| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "SURREALISM PHOTOGRAPHY": |
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Surrealism and Photography, 2006.
An overview of surrealism and how photography impacted this form of artistic expression.
1,726 words (approx. 6.9 pages), 7 sources, MLA, $ 55.95
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Abstract
This paper takes a look at the surrealist movement, explaining that it was, at the same time, a poetic, philosophical and political movement and that the advent and development of photography as an art form had a great impact on surrealism. The paper describes and analyzes some of the works of early surrealists, including Man Ray and Andre' Breton.
From the Paper
"In a 1913 issue of Alfred Stieglitz's Camera Work, de Zayas criticized the medium of photography for being a "concrete representation of consummated facts," which "drew away the veil of mystery with which Art enveloped the represented Form." [Perpetual, p. 16] Yet the budding surrealist movement was beginning to embrace photography as a novel mechanism for the expression of its ideals. Photography allowed for a randomness that was central to surrealist practice. The innovations in photographic and developing techniques - especially those of Man Ray - gave surrealists a larger forum to explore their ideas of unstable reality, dream-like states and bizarre juxtapositions of everyday images."
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Surrealism and Photography, 2004.
Examines how photography and the camera affected surrealistic art in the 20th century.
7,255 words (approx. 29.0 pages), 12 sources, APA, $ 161.95
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Abstract
This paper emphasizes the history of the Dada movement and its effects on Surrealism, with an emphasis on photography. The paper explores artists such as Max Ernst, Miller, Man Ray, and Salvador Dali and looks at ways in which they used photography in their artwork. The paper also examines the different techniques of photography and its effect on 21st century art.
From the Paper
"In the years after World War I, both Dadaists and Surrealists made wide use of photographs as a source of visual ideas and as a physical component in collages. But even then photo-collages were not new, other artist had used them in the 19th century. However, the first photo-collages which were clearly used for serious artistic purposes were assembled by members of the various Dada groups that were formed in Switzerland and Germany during World War I."
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Photography as Art, 2006.
A review of photography as an art form.
1,250 words (approx. 5.0 pages), 3 sources, MLA, $ 42.95
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Abstract
This paper studies photography as an art form -- from the mundane, such as photojournalism, to the fantastic, i.e. interpretative artistic photographs. The author briefly reviews the history of photography, before delving into the scientific details of the art form. The paper then explores photography as an expressive art form, which does not require literal interpretation of subject matter.
The Science and the Art of Photography
Contemplative Photography
Photographic Presentation
Artistic Expression
From the Paper
"According to U.K. scientist and photographer, Mike Ware (1993), the photograph is a way of enhancing observation. The viewer is presented with a view of a world that is seldom noticed. A moment is taken from time and frozen for the viewer to study and react to. This could be a scene as mundane as a street filled with businesses, or as fantastic as a complicated collage, with a profusion of images assaulting the eye. The artistic purpose remains to make the viewer see what the photograph represents and to bring an individual interpretation to it. Hidden beauty is exposed to the eye of the camera and thus to the eye of the viewer. In this way the mundane and the fantastic become one. Perhaps one could say that the mundane in photography could also be compared to its scientific aspect, whereas the fantastic parallels the final artistic product."
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Wedding Photography, 2004.
An analysis of the changing trends of wedding photography.
5,457 words (approx. 21.8 pages), 18 sources, MLA, $ 133.95
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Abstract
While marriage seems to be exceptionally popular, it is surprising that the primary means of documentation - namely, wedding photography - has received little formal study. To the author's knowledge, no studies exist that indicate the percentage of couples that hire wedding photographers - or in the days before photography, portrait artists. This paper addresses the inception of wedding photography, describes its development and provides a description of recent industry changes including the changes due to digital technology and how other developments have altered the industry.
Outline
Introduction
Inception of Wedding Photography
Traditional Style
Wedding Photojournalism
Black and White Photography
The Artistic Style
Fashion Style
The 35mm Camera Versus the Hasselblad
Digital Photography and the Internet Revolution
The Wedding Album
Conclusion
From the Paper
"Throughout history, the cultural and sacred traditions of marriage have been honored and recorded by most cultures, regardless of religious, political, or geographic differences. It is a relationship that plays an important role in the definition of what a family truly is. Although precise definitions may vary depending on historical era and culture, the concept of marriage typically is a socially sanctioned bond between two people, a bond that unites two people into one ("Marriage", 2004). Given that marriage is universally considered the foundation of family and society, it is not surprising that the documentation of the marriage ceremony and associated celebrations has become an important part of the ritual."
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Western Photography's Perception, 2006.
Examines how societies and cultures are perceived by Western photography.
3,172 words (approx. 12.7 pages), 33 sources, MLA, $ 91.95
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Abstract
Photography is an art form that is constituted by culture and society. At the same time photography is also an important element in shaping cultural realities. It is this complex interrelationship between the photographic image and cultural motivation that forms the basic subject of this essay. The relationship between photography and culture is outlined with reference mainly to American nation building and imagery around the turn of the century. Furthermore, the essay discusses the ways in which western forms of nation building interacted with the problem and perception of the "other" and the way images of "the other" are mediated though photographic images of the period. The paper includes photographs.
Paper Outline:
Introduction
Understanding Anthropological Photography
The Cultural Role of Early Photography in America and Nation Building
Francis Johnston
Conclusion
Bibliography
From the Paper
"The gaze implies a separation and a sense of domination and power that relates to various aspects, including alienation and
"otherness" This also refers to the "patriarchal" gaze: and the gaze from the standpoint of colonial culture. "The majority of anthropological photographs consists of non-Westerners looking away from the photographer, who were mostly white, upper class males, or posed to be in action as to appear candid and natural. " (Tanjuakio J. 2003) This view leads to various other aspects of post-colonial and postmodern theory; such as the assertion that photography is means of "capturing" the non-westerner in terms of control and power."
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Magic Realism In Photography, 2008.
An analysis of how magic realism can be applied to the medium of photography.
2,127 words (approx. 8.5 pages), 7 sources, MLA, $ 66.95
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Abstract
This paper discusses the history of the definitions of magic realism. It specifically focuses on magic realism within photography and if the term can be applied to specific forms of photography. The paper discusses the medium of photography and how the writer uses this medium. It also looks briefly at digital photography, as well as black and white photography.
From the Paper
" It is very difficult to apply the term magic realism to photography of any kind; perhaps because it seems that every kind of photography may be capable of being magic realism. Since the meaning of the term has come to encompass so many definitions, there is an argument for many kinds of photographs to be considered as magic realist photographs. In my photography, I truly want to infuse the logical even "normal" world with something as illogical as a state of mind, an imagination. By still using a representational language to do so, I believe my photographs can fit into the Roh and Hartlaub description of magic realism as well as the Carpentier and Uslar-Pietri description. It is possible to use objectifiable or representational art rather than abstract art to express a part of human reality. It may seem that the objective world is "crystallized" by a photograph, but the crystalline structure of a real external situation is easily fractured by the tiniest suggestion of an internal or psychological reality; the latter is in fact strengthened by the cold and certain detail of the former."
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Civil War Photography, 2002.
This paper discusses photography during the Civil War period, when the craft of photography had just begun.
1,730 words (approx. 6.9 pages), 12 sources, $ 55.95
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Abstract
The paper discusses the types of equipment used the Civil War period. The paper presents photographers: Mathew Brady, Alexander Gardner, Timothy O'Sullivan, Andrew Joseph Russell and Jay Dearborn Edwards. The author pointed out that the study of their portraiture offers an in-depth look at the men and women who made a significant contribution to the development of the United States.
From the Paper
"Although photography had existed for only two short decades when the War broke out, from the start, the pictures the early photographers created fascinated the public. Their images seemed, unlike drawings and paintings, to capture reality. When the war began, hundreds of photographers began to cover the conflict. In both their studios and in the field, they took numerous portraits of common soldiers and then sold them in a popular card-size format. The Civil War photographers traveled to Army field headquarters and returned with images of the war's heroes. When they went into the field to take their photographs, they carried not only a camera, but also a portable darkroom that was used for the delicate process of wet-plate photography."
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Digital Black and White Photography, 2008.
An analysis of the history of digital photography and a comparison of its results with those of analog cameras, focusing on black and white developments.
1,353 words (approx. 5.4 pages), 7 sources, MLA, $ 45.95
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Abstract
This paper argues that digital cameras are better than analogue cameras. Specifically, the paper looks briefly at the history of digital photography, at its utility in matters such as record-keeping and crime-fighting and at some noteworthy instances of digital photography producing impressive and compelling works. Finally, the paper looks at all of the various reasons why it may be said that digital black and white photography is better than analog black and white photography.
From the Paper
"More than that, the technology that makes digital black and white photographs possible always runs the risk of becoming obsolete. For instance, the old Epson 2200, 7600, 9600 printers have been pushed aside by Epson Stylus Pro 4800, by the Epson Stylus Pro 7800, and by the Epson Stylus Pro 9800 (FLAAR Network, para.8); simply put, unlike the fairly low-maintenance prints rendered by analog cameras, the "splashy" digital B&W prints of today place photography enthusiasts in the uncomfortable position of seeking out new technological tools that have a (quite literally) a built-in obsolescence factor. Be that as it may, though, most photographers will gladly accept this trade-off if it means the chance to be more creative."
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Documentary Photography, 2004.
A review of the history of documentary photography and Dorothea Lange, the photographer.
1,980 words (approx. 7.9 pages), 5 sources, MLA, $ 62.95
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Abstract
This paper presents the background history of photography, in general, and the evolution of documentary photography. Documentary photography is described in the paper, illustrating its important role in documenting history. A biographical history of the photographer, Dorothea Lange, is provided in the paper. Some of her works are introduced and analyzed.
From the Paper
"Life is documented daily, whether in newspaper photographs of world events, in feature magazines of faraway places and in photo albums of family snapshots. Essentially, all photography is a documentary of whatever is being photographed for whatever reason. However, traditionally, the mention of documentary photography brings up familiar images from a few twentieth century photographers, such as Ansel Adams, Walker Evans, Roy Stryker, Arthur Rothstein and Dorothy Lange, whose photographs have not only documented culture but has become a part of the culture itself."
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The Skill of Photography, 2008.
This paper discusses the benefits of acquiring the skill of photography.
1,152 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
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Abstract
The paper relates that photography is a skill that anyone can learn. The paper advises the use of a cheap camera and a little time in order to acquire the skill. The paper shows the importance of photography by referring to the quote about a picture being worth more than a thousand words.
Outline:
Why Learn the Skill of Photography
Techniques in Taking Quality Pictures
From the Paper
"An old saying is that a picture is worth more than a thousand words. Why? A picture can catch memories that might be forgotten otherwise, a picture can be used as evidence in courtrooms or when filing insurance after a fire and/or a picture can be used when discussing life with families or friends. Sitting down and looking at a scrapbook of photos creates a bond with loved ones or friends. Ever want to describe an experience that happened in life? Photographs are great ways to describe the experience and even the emotion of the experience. Photography is a skill that is simple to learn and it is one that does not cost a lot of money. "
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Surrealist Photography, 2004.
Examines surrealist photography and some of the more famous works in this field.
1,417 words (approx. 5.7 pages), 9 sources, MLA, $ 47.95
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Abstract
Surrealist photography began in the 1920s and quickly developed as an interesting means of photography in the following decades. Several surrealist photographers were inspired by the theories of Freud because of the impact he had made regarding the working of the human mind and the distorted images that it held within the unconscious. This paper provides a definition of surrealist photography. It then discusses several photographers and their works, including Rosalind Krauss and her Marxist views, Lucy Schwob, who created the "Claude Cahun Self Portrait", Dora Maar, and Andre Kertesz, who produced "Distortion - Paris 1933".
From the Paper
"In addition to Lucy Schwob, there have been other impressive surrealist photographers. Dora Maar is another name that stands out because of her brilliant work on the Portrait of Pere Ubu, 1936. In addition to Dora?s work there is the impressive work of Georges Hugnet Untitled Collage, 1934. This photomontage comprises of several photographs merged in such a way that it produces one print. There is an ideal method adopted for this, and the result is an image that unites unrelated elements with a dream-like quality. Similar to this is Man Ray?s Rayograph, which is an image that is created without a camera, and therefore exposes the ?enigma of objects?."
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Photography Art, 2005.
This paper discusses photography as a form of art and entertainment.
1,125 words (approx. 4.5 pages), 1 source, $ 44.95
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Abstract
This paper primarily deals with art and photography and how this method of art has been challenged for its artistic integrity. The writer maintains that because it is not a traditional art that involves the creation of something, photography as art has been scrutinized. The article presents the way that photography has taken the camera whose use has been functional and turned it into a medium for entertainment.
From the Paper
"Already-Read, Already-Seen. This article is a discussion of the ways in which the photographic art form has come to be viewed. In a sense, much of today's art seems to be a reproduction of past themes. The article specifically states, "Common to the photographic usages of these three artists was an insistence on what Roland Barthes termed the deja-vu (already-read, already-seen) aspect of cultural production, a notion alternatively theorized, with respect to postmodernist artist, as a shift from production to reproduction"."
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Still Life Photography, 2005.
Examines the definition of modern still life photography.
4,361 words (approx. 17.4 pages), 11 sources, MLA, $ 114.95
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Abstract
In any era, the term still life means virtually the same thing: "the depiction of objects that lack the capacity for self-governed motion".
In these days of composites, both of subject matter and technique, the term can probably be expanded to include items that are able to move, but for reasons of aesthetics of concept, are treated artistically as if they were inanimate. This thesis applies nowhere better than to still life photography. In considering the ramifications of the term, this paper investigates the forms of western still life leading up to the present-when form and creative media are so often used in ways that were not possible before-to help to define the genre of the contemporary photographic still life.
Paper Outline:
Still Life Photography Today
Still Life Traditions
Paintings, Origins
Photography
Impact of Postmodern Art on Still Life
Impact of New Technologies
Closing Paragraph
Bibliography
From the Paper
"This sort of inclusion opened the way for artists such as Robert Therrien, whose work in the 1990s-a weird wooden table-could also be termed a still life (Herrera, 1997, unpaged). In the same show, a painting by Cezanne depicted a platter of pears tipped onto a different plane than the table and rests on what would be, in normal perspective, air. "The table thus continues one of the great themes of still lifes-echoing previous works" (Herrera, 1997, unpaged). The show itself was called Objects of Desire, and included works by Picasso and Matisse as well as other modern masters, all working in still life, and all working at a time when photography could have paralleled their work and, with its obvious genius for depicting what is rather than what might be, could have overshadowed them."
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Gender Politics in Photography, 2005.
An examination of how gender politics affect photography.
1,125 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper is an examination of how gender politics affect photography. The paper centers on Man Ray and Cindy Sherman. The paper looks at how Man Ray revolutionized the art of photography; his artistic notion of gender politics. Sherman's photography as framed within the feminist critique of patriarchy.
From the Paper
"Certainly one of the most often and erroneously perpetuated myths in art is the idealistic notion that photography is an expression of truth. If this were the case, we would be prompted to answer the question 'whose truth?' A simple study of the mere gender politics inherent in photography proves that if there is any truth to be found in photography, it is most certainly of a relativistic nature. Here we will study the photography of photographers..."
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The Popularity of Amateur Photography, 2002.
A paper which examines why photography is such a popular hobby.
1,316 words (approx. 5.3 pages), 4 sources, APA, $ 44.95
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Abstract
Photography has been described as ?probably the world?s greatest hobby?. The paper shows that there is no doubt that photography is a popular hobby, with the introduction of the digital camera only increasing the popularity. The paper explores several characteristics of photography that explain this popularity: that it is an adaptable hobby; that it is an accessible hobby; that it allows for individuals to combine their other interests; that it is an opportunity for every individual to be creative, even those with limited creative skills; and that it gives people the opportunity to interact with their world.
From the Paper
"The fourth reason that amateur photography is a popular hobby is that it gives individuals the opportunity to be creative, even if they are lacking in creative skills. As one author notes, photography is a ?creative process: the subjects you choose to photograph reflect your own character, mood and opportunities? (Joseph & Saunders 8). Another author makes the same observation, ?...the single most important factor behind a picture is the photographer? (Freeman 8). This means that the photographer is central to the process and provides the creativity. However, at the same time, the photographer does not have to provide the material. This can be compared to painting, where the creative has a blank canvas and must provide the entire artwork."
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