bonze reaching for the gasoline can‚ of a Bengali guerrilla in the act of bayoneting a trussed-up collaborator‚ comes from the awareness of how plausible it has become‚ in situations where the photographer has the choice between a photograph and a life‚ to choose the photograph. The person who intervenes cannot record; the person who is recording cannot intervene. Dziga Vertov’s great film‚ Man with a Movie Camera (1929)‚ gives the ideal image of the photographer as someone in perpetual movement‚ someone
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encountered. In my opinion‚ I believe her work is brilliant. She successfully communicates feelings of anguish and depression through her documentary photography. Every photo that she captured has multiple meanings. While the scene depicted in the photograph is striking‚ the images contain an ulterior motive meant to inform viewers of devastation from people far away. In retrospect‚ Dorotha Lange helped pioneer the field of photojournalism. She established an art where photography is used to add another
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been far more difficult to research than I thought it would be. Unfortunately‚ photographers are not always given the full credit they desrve for their work and therefore‚ it is impossible to find the names of the artists of some of my favorite photographs. Instead‚ I decided to just look up popular photographers in the fashion industry in hopes of having easier access to information. Despite the fact that I now had the names of some of the most world famous fashion photographers‚ finding information
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photos from fatal car accidents show the wrecked vehicles and not the victims. Mangled steel is worthless; a human life is priceless. Why not capture on film the loss of that which is truly precious? (Ephron‚ www.haverford.edu/) The so-named Boston Photographs were taken in 1975 by photojournalist Stanley Forman.. I made all kinds of pictures because I thought it would be a good rescue shot over the ladder‚ (Ephron‚ 433) Forman said in explaining why he took the pictures. In the first frame‚ there is
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Review of Exhibition On Stephen Ahern: Close to Home & Power and Privilege: photographs of the Big House in Ireland 1858-1922 I have visited Gallery of Photography where I reviewed Stephen ’s Ahern ’s exhibition ’ ’Close to home ’ ’ placed in Meeting House Square‚Temple Bar‚Dublin 2 Ireland. Since its inception in 1978 the Gallery of Photography has become Ireland
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of our nation‚ our country’s current situation is nowhere near the magnitude of the Great Depression. The desperation and misery felt by the country during the 1920s and 1930s is nearly impossible to grasp by today’s society‚ yet when looking at photographs such as “Migrant Mother” we are given a glimpse of the hardships that plagued the nation. The hopeless‚ weathered gaze of the woman in “Migrant Mother” served as a representation of the hopelessness felt by so many suffering mothers and families
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look at this photograph is proximity as the white lines are very close to each other. The second principal is figure and ground as the object is white and the background is blue which determines the ground. The third principal seen in this image is similarity because the shape and lines in this image are similar. The fourth principal that can be distinguished in this photograph is continuation as the lines seem endless. 2. The most dominant Gestalt principal observed in this photograph is similarity
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After spending several hours walking around the Harn Museum of Art and looking at all the galleries and exhibits‚ I chose to write about two photographs. The Tree #36‚ Martha’s Vineyard by Aaron Siskind and Photo 13A in the Ocean Details series by Joni Sternbach. The Tree #36‚ Martha’s Vineyard is a 14x11 inch black and white print taken in 1973. It is an abstract expressionism photo. I chose this picture because the tree just drew me in. I can see myself sitting in one of the bends of the branches
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recording. Notes‚ photography‚ and sketches. Notes-the notes should start by identifying the person who contacted the investigator‚ the time of the contact‚ and all preliminary information enclosed‚ including the case number. Photography-crime scene photographs can show the layout of the scene‚ the position of evidence to be collected‚ and the relation of objects at the scene to one another. Photography is also important for documenting biological evidence in its
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The Course of Life The photograph Kalsoy by Wojciech Kruczynski is of a green‚ grassy island with a lone white lighthouse surrounded by nothing except the rolling‚ rocky hills. There is a shadow of another hill casted onto the bottom of the photograph with a lightly wore trail leading to the small lighthouse. The edges of the picture consist of deep blue ocean water that is crashing against the rocky cliffs of the island. At the top of the picture there is white cloud in the form of an arc hovering
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