Free example essay on Photography:

Technique, in other words, must be or become part of the work. It must not be just the path that lead to the creation of this artwork, it must be part of the artwork. To return to my main point in this essay, and to just saying when asked if my work is enhanced or manipulated, I must give this answer in order to tell my audience that it is my intention to make my technique visible. Indeed, I often emphasize my yes answer, by saying In writing, there is no other way to show this subtle difference besides placing an exclamation point after the yes, but in reality this slight change conveys my love and my passion for the work that I do and for my desire to share this with my audience.

Then the answer is ESSAY PHOTOGRAPHY.

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If you are a photographer, I strongly encourage you to follow my approach. If nothing else, it will free you and liberate your creativity. I know it does for me. Remember that you must be free in order to be an artist. If you do not feel free to create whatever your heart desires, then you might call yourself an artist, but you are not really an artist. Art is personal expression. It is the expression of your personality, of your vision, or your view of the world, of your perception of reality. Art is not doing something because you believe someone else may like it better than what you would otherwise do. Art, in short, is freedom.

Free example essay writing on Photography

When digital processes first became widespread in the 1990s, theywere seen by many to mark the end of any claims to photographic 'truth'.Rather than carry a physical memory of light falling on objects, digital images are reconstructions using binary code, and can therefore be seen as furtherremoved from reality. As we have seen, viewing photographs as a slice of the'real' has always been problematic, no matter what form they take.

Free sample essay on Photography

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In contrast, other art photographers engaged in a 'documentarystyle', often focusing on urban life in street photography. John Szarkowski'sinfluential catalogue, The Photographer's Eye, was centred around thesepractices by artists who were united by an interest in the vernacular snapshot,using its tropes to give their artfully composed images a careless, everydayquality. As with earlier avant-garde ideas, this approach to photographyattempted a codification of the medium, based on qualities inherent to thecamera. Szarkowski argued that one of the central features of the camera is theway it causes us to see the world as an image (the thing itself), framed, isolatedand ultimately separated from the world by the act of photographing (theframe). The resulting image is separated from the flow of time, and causes anattentive form of viewing, often focusing on compelling details.

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However, we are attentive to such images, not because of their physicalproperties, but because of their subject. Barthes argued that the photographacts as a 'transparent envelope', which we look through in order to engagewith its content. This unassuming quality has allowed photography to adoptnew forms and to insert itself into a wide variety of contexts. The invisibilityof photography does not mark the end of the medium, the invisibility ofphotography is its power.

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I have always felt that visual imagery is one of the best ways in which people may express themselves. Whether the image is produced by painting, drawing or photography, a picture needs no words to explain what it means and what the artist felt when he or she conceived it. Language is not a barrier when the subject is visual.

Essay on photography

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This approach to the image continues to be influential in contemporaryart, however, apparently neutral documentation of the everyday spaces of lifecan often be deceptive. Thomas Demand's practice involves photographing seemingly blank and overlooked environments, such as offices, stairwellsand bathrooms; spaces Marc Augé referred to as 'non-places'. Demand'sphotographs are in fact elaborate hand made creations, sculptural modelsof space, created in paper by the artist and then photographed. Demand'swork brings together two opposing tendencies in the use of photographs bycontemporary artists: the documentation of the everyday, and the creation ofelaborate scenarios for the camera.