How do we read photography?
Denotative means describing exactly what you see in a photograph. Whereas connotative mean inferring about the positioning of the object in the photo to understand the deeper meaning of what the photographer is trying to say or show.
Identical Twins
Looking at the Denotative Side of the photo: both twins are identical, one is frowning, one is smiling, their both wearing the exact same clothes, both have to same haircut. However looking at the Connotative side of the photo: the twins my have different personalities and that photo is called 'Identical twins' but are clearly not showing that photographs can lie. Both the girls stare directly at the camera, peering straight through the lens as if they were spying into the viewer’s soul. Their dissimilar expressions also serve as a symbol of the right and wrong sides of decisions that are often hard to distinguish between.
A Family on their lawn one Sunday in Winchester
Look at the denotative side of the photo: parents relaxing on chairs, child playing with a paddling pool by himself, everyone and everything is separated/ spread out (people looking away from each other, toys are far apart or only slightly in the photo). Look at the connotative side of the photo: dad looks more exhausted than the mum, to much space for such a little amount of people or things (looks lonely), broken family, woman looks relaxed (is she). Both of the parents expressions and body language are very different; while the mother looks relaxed, the male looks stressed and unhappy. This could resemble society, where men had to work and come home tired and stressed and women would stay at home. In addition, the photo captures stereotypes of the 60s. Both photos have denotative features of symmetry, however both have a connotative of differences and opposites.
The Early Years
Daguerreotype
Named after the inventor, Louis Jacques Mandé Daguerre, the daguerreotype was the first commercially successful photographic process. A daguerreotype is a unique image on a silvered copper plate the can only be seen when the plate is at an angle. Daguerreotypes are easily identified by a mirror like, highly polished sliver surface however it is both negative and positive appearance when viewed from different angles.
Named after the inventor, Louis Jacques Mandé Daguerre, the daguerreotype was the first commercially successful photographic process. A daguerreotype is a unique image on a silvered copper plate the can only be seen when the plate is at an angle. Daguerreotypes are easily identified by a mirror like, highly polished sliver surface however it is both negative and positive appearance when viewed from different angles.
Calotype
calotype an early photographic technique invented by William Henry Fox Tablot In this technique, a sheet of paper coated with silver chloride was exposed to light in a camera obscura; those areas hit by light became dark in tone, revealing a negative image. The process of making a calotype uses a paper negative to make a print with a softer, less sharp image than the daguerreotype, but because a negative is produced, it is possible to make multiple.
calotype an early photographic technique invented by William Henry Fox Tablot In this technique, a sheet of paper coated with silver chloride was exposed to light in a camera obscura; those areas hit by light became dark in tone, revealing a negative image. The process of making a calotype uses a paper negative to make a print with a softer, less sharp image than the daguerreotype, but because a negative is produced, it is possible to make multiple.
Timeline
The Renaissance
in 1727 Johann Heinrich Schulze found that a slurry of chalk and nitric acid into which some silver had been dissolved was darkened by sunlight. Though Schulze's work did not provide a means of permanent preserving an images, it did provide a foundation for later efforts toward that end.
in 1727 Johann Heinrich Schulze found that a slurry of chalk and nitric acid into which some silver had been dissolved was darkened by sunlight. Though Schulze's work did not provide a means of permanent preserving an images, it did provide a foundation for later efforts toward that end.
Early inventions:
The camera obscura:
The camera obscura was an important part of the development of photography. The Camera obscuras were used to expose light sensitive surfaces materials to the projected images. It consists of a darkened room or box, this is where the image is projected onto a wall or in our case a piece of paper. The rays of light are reflected when partly absorbed by a object, they retain information about colours and brightness of the surface of that object. This small hole allows the rays to travel in and reverse the images onto the other side. |
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Louis Jacques Daguerre and William Henry Fox Talbot (their inventions)
Louis Jacques Daguerre: He was a popular visual photographer in Paris who worked with Niepec to fix a projected image. In 1839 he announced his invention of the camera, it could make a print from a mirror like prop coated in silver nitrate. This was exposed and then developed to create a photo. To make an image the polished a sheet of silver- plated copper till it looked like a mirror. It was then treated with fumes that made the surface light sensitive. Once slotted inside the camera it was exposed to light. Though chemical treatment, rinsed and dried this gave you your final image. Because it is on a mirror like surface the image will either appear positive or negative depending on the angel of light that you view it from. William Henry Fox Tolbot: Around a similar time to the Daguerre type, Talbot developed a camera called the Calotype. This allowed multiple photos to be developed from just one camera, this was a big advantage from the Daguerre type. In order for this to work he used paper coated with silver iodide. The paper texture will effect the way the photo come out. The calotype process produced a translucent negative image and from this multiple positives could could be made from contact printing. This gave it an advantage to the daguerreotype as it was able to produce multiple images with only one camera. |
Early Themes in Photography
In the early years, many photographers were concerned with documentation and continued to focus on traditional fine art themes like portraiture and landscape. This changed as photographers started to assert their own identity, separate to that of contemporary artists.
In the early years, many photographers were concerned with documentation and continued to focus on traditional fine art themes like portraiture and landscape. This changed as photographers started to assert their own identity, separate to that of contemporary artists.
Photographic Movments
"Art is not so much a matter of methods and processes as it is an affair of temperament, of taste and of sentiment... In the hands of the artist, the photograph becomes a work of art... In a word, photography is what the photographer makes it - an art or a trade.”
(William Howe Downes, 1900. A World History of Photography, Naomi Rosenblum, 1997)
(William Howe Downes, 1900. A World History of Photography, Naomi Rosenblum, 1997)
Pictorialism
Pictorialism is a style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. It is a step towards photography that emphasises beauty of subject matter, tonality, and composition rather than the documentation of reality. Pictorialists hoped to express feelings and senses that their images should be concerned with beauty rather than fact. |
Straight photography
Straight photography generally refers to photographs that are not manipulated, either in the taking of the image or by darkroom or digital processes, but sharply depict the scene or subject as the camera sees it. The camera is also capable of, sharp focus, rich detail, high contrast, and rich tonalities. Straight photography is also closely associated with with pure photography, since both terms describe the camera's ability to faithfully reproduce an image of reality. |
Herbert Bayer
Herbert Bayer was born on the 5 of April 1900. Herbert Bayer was an Austrian and American graphic designer, painter, photographer, sculptor, art director, environmental and interior designer, and architect. He was instrumental in the development of the Atlantic Richfield Company's corporate art collection until his death on 30 September 1985. Herbert Bayer was one of the Bauhaus’s most influential teachers advocating the combination of all arts throughout his career. Bayer began his studies as an architect in 1919 in Darmstadt. From 1921 to 1923 he attended the Bauhaus in Weimar. Bayer returned to the Bauhaus from 1925 to 1928 (moving in 1926 to Dessau, its second location), working as a teacher of advertising, design, and typography, integrating photographs into graphic compositions. He began making his own photographs in 1928, after leaving the Bauhaus. Most of Bayer’s photographs come from when he was based in Berlin working as a commercial artist. Bayer remained in America working as a graphic designer for the remainder of his career.
'Lonely Metropolitan' - Herbert Bayer
Lonely Metropolitan, created by Herbert Bayer in 1932. This unique work is composed of several photographic elements, artfully combined into a cohesive whole with the aid of Bayer's expert airbrushing and handwork. Looking at this image makes the viewer feel uncomfortable. This is because there are two different eyes on two different floating hands. A feeling of sadness engulfs the viewer because of the black and white image. Wider issues the artist is addressing in this image are the claustrophobic/ cramped living conditions threw the back drop being all covered in a building with lots of windows suggesting lots of rooms. It is seen that art must respond and influence the modern world. Surrealists use photography to connect with the unconscious mind. There was a repressive political situation in Germany in 1928 which meant Bayer left Germany to study in the US. This image demonstrates that after the world wars everyone , indicated from the eyes, felt trapped and alone in their city. He created this image by making a collage of images taken both by Bayer and ones he found taken by other artists. He also used the technique of gouache which is a method of painting using opaque pigments ground in water and thickened with a glue-like substance.
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Documentary photography Presentation
Sherrie Levine was born on 17 April, 1947, in Pennsylvania. Levine studied a 3 year course at the university of Wisconsin till 1973.
1.
The human skull persists as one of the most important and recurrent icons in visual art history. In this instance it also suggests the history of still lifes and scientific inquiry. By casting the diminutive skull in crystal, Levine transforms the ghastly into the decorative.The fact, though, that there are 12 identical skulls which are displayed in identical ways and arranged in a grid undermining the preciousness and instead invokes a retail setting where one might shop for luxury goods.
2.
In 1981, Levine photographed reproductions of Depression, such as this famous portrait of Allie Mae Burroughs, the wife of an Alabama sharecropper by Walker Evans. The series, entitled After Walker Evans, became a landmark of postmodernism. Levine’s works from this series tells the story of how everyone's emotions were affected by the great depression no matter what job or situation you were in.
Sherrie Levine's methods of appropriating the works of important 20th century male artists established her as an important artist of postmodernism. Sherrie is able to question how images are culturally constructed and the effects of their diffusion in the media. Levine's work is seen as a collaboration with the previous artists.
1.
The human skull persists as one of the most important and recurrent icons in visual art history. In this instance it also suggests the history of still lifes and scientific inquiry. By casting the diminutive skull in crystal, Levine transforms the ghastly into the decorative.The fact, though, that there are 12 identical skulls which are displayed in identical ways and arranged in a grid undermining the preciousness and instead invokes a retail setting where one might shop for luxury goods.
2.
In 1981, Levine photographed reproductions of Depression, such as this famous portrait of Allie Mae Burroughs, the wife of an Alabama sharecropper by Walker Evans. The series, entitled After Walker Evans, became a landmark of postmodernism. Levine’s works from this series tells the story of how everyone's emotions were affected by the great depression no matter what job or situation you were in.
Sherrie Levine's methods of appropriating the works of important 20th century male artists established her as an important artist of postmodernism. Sherrie is able to question how images are culturally constructed and the effects of their diffusion in the media. Levine's work is seen as a collaboration with the previous artists.
Documentary Hero
Jacob Riis
Jacob August Riis (1849–1914) was a journalist and social reformer in late 19th and early 20th century New York. His photographs and writings provided a powerful and shocking visual representation of the poverty and squalor that many Americans were unaware of or chose to ignore. In the late 1880s, a New York City police reporter named Jacob Riis took pictures that way in lower Manhattan. One of Riis' most famous photos was taken on Bayard Street. It's called "5 Cents a Spot," which shows a room full of people bedding down for the night.
In addition to his writing, Riis's photographs helped illuminate the ragged underside of city life. By the late 1880s, Riis had begun photographing the interiors and exteriors of New York slums with a flash lamp. Those photos are early examples of flashbulb photography. Riis's book "How the Other Half Lives" was a groundbreaking work that exposed the overcrowded, unsanitary, and dangerous conditions in which many immigrants lived in tenements. The book was widely read and its publication led to a public outcry for reform. Riis's work helped to raise awareness of the problems of poverty and helped to spur efforts to improve housing and sanitation in the city.
Riis's work also had an important impact on the field of journalism. He was one of the first reporters to use the new technology of flash photography to document the lives of the poor, making it possible to photograph in the poorly lit tenements. His use of photographs to tell the story of the poor was innovative and helped to establish the use of visual journalism as a powerful tool for social reform.
In short, Jacob Riis's work had a significant impact because it brought the issues of poverty and living conditions of the poor to the forefront of public consciousness, and it was the catalyst for important social reform. His methods of using photography to document the lives of the poor, and his writings, were also very influential in the field of journalism.
In addition to his writing, Riis's photographs helped illuminate the ragged underside of city life. By the late 1880s, Riis had begun photographing the interiors and exteriors of New York slums with a flash lamp. Those photos are early examples of flashbulb photography. Riis's book "How the Other Half Lives" was a groundbreaking work that exposed the overcrowded, unsanitary, and dangerous conditions in which many immigrants lived in tenements. The book was widely read and its publication led to a public outcry for reform. Riis's work helped to raise awareness of the problems of poverty and helped to spur efforts to improve housing and sanitation in the city.
Riis's work also had an important impact on the field of journalism. He was one of the first reporters to use the new technology of flash photography to document the lives of the poor, making it possible to photograph in the poorly lit tenements. His use of photographs to tell the story of the poor was innovative and helped to establish the use of visual journalism as a powerful tool for social reform.
In short, Jacob Riis's work had a significant impact because it brought the issues of poverty and living conditions of the poor to the forefront of public consciousness, and it was the catalyst for important social reform. His methods of using photography to document the lives of the poor, and his writings, were also very influential in the field of journalism.
Subjective and Objective
In what sense can a "fact clearly described" be "mysterious"?
In the context of a photograph a fact can clearly be described as mysterious. This is because the viewer of the photograph us unaware of what process the photographer when through to take the photograph. This view does not know whether the photographer took the picture immediately or if they asked the subject to position themselves in different way. This means that unless it is stated, the view must make up their own decision of whether the image is real or not. A photograph that is clearly described can be considered "mysterious" in the sense that the description of the photograph may not fully capture the emotional or artistic impact of the image. The photograph itself may have deeper layers of meaning or evoke a sense of wonder and uncertainty, despite being clearly described in terms of its subject matter and technical aspects. In other words, the photograph can retain a sense of mystery and open interpretation even when it is described in a clear and straightforward manner.
In the context of a photograph a fact can clearly be described as mysterious. This is because the viewer of the photograph us unaware of what process the photographer when through to take the photograph. This view does not know whether the photographer took the picture immediately or if they asked the subject to position themselves in different way. This means that unless it is stated, the view must make up their own decision of whether the image is real or not. A photograph that is clearly described can be considered "mysterious" in the sense that the description of the photograph may not fully capture the emotional or artistic impact of the image. The photograph itself may have deeper layers of meaning or evoke a sense of wonder and uncertainty, despite being clearly described in terms of its subject matter and technical aspects. In other words, the photograph can retain a sense of mystery and open interpretation even when it is described in a clear and straightforward manner.
Do photographs document or create reality?
Photographs can do both. On one hand, photographs can document reality by capturing a moment in time, preserving a visual record of people, places, and events. They serve as a kind of evidence of what actually happened and can be used to verify the accuracy of historical events, among other things. On the other hand, photographs can also create reality by presenting a subjective interpretation of the world, shaped by the photographer's perspective, choice of subject matter, and technical decisions. They can influence how people perceive and understand the world, and can even shape public opinion and attitudes. Ultimately, the relationship between photographs and reality is complex, and it is likely that photographs both document and create reality in different ways and to different degrees.
Photographs can do both. On one hand, photographs can document reality by capturing a moment in time, preserving a visual record of people, places, and events. They serve as a kind of evidence of what actually happened and can be used to verify the accuracy of historical events, among other things. On the other hand, photographs can also create reality by presenting a subjective interpretation of the world, shaped by the photographer's perspective, choice of subject matter, and technical decisions. They can influence how people perceive and understand the world, and can even shape public opinion and attitudes. Ultimately, the relationship between photographs and reality is complex, and it is likely that photographs both document and create reality in different ways and to different degrees.
How do photographs change our relationships with things?
Photographs can change our relationships with things in several ways:
Photographs can change our relationships with things in several ways:
- Memory: Photographic images can serve as a powerful tool for preserving memories, allowing us to revisit past experiences and emotions. They can serve as a reminder of people, places, and events that are important to us and can help to keep our relationships with those things alive over time.
- Distance: Photographic images can also bring us closer to things we might not otherwise experience, such as distant cultures, remote locations, or endangered species. They can provide a window into a world we might not otherwise have access to and can deepen our relationships with those things by making them more tangible and real.
- Interpretation: Photographs can also shape our perceptions and relationships with things by presenting a particular interpretation of the world. The photographer's choice of subject matter, angle, and other technical decisions can influence how we understand and relate to the things in the image.
- Emotion: Photographs can evoke strong emotional reactions and can thus impact our relationships with things in profound ways. They can capture the beauty, wonder, or tragedy of life, and can move us to feel empathy, joy, or sadness in response.
Framing
Thomas Hoepker
Young people on the Brooklyn waterfront, 11 September 2001
Young people on the Brooklyn waterfront, 11 September 2001
Thomas Hoepker's photograph "Young people on the Brooklyn waterfront" was taken in 1963 and depicts a group of young people lounging and socialising on the Brooklyn waterfront with the Manhattan skyline in the background. The context of the photograph is important to understand its potential interpretations. In 1963, the United States was in the midst of significant social and political change, with the Civil Rights Movement and the Vietnam War protests gaining momentum. This photograph captures a moment of leisure and carefree relaxation, a contrast to the tensions at the time.
One interpretation of the photograph could be that it is a representation of youthful rebellion. The group of young people in the photograph are predominantly white, and the backdrop of Manhattan, with its towering skyscrapers and financial district, can be seen as a symbol of privilege and power.
Understanding the context of the photograph may change the viewer's interpretation of the image. For example, if someone is unfamiliar with the social and political climate of 1963, they may simply see the photograph as a snapshot of carefree youth. But if they understand the context, they may see the photograph as a commentary on the economic inequalities of the time.
In summary, the context of Thomas Hoepker's photograph "Young people on the Brooklyn waterfront" is important to understanding its potential interpretations. Depending on the viewer's understanding of the social and political climate of the time, their interpretation of the image may change.
The reasoning behind my edited photographs is that I felt as though the photograph as a whole doesn't work together because of the large smoke from the fire and the very relaxed people enjoying the sun and each others company. The way I have decided to frame the photograph is in my opinion makes the view understand each photograph more easily. The bottom three photographs are of young people relaxing by the river and enjoying the sun whereas the top picture is of a vast landscape with a bridge in the distance and towering skyscrapers being engulfed with smoke.
Thorough discussion of the crops you chose. Unfortunately you haven't completed the second part of the task where you were asked to discuss: Photography is an art of selection rather than invention.
One interpretation of the photograph could be that it is a representation of youthful rebellion. The group of young people in the photograph are predominantly white, and the backdrop of Manhattan, with its towering skyscrapers and financial district, can be seen as a symbol of privilege and power.
Understanding the context of the photograph may change the viewer's interpretation of the image. For example, if someone is unfamiliar with the social and political climate of 1963, they may simply see the photograph as a snapshot of carefree youth. But if they understand the context, they may see the photograph as a commentary on the economic inequalities of the time.
In summary, the context of Thomas Hoepker's photograph "Young people on the Brooklyn waterfront" is important to understanding its potential interpretations. Depending on the viewer's understanding of the social and political climate of the time, their interpretation of the image may change.
The reasoning behind my edited photographs is that I felt as though the photograph as a whole doesn't work together because of the large smoke from the fire and the very relaxed people enjoying the sun and each others company. The way I have decided to frame the photograph is in my opinion makes the view understand each photograph more easily. The bottom three photographs are of young people relaxing by the river and enjoying the sun whereas the top picture is of a vast landscape with a bridge in the distance and towering skyscrapers being engulfed with smoke.
Thorough discussion of the crops you chose. Unfortunately you haven't completed the second part of the task where you were asked to discuss: Photography is an art of selection rather than invention.
Comparison - Landscape Photographers
Roger Fenton's "The Valley of the Shadow of Death" and Richard Prince's "Untitled (Cowboy)" represent two different approaches to changing how images look. Fenton's photograph is a product of early photography, and it was taken using a large format camera that required long exposure times. In order to create the desired effect, Fenton and his assistants arranged the cannonballs in the landscape to create the sense of devastation that he was looking for. He also used careful lighting and composition to create a somber, almost eerie effect in the final image.
On the other hand, Richard Prince's "Untitled (Cowboy)" is an appropriation of an existing image. Prince cropped and enlarged a photograph from a Marlboro cigarette ad campaign, and presented it as his own work. By taking an image that was originally created for commercial purposes and presenting it in a gallery context, Prince challenges the viewer's assumptions about what constitutes art. In terms of how they changed the look of the images, Fenton's approach was more traditional, relying on the techniques available to him at the time to create the desired effect. Prince's approach was more conceptual, challenging the notion of authorship and originality by appropriating an existing image and presenting it as his own.
In conclusion, while both Fenton's "The Valley of the Shadow of Death" and Prince's "Untitled (Cowboy)" are photographs, they represent two very different approaches to changing how images look. Fenton used traditional photographic techniques to create a specific effect, while Prince challenged traditional notions of authorship and originality by appropriating an existing image.
On the other hand, Richard Prince's "Untitled (Cowboy)" is an appropriation of an existing image. Prince cropped and enlarged a photograph from a Marlboro cigarette ad campaign, and presented it as his own work. By taking an image that was originally created for commercial purposes and presenting it in a gallery context, Prince challenges the viewer's assumptions about what constitutes art. In terms of how they changed the look of the images, Fenton's approach was more traditional, relying on the techniques available to him at the time to create the desired effect. Prince's approach was more conceptual, challenging the notion of authorship and originality by appropriating an existing image and presenting it as his own.
In conclusion, while both Fenton's "The Valley of the Shadow of Death" and Prince's "Untitled (Cowboy)" are photographs, they represent two very different approaches to changing how images look. Fenton used traditional photographic techniques to create a specific effect, while Prince challenged traditional notions of authorship and originality by appropriating an existing image.
Well done, thorough discussion of the images drawing appropriate similarities and differences between them.
Danny Quirk
Danny Quirk is an artist known for his unique project of taking pictures from the hip. This unconventional technique involves capturing candid and often surprising images by shooting photographs without looking through the viewfinder. Instead, Quirk holds the camera at his hip or waist level, pointing it towards the subject without directly framing the shot. By adopting this approach, Quirk aims to capture authentic and spontaneous moments that might otherwise be missed or overlooked. The technique allows him to create a sense of immediacy and rawness in his photographs. By circumventing the traditional rules of composition and framing, Quirk's images often possess a dynamic and unfiltered quality. One of the key aspects of Quirk's project is the element of surprise. By shooting from the hip, he relinquishes control over the exact framing and composition, embracing the element of chance and serendipity. This results in photographs that reflect the energy and unpredictability of everyday life.