digital photography studio owner in Delaware, I have not only commissioned over 100 events throughout the United States and two private events in Jamaica with Prince Charles but also learned essential aspects of professional photography. In these commissions, I have a collection of several images in the wedding industry, with some from other photographers who permit a swap of ideas in these events.

Fortunately, I have met photographers who also use the same model as mine. The resultant photos were different due to the use of different settings, especially the varying exposure modes, lens, and image quality. However, I picked the best shots and sometimes swap images with other photographers to compare image quality and balance. Thus, my pictures remained of top quality as I learned from others the most appropriate settings for different hours and weather patterns in photography.

From the appearance, EVOLT E330 digital camera may look complicated and very difficult to use, especially for a first-timer with its buttons and dial arrays. As described by Singleton:

The EVOLT E-330 has a thick, large handgrip on the left, with a generous amount of space between the grip and the lens mount. A small dark window on the hold admits light from the infrared remote control, and the rest of the grip is covered with leather-textured rubber. At about the four oclock position around the lens, the mount is the lens release button. The upper right quadrant is printed Evolt E-330, and a Four Thirds logo is below that. The pop-up flash is a bit to the left of the lens and has the Olympus logotype on it. (Singleton 1)

On my first day of using this CameraCamera, I felt challenged by a series of switches, body parts, and buttons as compared to the simple conventional film analog model, which had only three buttons. From the manufacturers manual, the first buttons I learned to use were the shutter speed and focus, which remain more or less the same across the modifications for most cameras in the market. Despite the feeling of apprehensiveness, I must confess that owning EVOLT E330 was the best part of my photography career. Mastering the use of other buttons was slow but steady due to proper arrangement in order of function.

Through exploration, I mastered the set of buttons and their functionality in addition to the modification of the setting to suit the image set. The most striking feature of this handheld camera is the shape and size of its body. It comes with a leather cover and safety lock when in idle mode. The CameraCamera is relatively smaller and can be held by one hand as the other operates its buttons. At the back, there is a big window where the captured shots can be reviewed before developing the final image.

This screen can be modified in terms of brightness and focus. On the left side of this window is an arrangement of buttons, dials, and switches, which are used in operating this gadget. Though the format may appear confusing, the functionality of these buttons is easily understood when each is handled separately (Highton 79). On the bottom left of the back is the control panel for reviewing the history of stored images, mechanical, and focus functionality.

Reflectively, every button is labeled with a symbol for its function. These symbols represent cropping, zooming, viewing, panning, and deleting buttons, among others (Ippolito 130). Interestingly, depending on a setting, the controls can multi-task and guide a photographer appropriately (Highton 80). Vividly, the top side of this gadget has buttons with the shot, power, and memory card insertion. The capture button is more extensive and clearly marked, and the power button has power on or off marking. Besides the large window is the controller for auto setting, which enables a photographer to focus, changer metering, and eject battery (Wignall 121).

In addition to the large window, the CameraCamera offers an inbuilt lens that can be zoomed in to capture images that are far beyond the reach of ordinary cameras. On top of this gadget is a smaller LCD screen indicating the number of shots taken, the remaining space, battery meter, and other personalized settings. These customized settings include shutter speed, aperture settings, memory space, and focus distance. During my first interaction with this CameraCamera, I was fascinated by its multiple functionality and display characteristics as I perused the function of each push button.

Interestingly and strategically located in the viewfinder in the LCD screen, which allows for modifications at will and automatically adopts program settings for every change. This feature allows a photographer to effectively use the dials and multiple buttons for single or double shots without having to reset the CameraCamera. Depending on the setting, a slight push of this button automatically changes the quality and size of the image under focus (Johnson 123).

In addition, it gives sufficient room for image color balancing with minimal complication. Once the desired striking balance is achieved, the photographer can confidently capture a quality image by pressing the round capture button, which activates the digital cameras shatter. As stated in the Olympus Guide Website, The data shown in the viewfinder are AF frame, shutter speed, aperture value, AF confirmation, flash, white balance, AE lock, number of exposuresitss possible to store, exposure compensation value, metering mode, battery check, exposure mode, and record mod (Olympus). This digital CameraCamera comes with an inbuilt lens, which can be set depending on desired image quality and size.

As influenced by the focus zoom setting, the inbuilt lens is handy and powered by an inbuilt camera motor. Specifically, the lenses in this CameraCamera are unique and offer an additional feature of image stabilization, especially in capturing a moving object or in a moving object such as an automobile. Different from the previous model with an external lens bracket, this model is useful in image balancing due to extra stabilization (Wignall 122). Since I am specific in the wedding photography industry, a single inbuilt lens that can be modified by a press of buttons offers the best alternative. The inbuilt lens component is more comfortable to carry and lasts longer than the detached lens, which is affected by wear and tear of constant replacement. In my daily routine, this digital CameraCamera offers inclusive solutions to all my photography needs. Specifically, Singleton state that:

The pop-up flash doesnt pop up by itself  the user has to press a button to activate it. The flash exposure compensation runs two stops above or below the metered value, in 1/2 or 1/3 stops. The EVOLT E-330 includes a full suite of manual controls. Exposure, ISO, white balance, and image parameters can all be adjusted directly. Like those on the E-300 before it, the EVOLUTE-330ss controls are labeled with a bit more technical detail than those on other cameras. (Singleton 2)

Since most of my shots are at close range, I rely on a 215,250-pixel display lens, which has a load of enhancements that maintain the original retro look. With proper balancing, the size of the sensor enhances better functionality both in intense and low light and with minimal interference on image originality (Johnson 123). Finally, this interaction of the lens and sensor creates an interface that, in actuality, impresses with its faster, clearer, and stable image forms, which allows for easy confirmation of autofocus in the onscreen zoom.

Moreover, the resultant images create an effortless Panorama style and series of screen modes to generate clear in-focus photos and a natural look of the background foliage. Since all my shots range within a diameter of relatively close vicinity, the lenses for this CameraCamera summarizes my expectations and pack them into a reliable autofocus tool run by the camera body motor. Whether digital or analog, this type of lenses gives room for manual adjustment and focus at the discretion of a photographer (Ippolito132).

Over time, after capturing a series of clear, balanced, and within focus images, I have learned that quality imager determines the effectiveness of lenses irrespective of their size. An efficient quality imager should be able to agglutinate large megapixel images and generate extremely clear and of high quality in domain and effects actualization (Shepherd 121).

Operating simultaneously, the camera body and lens create a digital photography quality and specific photography type, respectively (Kost 124). In fact, Singleton state that:

The EVOLT E-330 image presets include Portrait, Landscape, Macro, Sports, Underwater Macro, Underwater Wide, Landscape with Portrait, Night Scene, Night Scene with Portrait, Children, High-Key, Low-Key, Reducing Blur, Macro, Nature Macro, Candle, Sunset, Fireworks, Documents, Beach & Snow and Panorama. The modes generally adjust exposure, ISO, and white balance the way an experienced photographer might in specific situations. (Singleton 2) Aware of the constantly evolving technological environment, this model is flexible to computer control technology that creates quality pictures with minimal cost and effort. Nearly for all my shots, I use the autofocus shot mode, which is already present in this CameraCamera.

Same as those in other point-and-shoot cameras, the preset auto-focus mode is useful in balancing and creating a feeling of nature in images captured. Interestingly, the EVOLT E330 digital camera offers an alternative of fewer automatic methods as compared to the point-and-shoot mode in other cameras. This unique feature facilitates the creations of customized images through modification of the available methods (Kost 123).

Different from the point-and-shoot mode predominant in other cameras, the modifiable mode in the EVOLT E330 digital camera creates larger images, more images per shot, series of control options, and quality lens selection. These qualities can be employed in fine-tuning embodiments into professionally adapt pictures that capture tone and brightness (Ippolito 142). Faced with the challenge of unreliable external power supply, this CameraCamera can be focused manually to save power and control each shot properly. In addition, it has an inbuilt feature that allows for underexposure and overexposure of an image. To achieve the underexposure feeling immediately after a trial, the shutter closes in faster and limits the intensity of light, and subsequently produces a darker picture. In the overexposure, the photographer has the option of leaving the shutter opened for a more extended period of time to create whitewashed images (Shepherd 11). In a wedding commission, the over and underexposure is vital in creating or conveying different moods that slightly twist the nature of ideas. To achieve these effects, this gadget offers a series of options for adjusting light effects (Highton 79).

Same as other modern cameras, EVOLT E330 digital model is inbuilt with multiple light acquisition segments to create balance, especially in an environment with either too much or low light that affects the quality of images captured in a shot. Computer-generated information is employed in correcting exposure and creating different effects (Davis 240). For instance, a multiple spot meter is used to create various spots on the selected image.

Fortunately, this CameraCamera automatically sets the right exposure unless the settings are customized not to do the same. In photography, the generated effect is referred to as matrix metering. After matrix metering, the numbering aperture creates tailored pictures that produce striking results (Gerlach and Gerlach 121). Despite the fact that most of its features are automated and that the final outcome depends on presetting, the aperture component allows for modification, especially in specific scenes that are not corresponding to the modes available. As stated by Singleton:

The EVOLUTE-330ss shutter will handle speeds from 60 seconds to 1/4000 of a second in increments of either 1/2-or 1/3-stops. It syncs flashes up to 1/180 and can manage user-timed exposures of up to 8 minutes when set to B (Bulb). The flash sync speed may be limiting for outdoor fill flash  1/250 is much more convenient. (Singleton 1)

Fortunately, from the factory manual, the automated settings can be modified into manual mode. This capacity creates room for exploration and experimental balancing. In fact, when set to manual mode, adjustments to a specific way is useful in line with the desires of a photographer. Besides, an informed user can embrace both the automatic and manual modes concurrently for optimal compensation on image quality.

A photographers nightmare is the dust spots in a correctly taken picture. Despite great technology and tunable metering, ruins from unwanted elements such as moisture and dust considerably reduce the quality of the final image. Fortunately, the EVOLT E330 model comes with sensors that are self-cleaning. Upon turning off and one of these gadgets, the sensor automatically shakes off particles of dust. In addition, it has a protecting cover that is not only dust resistant but also moisture resistant.

Same as other digital cameras, functionality keys are marked for different priorities such as S for shatter, A for aperture, M for manual, and Auto for complete automatic. Opposite to this is the shutter priority, which allows a photographer to select the speed of the shatter as the CameraCamera balances appropriate aperture setting. Therefore, automatic mode priority enables the CameraCamera balance settings that match the chosen focus.

On the other hand, manual mode allows a user to completely alter settings and customize shots as desired (Johnson 154). Since exposure control varies depending on the location of the priority, EVOLT E330 digital camera is useful in monitoring and adjusting appearance and effects on an image. In laymans language, exposure connotes the art of opening and closing or shutter cycle. On the other hand, shutter speed connotes the period of time over which it remains open.

In photography, the depth of field is created by the size of the aperture. Reflectively, a smaller gap exposes a broader area of focus with a clear image and background. However, a large aperture creates clear photos with a nebulous experience as it concentrates only on the image and not its surrounding. For instance, when the background is transparent, and the image is defined, the generated effect determines the depth of field. Same as in other modern digital cameras, the field number is an indication of the distance and size of the aperture. For a clear shot, smaller aperture size is vital. However, for the larger field, only the center of focus, which is the image, will remain clear, with the background being relatively blurred (Wignall 237).

As a lead photographer and owner of Humble Eyes Photography in Delaware, I have carried out elaborate photo shoots involving varied types of lighting effects, especially in wedding settings and corporate events. The best picture I ever captured was in a private event in Jamaica, where Prince Charles was one of the guests. I grab the straight smile of the happy prince who wore a cowboy hat and matching attire. I captured fifteen shoots to aperture priority in exposure mode. In the first six shots capture in pairs, the aperture field was 5.4. Though the image of Prince Charles was crystal clear, the large area resulted in unrecognizable and nebulous background details.

Specifically, the tenth shot produced a striking appearance with numerous visible effects. In this image, Prince Charles had a straight smile and exposed his milk-white teeth. Behind the cowboy hat, the soft breeze was blowing his curly hair and created a feeling of great confidence and gentleness. Around him were several people who appeared blur but recognizable, especially a lady in long white satin cloth and holding a golden handbag on her shoulder. Since it was a cloudy day, the distinct feature of the prince; his two weeks old mustache, green eyes, and golden Rolex watch on his wrist.

Through series of trials on settings for the field, I managed to create a masterpiece out of this shot, which was ranked the best during the 2007 Delaware Professional Photographers awards and garnered three awards in different categories. Specifically, in the Candid Photographer of the Year category, I scooped the first prize besides ranking number two in the illustrative category. In addition, I have been given an opportunity to educate thousands of photographers in areas of marketing, consumer behavior, and digital strategies. Moreover, the Delaware community has been supportive in the establishment of a beginner photography workshop atBriggss Art Museum in Dover, Delaware, and two summer photography programs at the childrens Beach House in Lewes, Delaware.

With the vast experience in the photography industry, it is only natural for a seasoned photographer to establish a gallery for his collection of pictures and images gathered over time. After years of applying different mode settings and techniques in capturing images, I have built a series of galleries and establish community projects for training upcoming photographers. For instance, as a community leader, I founded the Photog Shoot out and hosted photography workshops in over 40 cities across the United States in a massive recruitment drive, which climaxed with 4000 members joining. In addition, during these workshops, many small and medium-size businesses have acquired technical skills from my gallery on strategic marketing and professionalism in photography.

As an entrepreneur and a photographer with over six years of experience in photography and business, I have conducted relevant and extensive market research of the wedding photography industry and established a successful photography business refined as a top wedding photography studio in the Southern Delaware region. Besides, the strategic marketing has made my vast collection of the picture to feature in several local publications and other art galleries across the states of America.

I have successfully conducted a beginner photography workshop atBriggss Art Museum in Dover, Delaware, and two summer photography programs at the childrens Beach House in Lewes, Delaware, where my picture and those of other photographers are displayed. Despite the fact that digital photography is complete upon processing an image, creativity can introduce a new dimension of viewing pictures as education material and business opportunities.

Irrespective of years of experience as a professional photographer or a freelancer, the EVOLT E330 digital model of the Olympus camera is the most appropriate as it has remained useful and relevant over the years despite the dynamics of technology. At par with college education knowledge, a vast experience I have gathered over a long period of time has handsomely rewarded me with recognition and economic gains. This digital CameraCamera is user friendly and produces clear images with minimal strain. In addition, it is the most appropriate and comes with a series of unique features that were absent in the conventional analog cameras. However, since the ISO system starts at 500, the CameraCamera has a noise problem. Besides, manual focusing may prove challenging on LCD.

Works Cited

Davis, Harold. Creative Composition: Digital Photography Tips & Techniques. New York: John Wiley & Sons, 2009. Print.

Gerlach, John, and Gerlach, B. Digital Landscape Photography. New York: Focal Press, 2009. Print.

Highton, Scott. Virtual Reality Photography: Creating Panoramic and Object Images. New York: Virtual Reality Photography, 2010. Print.

Ippolito, Joseph. Understanding Digital Photography. Alabama: Cengage Learning, 2002. Print.

Johnson, Stephen. Stephen Johnson on digital photography. California: OReilly Media, Inc., 2006. Print.

Kost, Julieanne. Window seat: the art of digital photography and creative thinking. California: OReillyy Media, Inc., 2006. Print.

Shepherd, Bob. The Art and Business of Photo Editing: Selecting and Evaluating Images for Publication. New York: Amherst Media, Inc, 2001. Print.

Singleton, Patrick. Olympus EVOLT E330: Digital Camera Review. Digital Camera Information. 2006. Web. The Evolt E-330 Olympus Camera Olympus America, Olympus Guide. 

Wignall, Jeff. The joy of digital photography. New York: Lark Books, 2004. Print.

Photography was invented and observed in the year 1839. Photorealism might also could have been a style manner of artwork that usually enclosed on portray drawings and exceptional photographs platform all through artists research an image, and so makes an attempt to create the photo as in any other medium although the time period can be used loosely to provide an explanation for layout in lots of diverse media it’s conjointly accustomed refer in particular to plenty of art work and painters of the social movement that started out within the overdue 1960s and early 1970s. As a full-scale social movement, photorealism emerged from Pop Art, and as a counter to the maximalist other creative movement, similar to the minimalist art movements of the late 1960s and early 1970s. Photorealists use a photograph or many photos to collect the statistics to form their art works. They argued that the utilization of a camera and picture is a recognition of modernism.

However, admittance to the utilization of images in photorealism become met with severe grievance once the motion commenced to acquire momentum in the past due 1960s, regardless of the actual reality that visual devices were used because the fifteenth century to assist artists with their work. The creation of images inside the nineteenth century had three fundamental effects on art portrait and scenic artists had been tested significance to images and artists turned to photography as careers amongst 19th and 20th-century art moves. It’s far nicely recounted that artists used the photo as deliver fabric and as a useful resource, however, they visited nice lengths to disclaim the very fact fearing that their paintings might be misunderstood as imitations and via the photo’s invention artists had been hospitable a good buy of latest experimentation.

Thus, the end result of the discovery of the photograph became an event in art’s records in the direction of the assignment going through the artist because the earliest acknowledged cave drawings making a try to reproduction the scenes they considered. By the time the photorealists started production their bodies of labor the photo became the main definition of recreating fact and abstraction turned into the primary awareness of the art international. Realism continuing as a present day the front, even experiencing a reemergence within the 1930s, however with the aid of the fifties modernist critics and artistic movement had mineralized realism as a significant art undertaking.

Photorealists, as an alternative, were more inspired by using the paintings of pop artists, and reacted against the creative motion. Pop art and photorealism were reactionary moves, stemming from the increasing and in very extremely good quantity abundance of photographic media, that by means of the middle 20th century had adult into such a big improvement that it certainly turned into threatening to reduce the worth of images in artwork. However, while the pop artists have been primarily commenting at the absurdity of loads of the representational manner, photorealists have been trying to reclaim and exalt the worth of a photo.

In photorealism, change and motion ought to be frozen in time that must then be as it should be painted by means of the creator. Photorealists acquire their intellectual imagery and information with the digital camera and picture. Once the photo is developed the author can consistently transfer the picture from the photographic slide onto canvases.

Commonly that is regularly performed either through sticking out the slide onto the canvas or by way of victimization historic grid strategies. The resulting snap shots are typically direct copies of the primary image however are normally larger than the first picture or slide. This ends in photorealist vogue being tight and specific, generally with a strain on mental imagery that wishes an excessive level of technical artwork and technology to simulate, like reflections in a reflect like surfaces and therefore the geometric rigor of synthetic surround.

By the 1970s, the accepted acknowledgement approximately the genesis of photorealism had driven ahead for step one to the discovery of the camera within the nineteenth century, with the new device displacing painting by using its realism and velocity. Then, approximately a century and a half later, painters started projecting digital camera producing photographs onto canvas and tracing the imagery, growing the primary works of called photorealism. Photorealists normally display a photographed picture on to many sizes canvas and then used an airbrush to recreate the results of a photo revealed on smooth photographic paper.

The concept of the portray become complicated in most cases with the photograph and that the painting was fair-minded with the method of finishing it up. To conceal the painterliness of panorama/portrait scenes with the appearance of images. To are looking for out a way to capture a crisp floor by means of the usage of an airbrush strategies in their many pictures of the well-known American culture.

Photorealist artists try and make paintings that undergo a resemblance to snap shots as near practical. Photorealist creations are as well frequently called via many names as superrealism and hyperrealism. Each of those names normally could pass under their personal particle genre. They are commonly all in generally taken into consideration to be aspect shoots of photo realism raising upon later with their very own precise surroundings of attention. Numerous specialists do speedier, littler scale watercolor investigations of the photo to work out the subtleties of shading and arrangement, before setting out on the strongly point by point generation of an enormous scale photorealist painting. So, as to precisely move the picture from the photo to the canvas, photorealist craftsmen utilize a mechanical or semi-mechanical methods for move, for example, a projector or the matrix framework.

Despite the fact that recently kept for the most part to the jargon of workmanship fans, the terms ‘photorealism’ and ‘photorealistic’ have abruptly become substantially more unmistakable on the grounds that they’ve been applied in the enormously well-known area of PC gaming. Over numerous decades now, every specialized and graphical development in the gaming scene has been one little advance towards what is in actuality the genuine ultimate objective for most of game planners – an ongoing, 3D world that is genuinely unclear from a true scene. Consequently, the utilization of descriptors photorealistic, and now and again photoreal, to depict games with always improved illustrations.

Ways to deal with games structure that evade this pattern, supporting rather a masterful style in which scenes purposely look like works of art or drawings, are correspondingly depicted as non-photorealistic. With many artists that worked within the photorealism era took a deeper meaning to paintings that not only tricked the viewers as in to thinking the painting is a realistic photograph showing the long process of the patient mind recreating a real still life image on to a canvas.

References

1. Rahaman, Hafizur. “Virtual Heritage: Exploring Photorealism”. Academia.edu, https://www.academia.edu/1923755/Virtual_Heritage_Exploring_Photorealism
2. “Photorealism Movement Overview”. The Art Story, https://www.theartstory.org/movement/photorealism/