VIRTUAL ESSAY- ASSIGNMENT 4

For this assignment I chose to copy the style of my photographs from a French-Canadian photographer named Paul Politis. He began photographing in 1988 using darkroom processes and then became involved with digital photography ever since the popularization of it. Since he began taking photographs, he self-taught himself all the skills and ‘tricks of the trade’ without the dependent reliance on other photographers. He isn’t a popular or ‘mainstream’ photographer like Terry Richardson, but he does have prints that are held in collections at the National Arts Centre (NAC) in Ottawa.

Here is a excerpt from Paul’s ‘Artist Statement’ so that you may gain a better understanding of his artistic and motivating vision:

“In my photography, I attempt to capture moments in time that have a quiet emotion to them…. focusing on the objects that humans construct, maneuver and discard….. I hope to kindle in the viewer an empathy for the objects I photograph, or to view them as a personification of a part of themselves.”

Below are five photographs that I personally found most intriguing from Paul’s photography collection and have inspired me to attempt to imitate them, along with a slight twist. PHOTOS HAVE BEEN TAKEN BY MYSELF.

Picture 1 

Abandoned House- Paul Politis

Captured by Myself

I believe this picture is the best example of a assertion made in Paul’s Artist Statement, “capture moments in time that have a quiet emotion to them.” The raw, bare, and ‘empty’ look in Paul’s photo exemplifies this. It caused me to question the history of the building, the purpose for its existence, and its location. When I went out looking for a subject, I wanted it to force me to ask those same questions, and that is when I found the above abandoned ‘red’ building near a train yard. Its rugged look, similar to the one in Paul’s scored my attention. I personally would have added a landscape to the photo, but I was limited with a large zoom lens. Although, I believe the abandoned building ‘hogging' the entire frame has a stronger visual impact to the viewer. Through some minor editing I enhanced the colors of the photo through hue, saturation, and luminance to give it a similarly vivid look as Paul’s.

Picture 2

Paul Politis- Vertigo

Captured by Myself

 This is an example of the B&W style Paul portrays in most of his photographs. These image follow with the one's above (Picture 1). Once again it signifies the idea of capturing a moment with a quiet emotion. In comparison between my photo and Paul’s I tried to capture a similar mood of that in horror flicks, “basements don’t lead to anything pretty.”  Both pictures send a frightening chill down your spine, as it did for me. I personally connected to the photograph because I myself am frightened of eerie basements due to mental references to gory horror films. In hopes to achieve this message in my photograph, I as well, used the traditional B&W coloring, although darkening the photograph, leaving the only light source coming from the lower level of the stairwell. The angle of the stairwell was shot purposely as it adds another irregularity to the photo, which I believe makes a strong impact on the emotion of the photo.

Picture 3

Paul Politis- Inertia #6

Capture by Myself

This picture isn’t a conventional example of the majority of Paul’s work but it is significant because it's simply a presentation of a fraction of a second in Paul’s travels on the road while in motion. He labeled the photo as ‘Inertia’ meaning, the object’s amount of resistance to change in velocity; the blurry effect depicts the large amount of inertia that is present in that moment. As Paul was on his journey, I was on my journey using the TTC. I walked to the end of the train, reduced my shutter speed on my camera (to produce blurry effects) and took a picture of the moment that was passing by, the degree of inertia that was currently carried by the train. I was hoping to gain the same vigorous and almost violent effect of the lights that Paul managed, but was unsuccessful.

Picture 4

Paul Politis- Graffiti Train

Capture by Myself

The biggest similarity between Paul’s photo and mine is the basic subject. As Paul, I went out on a hunt for a rail-car sprayed with graffiti, which actually wasn’t very difficult. His subject is positioned in the middle of no nowhere, while mine is stationed at a Lantic facility. While both photos imply a coarse emotion, Paul’s photograph exhibits a strong linear action, which absorbs most of the focus in the photograph. In contrast, I chose to focus much of the attention of my photograph on the actual graffiti by enhancing the exposure of the lettering with editing software. You’ll notice that once again, like with every work of Paul’s displayed so far, they each exhibit a quiet emotion as the primary concern for the photo. My photo still displays this quiet emotion, but with an alteration in the primary focusing point (graffiti).

Picture 5

Paul Politis- Dead of Night

Captured by Myself- Thanks to Mike Kahn for posing!

I saved this photo for last because it intrigued me the most, in a shocking way. What quieter moment in life than death? Paul had represented ‘quiet emotion’ in its most appropriate form. He incorporated this image of ‘death’ within an urban landscape because he believes, “the concrete and asphalt of a city imparts a cold and lonely feeling that is further accentuated by the tonalities of a black and white photograph.” With my photograph I chose a dingy alley within a city because I believe it perfectly represents the idea of a “cold and lonely feeling” rather than Paul’s location in the middle of the street. An alley is a dangerous and avoided location within any city. I darkened the shadows and reduced the exposure levels because I wanted to display a morbid scene. On top of this I chose to lightly outline the body to reinforce the focus point of the photo. (You may notice it more if you click on the photo to view it in a bigger size)

 Sources:

 http://www.paulpolitis.com/photography.asp

Alterations in Journalistic Photography

In no way, shape, or form is it ethical to alter press photographs, besides basic photo enhancement to make the photograph presentable, but even with this there are strict guidelines to follow. With advanced technologies and the introduction of digital photography were are now able to store hundreds to thousands of photos on our cameras and transmit them to our laptops, edit them, and release them to audiences over the Internet, all while on the field. Before any of this was available photojournalists needed to leave the field after snapping some pictures and develop them in a dark room, also without the ability to edit them. So with technology came a contamination to the integrity of some photos presented in news stories.  Photojournalists have been accused of altering press photographs to favor what they believed to be the truth,

"Ever since the most recent Reuters discovery (of altered photos of the Israeli-Hezbollah fighting) …….."One should note, during this particular war, each side is continually trying to prove an 'agenda' in all media outlets. They call into question everything, every usage, and balance. You cannot persuade either side that you have (no agenda) because to them, there is no other truth but their own." (Photojournalism in the Age of Scrutiny) 

The slightest changes to a photo can cause drastic changes. With a little bit of exposure play a dark mood can be achieved, making O.J Simpson appear more frightening.

Another example of slight alterations that can completely misrepresent the realities of the subject. Just by cropping you can present the colored photo in the center with a aggressive approach or a positive approach

To contain and quarantine the issue of unethical alterations to press photographs a code of ethics was developed. These codes became out-dated, so Society for News Design (SND) developed an updated code of ethics to work with evolving technologies. Gaspard, a former SND president said, "if you look into the language of the code you can find words that will guide you through any ethical situation that you face" (Photojournalism in the Age of Scrutiny). The Times also has guidelines that condemn press photograph alteration such as:  people/objects may not be added or removed from photographs, adjustments to colors should be limited, and no scenes should be posed.

News stations, reporters of all kinds have to protect their integrity and credibility to the public consumer, and in doing so, take on threats from unethical progression. NPPA code of ethics, and the SND code of ethics protect and reinforce the sincerity and reliability of news reporters, to enhance the trust that the public has in them.

Sources:

WebCT- Photography: Shooting the Truth; Photojournalism in the Age of Scrutiny by Kenneth Irby (Poynter Online)

 

Kertesz and Cartier-Bresson versus Smith and Salgado

The only similarity between the works of Andre Kertesz and Henri Cartier-Bresson when compared to Eugene Smith and Sebastio Salgado is the purpose for the creation of their photographs: to reveal a story or moment that they wanted to express in their photographs; either by slight manipulation or not. They wanted to secure this ‘story’ in a photograph that had the ability to re-tell the story to their audience. This was of great importance to each photographer.

Upon studying the photography methods of each photographer there were apparent differences in the active philosophy and technique in Kertesz’s and Cartier-Bresson’s work versus Smith’s and Salgado’s. Here is a quote from Cartier-Bresson speaking about his work, ‘Sometimes a picture disappears, and there’s nothing you can do, you cant tell the person, “Oh, please smile again, do that gesture again”, life is once, forever.’ It is safe to say that Cartier-Bresson and Kertesz both feel that a great photograph is born from its most natural moment, the decisive moment. Bresson and Kertesz felt they had to be invisible, as if they weren’t physically present, so that they didn’t accidently influence the moment they were trying to capture.

Smith and Salgado had quite a different approach, quite opposite actually. Instead of acting ‘invisible’ they interfered with the moment they were trying to capture. Why you ask? They were compelled to have their photographs influenced by their interpretations and opinions; allow their photographs to tell ‘their’ story. You could refer to this as presenting a biased approach to photography. 

These photographers both have interesting methods, but one group’s method is quite questionable in my eyes. Of course, each photographer’s effectiveness will be different in different scenarios. In the case of major news stories, Smtih’s and Salgado’s approach versus Kertesz’s and Cartier-Bresson’s approach is ludicrous because they would defy the morals of journalism. Instead of delivering the true, natural, un-touched news story, like expected by the public, they would deliver photographs that present a bias and possibly put the news story out of context. On another note, if a simple news story were to be represented, like a town fair, or street festival, using Smith’s and Salgado’s approach to photography would be ideal because they would most likely provide more fun, creative photography for their audiences.

Sources:

1. KerteszCartier-BressonFromShootingTheTruthGordanaIccevska.pdf - on Oct 29, 2009 5:53 PM by Gordana Icevska  http://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxzaG9vdGluZ3RoZXRydXRofGd4OjRmNDAzZGZlNjZmMDhkYmE

2. SmithSalgadoShootingTheTruthIcevska.pdf - on Nov 4, 2009 6:50 PM by Gordana Icevska http://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxzaG9vdGluZ3RoZXRydXRofGd4OjM4ZmFkYjVhZDIwNjYyZjQ

Photojournal Part 2- Art photography versus Press Photography

Press Photography and Art photography both share similarities and differences, but they are very much different from each other in the sense of meaning and portrayal. Press photographs provide visual support for stories they represent, but fine art photographs are the outcomes of the photographers’ visions and creativeness.

Similarities: Press photography is taken to visually represent an event or story and art photography can represent a story and/or event by the choice of the photographer. Photographs from each respective discipline tell a story to their viewers; listed below are two examples, one press, and one art that both express history that were/are listed as big news headlines:

           

The first photograph is a press photograph taken moments after a suicide car bombing in Kabul, Afghanistan depicting the horrors of the tragic events, and the second photograph is of Ernesto Che Guevara, a symbolic figure of the revolution in Cuba in the mid 50’s. The face of Che tells his own story. 

Soldiers pull a woman from the scene of a suicide car bombing in Kabul, Afghanistan, in a December 15 picture by Australian photographer Adam Ferguson.

Ernesto Che Guevara, 'Chile 85'. Pencil editing effect.

Differences: The biggest difference between the two disciplines is that Photojournalism distinguishes itself from other forms of professional photography by its adherence to the principles of journalism: timeliness, accuracy, fair representation of the context of events and facts reported, and accountability to the public (Dillon Westbrook) and that Photojournalism is the use of photographs in conjunction with the reporting of news in media such as print newspapers, magazines, television news and internet reporting (Westbrook). A photojournalist cannot merely edit or set up a photo to couple his or her artistic and creative view of the story, but must present a photo in its originality and true context. A press photograph visually informs and connects the reader to the realities of the story. This is why The Toronto Start has a code of ethics that forbids altering the content of photographs (Gordana S. Icevska). On the other hand, art photography has no code of ethics to follow such as the NPPA. A fine art photographer has all the freedom to alter a photo in any way, shape, or form they desire since their objective isn’t to represent an object, or event in its truest, most original form, but in a way that is unique to a personal artistic style. Art photography doesn’t limit itself to events or stories, but has a broad spectrum of endless subjects.

Below are two examples, each representing the two photography disciplines. The first displays politically fueled rioting movements in Madagascar that lasted for 2 months, killing 170 people. The second is a image of a Northern Pacific railway car, depicted in a artistically dark ‘industrial’ mood. Eric Swanson

Two men hide behind a barrier as police fire tear gas at rioters in Antananarivo, the capital of the African island country of Madagascar; Photographer: Walter Astrada, Agence France-Presse

Photographer: Eric Swanson

Sources:

Westbrook, Dillon. "A Brief History of Photojournalism." Photography-Schools.
     N.p., n.d. Web. 11 Nov. 2010. <http://www.photography-schools.com/
     photojournalismhistory.htm>. 

"Photojournalism Bibliography." Poynter Online. N.p., n.d. Web. 12 Nov. 2010.
     <http://webct.georgebrown.ca/webct/urw/lc2044122001.tp0/
     cobaltMainFrame.dowebct>. 

"NPPA Code of Ethics." National Press Photographers Association. N.p., n.d. Web.
     13 Nov. 2010. <http://www.nppa.org/professional_development/
     business_practices/ethics.html>. 

Icevska, Gordana. "SHOOTING THE TRUTH: HOW PHOTOGRAPHS IN THE MEDIA BETRAY US." Learning Activities Week 9. Microsoft Word file. 

Documenting The Great Depression

Why the project has significant impact on the society?

The Farm Security Administration (FSA) was created in 1937 to aid ailing farmers who were suffering from the effect of falling crop prices brought by the Great Depression and agricultural damage caused by the Dust Bowl. Roy Emerson Stryker was the head of a special photographic section in the RA and FSA from 1935-1942. A photographic section was created within the Farm Security Administration covering the period between 1935 and 1942. 77,000 photos were taken in this period portraying Americans within the rural and ‘small-town’ life and the adverse effects the Great Depression, the Dust Bowl, and increasing farm mechanization had on these American citizens. In 1942 the documentary project unit from the FSA moved to the Office of War Information, which contained photographic documentary of America’s mobilization during WWII, displaying conditions such as aircraft factories and women in the workforce by large volumes. All photos are available at the Prints and Photographs Division, Library of Congress. The project’s documents are available to all of the public to see and learn from; preserved and made available for future generations to visually witness. Sometimes photos posses a stronger power of influence and instigation to learn and retain information rather than words on paper.  This is the significant impact the project has on us; an ongoing awareness of the challenges historical generations had to work through.

Cotton Pickers

18 year old mother, migrant from Oklahoma to California

 What was the role of Migrant Mother photograph in the period or great depression and what is it nowadays?

The Migrant Mother photograph was a representation of the harsh reality of the Great Depression. Dorothea Lange, the photographer of the famous ‘Migrant Mother’, made an account of her experience with the subject, “I saw and approached the hungry and desperate mother, as if drawn by a magnet.” This small take of the statement has great meaning to me. It was rare to see a single mother raising several children in the 20^th century, so I believe the fact that the mother had a tough, enduring role to live up to, unlike any other victim of the Great Depression attracted Dorothea Lange. The mother forced to play her traditional role, but also adapt to the traditional role of the father to lead the survival of her children and herself; displaying a strong sense of empowerment.  

'Migrant Mother'
Photographer: Dorothea Lange

 The role of the Migrant Mother reflects the role of many mothers in current days. Society still has its levels of classes, with families of welfare and poverty in the lower classes. To this day, in a stable economy families still live in barrenness, facing difficulties of supplying their family members with the necessities needed to go on and lead a sustainable life. 81+ years and individuals still live in the fear that many faced in the 30’s and 40’s. 

Works Cited:

1. http://memory.loc.gov/ammem/fsahtml/fahome.html

2. http://en.wikipedia.org/wiki/Great_Depression

3. http://memory.loc.gov/ammem/fsahtml/fadocamer.html

 

Photo Manipulation

Using a DSLR or a high-end point and shoot camera leaves you with many benefits and options for creativity when going out for a shooting session. As you’re out and about searching for or come about a great photo opportunity you are in total control of how you want your photo to turn out. Your knowledge and experience are the only factors limiting your ability to perceive a photo and transfer that perception into a finished photograph. When speaking of knowledge and experience, proper camera settings are a learned skill and barrier for your desired photos. Shutter speed, focal point, focus point, ISO, exposure levels, lighting, focus mode, positioning, depth of field, and white balance are examples of most of the camera settings that one must take into consideration in order to bring out the creativity within themselves. Sounds like a complex and lengthy process, but with practice and gained experience it becomes second nature.

Every photographer edits their work; either they may have made slight misjudgments of some camera settings, they may want to enhance their photos in a way that their camera cannot, or they may want to alter their photos in other ways. Some general and popular editing adjustments are exposure, brightness, contrast, saturation, and hue that can be made to the photo as a whole. This is a simple alteration that can be made, but then there are adjustments that can be made to specific areas of your photo that can make a big difference and require more skill and knowledge on photo editing software.

Here are some examples of some adjustments I have made to photographs that I snapped myself. Each photo was taken with a Nikon D60 with a Nikkor AF-S 55-200mm VR lens. Editing was done using Adobe Lightroom 3. The photographs on the top are originals, and photographs on the bottom are edited.

ISO 1600 24mm f/4.2  1/6sec

The photo was taken at Nuit Blanche; my friend in the middle of thick smog. I decided to turn the photo Black and White in order to intensify the dark and creepy mood of the photograph. The background has been darkened, lighting has been brightened, and I readjusted the clarity and noise levels which resulted in the softening of the fog. 

ISO 100  55mm  f/4.0  1/30sec

This was taken in the Eaton's Center at a Blue Jays merchandising store; the subject being two bejeweled caps. The editing undergone with this photograph was slightly more complex. To start off with the basic settings I adjusted the contrast, exposure, brightness, clarity, and sharpness in order to enhance the colors of the photo and make it more visually appealing using a Graduated Filter. Secondly I specifically chose to work on the bejeweled blue jays symbols on the hats to bring the focus of the picture on that particular part. Using the Adjustment Brush I outlined the blue jays symbols and individually edited them by increasing the brightness and exposure levels, as well as the contrast and clarity levels. 

ISO 200  55mm  f/4.0  1/50sec

This photo was taken in the Eaton's Center at a Bench display. As an example, this photo did not turn out as I hoped it would. I set my shutter speed to high in order to work with the indoor lighting conditions. Using some simple editing I was able to enhance the photo as I originally hoped it would of turned out. I decreased the temperature and increased the tint of the photo in order to deepen the colors in the photo. Exposure and brightness have been increased as long as the fill light. The texture has been sharpened to increase the quality of the photo. 

Can Art Be Mechanically Reproduced? YES!

When something is reproduced for so many time is that art?

"The Scream"

Art has always been reproducible, not only in our technological age, but in early ages of mankind. Artifacts for example could always be duplicated by another man   When a photograph or painting is reproduced so many times it will always remain a genuine art as an original. The reproductions of that original art piece are not art themselves, but art in meaning and relevance to its original. If an original piece is reproduced for the purpose of alternation, the reproduced art are merely births of newer, modern art. Reproductions become art that have simply been re-designed to meet one’s vision of creativity. 

'The Scream" reproduced

What’s the importance of the mechanical reproducibility of the art?

The mechanical reproducibility of art is mostly important for the ability to educate and expose art to people all around the world. If mechanical reproducibility were non-existent no one would know what the Mona Lisa or Edvard Munch’s “The Scream” looked like, except for those who would have accessibility to the originals. Through this technological gift, we are able to educate people on the historic figures and beauty of art that has been created in history. 

What was the impact of mechanical reproducibility on society?

Mechanical reproducibility had a major impact on society. The biggest is on the film industry. It caused the formed ability to make several copies of an original film, and gave birth to film theatre as a result. This is why we are able to enjoy so many of our favorite Hollywood movies today. Ultimately, it plays a big role in ‘globalization’ and cultural influence in our world today.

 Is photography art or a contribution to the art? Is it just a tool used by artists?

Photography is most definitely an art and has the ability to be used as a tool.  As a photographer, I understand that the final outcome of the photograph you take is solely based on the steps you take that lead you to that one photo. There are so many elements involved such as, lighting, positioning, angles, focus, shutter speed, f/stop, and many more. It is not as simple as pointing and shooting. Each of these are altered by the photographer at hand and used together to snap a picture of art. As a tool, one can use a photograph he or she took as a ‘stencil’ in order to reproduce that photo onto a painted canvas. 

How and why Henry Pitch Robinson created Fading Away? What was the reason?

‘Fading Away’ was created in 1858 based on a method of combining 5 different negatives to create and intensify a distraught mood setting.  Henry wanted to create a heartrending, although realistic portrayal of a grieving family over a girl who was dying from tuberculosis: unheard of and frowned upon in photographs as opposed to paintings. The action in the photo was not based on a real event, but through people who were posing and acting for the photo.

 Photography has impacted the world of art and influenced some changes in the area of accessibility to art. If mechanical reproduction created revolution, what is happening now with the digitalization?

Digitalization is putting cameras in everyone’s hands, as it’s becoming more and more economically viable. We can all take pictures in the eyes of our favorite past or present photographers. Most importantly, digitalization has allowed us to manipulate photos in any way we want. Photoshop, light room, and other picture editing programs only make it easier for us. Manipulation is one way to look at it, but digitalization has helped us to enhance photos. 

Photo Enhancement

Assignment #1- PhotoJournal Part 1: The role of portraits in the early days of photography and portraits today

1. What are main differences and similarities between portraits in the early days of photography and portraits today?

       Comparisons- Many portraits taken in the 19^th century and in the 21^st century were taken to make strong social statements. Aristocrats and other politically/socially labeled individuals believed that a photograph could announce their social status to the people of the world; a method of self-glorification.2 Similar to portraits taken today, photos of celebrities appear in many magazines such as GQ, Maxim, and Allure, re-announcing their status in the social circle to people of the world. Another comparison that many do not take into consideration is the fact that barriers still exist. Even though technological advancements have made photography practically available to every social class, middle-class and lower-class individuals are limited to the ‘studio shoots’ that some celebrities receive from professional photographers of our modern day. Professional grade photos aren’t available to everyone just as different methods of photographs weren’t available to every member of society in the early days of photography.

            Differences- Portraits today have become so unconventional as new creative ideas alter the way subjects are portrayed, as opposed to conventional portraits in the 19^th century that depict the same emotion and style in every photo even as subjects change. 

As seen in these two above photos, you have two different women posing, yet they maintain the same stern look and pose. It seems as if there is no artistic taste to the photos at all. Fashion also sets a big difference between modern portraits and portraits of the past. In the 19^th century anyone posing for a photo could not dress into anything fashionably less than their best clothing, such as the extravagant dress in the above photo to the bottom.

In modern photographs, like mentioned before, the themes, fashion, expressions are unconventional. Observe the photos below.

Kate Perry for the Rolling Stone Magazine

Victoria and David Beckham Photoshoot

 Sexual themes play a big part in photographs we see in many magazines and websites, an act to be frowned upon in early society. Morales have shifted, creating this modern social acceptance.

2. Who was the photographer and who was the subject of photographs in the past and today? 

     In the 19^th century photographers were individuals with great expertise in artistry, and painting/drawing. Knowledge in chemistry was also a trait in many photographers that gave them the ability to carry out the processes involved in developing photographs. Many of the photographers of this century received extensive artistic training, and others with at least some background in painting and drawing.[1] They called themselves ‘Photographer- Painter’ and ‘Photographer-Artist.’1 In the 21^st century any individual with creative insight and knowledge on the functions of modern day equipment could try and become a professional photographer. Besides a professional photographer, advancements in technology between the 19^th century and 21^st century make it possible for any single individual who owns a camera to be a photographer. Those who were able to pose in 19^th century photographs were limited to the individuals of ‘bourgeoisie’, upper classes. This class was made of wealthy individuals and members of political installments such as: industrialists, doctors, lawyers, merchants,  politicians, actors/actresses and intellectuals.1 This is only because members of this ‘upper class’ were the only members of society who were able to afford the pricey costs of portraits. As centuries passed, photography became less expensive and further economically viable to lower and middle-classes of society. We live in a time where anybody can be the subject of a photo, because the cost barrier that once existed is now non-existent. 

 

3. What was the impact on technology on the portraits in the past and today?

       Portraits were first developed from an artist’s hand for the selected few, as paintings were the only method of retaining images of aristocrats. Now we have digital cameras and photo editing software capable of delivering us the best quality and rendering of images at unlimited rates of production. Early forms of the mechanics and processes for photography were lengthy, complicated, costly, and consisted of ‘elaborate field-laboratories’.1 Daguerreotype, the first method of retaining a still image on the camera Obscura was the victim of progressive abandonment for more ‘modern’ methods in the mid 1800’s. A method called the ambrotype was evolving, with many beneficial factors as opposed to the daguerreotype. It was also a step forward for more cost-effective methods as photographers such as André-Adolphe-Eugène Disdéri were looking to reduce the price of portraits in order to expand clientele for their businesses. The carte-de-visite, a popularized ‘small photograph’ was a big hit in the mid 1800’s because it gave the means for people to inexpensively obtain photographs and share them with friends and family, which furthermore fulfilled Disderi’s attempts to reduce prices for photographs. 1Essentially, as numerous decades have passed and technology has advanced people besides the members of the upper class were gaining more economical and political power, and photography became available to a greater population of citizens. 

Unedited photo of low/middle class individuals

            In modern time, we are able to take photos with crystal clear quality, and are given the ability to edit and alter our photos in any way we desire. The possibilities for artistic photography are virtually endless as we can manipulate the photo’s we take however we desire. 

HDR Photo

References:

1.     A History of Photography. Lemagny Rouille

2.     The Photo Portrait. Gisele Freund. Photography And Society

 

      

 

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