Through the power of photography we can bring back and recall a moment from our childhood. We can recall a moment of joy or sadness and share that moment. Because a picture captures the quintessence of a single moment and makes that moment permanent, we can look at it over and over again.…
Working in care requires that in order to provide the best possible service for those you care for, you need to be able to reflect on what you do and the way you work and to also identify your strengths and weaknesses. It is important to examine the work that you have done and identify areas where you know you need to carry out additional development.…
“What I like about photographs is that they capture a moment that’s gone forever, impossible to reproduce.” - Karl Lagerfeld…
“Photographs are “easy” to understand in visual terms as they are composed of elements found around us and more importantly they allow viewers to envision themselves in the photograph.”…
Modern theorist, Rudolf Arnheim’s research into film as art suggests that we “expect to find a certain documentary value in photographs.” He goes on to list the three questions we all ask ourselves when looking at a photo, “is it authentic?” “Is it correct?” and “Is it true?” We have preconceptions that photographs must be true to real life, but according to the Postmodern viewpoint, we all have our own versions of true life, so in actual fact, all photography is a slanted version of our own…
The Museum of Modern Art’s exhibition had a lot to offer educationally, and offered a lot of creative ideas. As a student it’s very easy to try and capture the most famous scenic image that we know for example, the Manhattan skyline, the Brooklyn Bridge, or images from Central Park. These artists featured in the Museum of Modern Art are exploring ideas that are much more personal to them. Personal ideas, feelings, and issues are coming up as a topic of discussion in photography, which hopefully can expand outward, beyond photography so that we don’t overlook and dismiss our own feelings and the feelings of the people around…
There exist many factors one might both examine and manipulate in order to create a photograph that creates more appeal and emotional impact than an image that has simply been “snapped”. I will consider several of these variables in an examination of a photograph of a military ceremony. The photographer in this instance took several steps to bring this image to life through careful and specific creation of composition elements, the use of a narrow lens, and focus manipulation.…
Please Note: this is an essay on photography and contain various images. wou will find citations for these images along the further details in the apa referencing.…
Review your own role as a teacher and the responsibilities that you feel come with that. Also explain what you feel is not part of your responsibility as a teacher of adults.…
Every photograph that I create conveys who I am, what I aspire to be, and how I belong in the world around me. I find myself drawn to different perspectives and ways of perceiving Earth and all of its inhabitants. When I walk along the woods, my eyes are instantly drawn to the illuminating glow of the leaves and the dancing shadows of the trees. My mind tends to reveal these instances of time on its own accord, surprising me throughout each passing moment as I think back and come across mental photographs my mind has conjured up. I will never cease to explore every passing moment for every moment expresses a new reality, a new dream, and a new hope of what is to come…
Kenny’s lifelong love for photography began when he first picked up his mother’s Kodak Instamatic camera. “I had never used one before,” Kenny said. Yet his curiosity turned into fascination with an eagerness to learn more. He studied the greats — Ansel Adams, Minor White, among others — but Kenny felt the most connected to White’s work. “[His influence] was really important,” Kenny said. “He did a lot of abstract stuff, and I saw the connection right away.”…
In the world of art, the photograph has conventionally been used to establish original subjects that document and reflect cultures as accurately as possible. However, in Philip Gefter’s essay, “Photographic Icons: Fact, Fiction, or Metaphor”, Gefter points out that, “just because a photograph reflects the world with perceptual accuracy doesn’t mean it is proof of what actually transpired. (208)” What Gefter is telling us is that it is that the ordinary reality of the image is not what is important; the metaphoric truth is the significant factor. What makes photojournalism essential is that it helps show us how to view the world in an individualized way. It is, essentially, a public art, and its power and importance is a function of that artistry. From the war photography of Mathew Brady (who was known for moving dead bodies to create a scene) to Ruth Orkin (who directed a second shot to capture “American Girl in Italy”, when the first “real” shot was not to her liking), Gefter underscores that, although these shots are not the unedited version of life,…
The search for visual truth is a continuing quest. A pondering of ontology pushes our efforts and abilities as a homogenous culture to question and challenge identity within the visual boundaries of technology and time. Building upon the visual codes and methods of the past, the relatively young medium of photography conveys the surrounding subjects in true aesthetic representation. We surround ourselves with images of the past wistfully longing for what some consider a better, more civilized time. Photographs-- especially those of people, of distant landscapes and faraway cities, of the disintegrating past-- are inspirations to reverie. The sense of the unattainable that can be evoked by a photograph feeds directly into the erotic feelings of those for whom desirability is enhanced by distance or a longing to reactivate a past moment, feeling or experience. The lover’s photograph hidden in a married man’s wallet, the poster photograph of a pop star pinned up over an teenager’s bed, the coin in your pocket with the imprint of Lincoln’s face, the snapshots of a hairdresser’s child taped to their beauty mirror- all such talismanic uses of photographs express a feeling both sentimental and implicitly magical: they are attempts to contact, transcend or lay claim to another reality. Portrait photography adheres to long existing functions, however new and instantaneous the medium may be. In order to understand photography, more specifically- portraiture, we must deconstruct the meaning and approach within the modern context. Just as any Fine Art, photography lives an intellectual and visual existence-…
In John Berger's essay "Another Way of Telling," Berger argues that photographs contain a "third meaning." Berger claims that the third meaning is personal and relies almost completely on the individual viewer. As a result, no photograph can convey the same message to any two people and no two photographs can convey the same message to any one person. Here, the validity of Berger's assumption crumbles. All photographs communicate one absolute truth.…
Some of my Experiences with photography are capturing memories of my family. When I capture a picture of my son I always think I want this for him when he grows up so that he can have them to share with his family one day. I also enjoy capturing peaceful surroundings to reinitiate the feeling I had when standing there in the moment. Photography has allowed me to share my memories with the people in my life; it has also allowed me to share theirs. It brings family and friends closer.…