What is photography? The word Photography literally means ‘drawing with light’, which derives from the Greek photo, meaning light and graph, meaning to draw. Photography is the process of recording an image on light sensitive film or, in the case of digital photography, via a digital electronic memory.
However, “photos are often thought as ways to hold things still.” they allow us to hold a memory, and also can be seen as a source of knowledgment.
“PHOTOGRAPHS CONFUSE AS MUCH AS FACINTAE, CONCEAL AS MUCH AS REVEAL, DISTRACT AS MUCH AS COMPEL. THEY ARE UNPREDICTABLE COMMUNICATORS”
This quote suggests that there is a deeper meaning and background to a photo than what you first originally see.
“Conceal as much as reveal”. Suggests that the photo or image may be hiding, or not showing the whole truth and what is expected. This creates a sense of mystery, David Campany does this by using a black and white filter over most of his photos in his book. On one of his pages in his book he writes about Helena Almeida’s ‘Inhabited Painting’ photo, where it is a black and white photo of a woman holding a paintbrush, contrasted with blue paint smudges across the photo. this creates mystery as it does not show the whole picture and you are left guessing what is happening behind it.
“Dirstact as much as compel”. This sentence gives the impression that photography can be someones source of escapism. for example, not having to focus on their own life and being able to focus on what they are taking a picture of, or what is happening in someone else’s photograph. By taking photos, you are able to capture moments “over time, across cultures and between contexts”. “If a photograph compels, if it holds our attention, it will be for more than one reason. The reasons may be unexpected, and even contradictory. When we are drawn to look at a photograph again and again, it is likely that our second or third response will not be quite the same as the first.” Furthermore, taking into consideration different views on a photograph upon viewing it more than once.
helen sear
“Confuse as much as fascinate”. This sentence implies that as much as a photo can confuse you, it is the confusion which draws you in to view it, and try to decode the thought process and meaning behind why it was taken. When not understanding something, you automatically want to learn about it to try understand it. this is what broadens your attention span.
What is photography class discussion.
How important is the readers intention?
I believe it is very important to know what the photographers intention is as in this photo ‘the day nobody died’ it has a story behind it of how two photographers travelled to Afghanistan to photograph the war but ended up exposing the film to sunlight. the story behind this image adds meaning and emotion to it.
This photo uses David Campany’s quote “photographs confuse as much as fascinate, conceal as much as reveal, distract as much as compel.” This is an interesting photo, as you question why this photo was taken and how it was taken.
The story behind how this photo was taken is found by researching it.
Photography is the art, application, and practice of creating durable images by recording light, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film.
The word photography literally means ‘drawing with light’. The word was supposedly first created by the British scientist Sir John Herschel in 1839 from the Greek words phos, (genitive: phōtós) meaning “light”, and graphê meaning “drawing or writing”.
‘Photographs confuse as much as fascinate, conceal as much as reveal, distract as much as compel. They are unpredictable communicators.’
-David Campany
David Campany and the book he wrote about photography
Photography has always been something that can be left to interpretation and each photograph has a sense of symbolism behind it. And although many people see photos as captures of specific moments- keeping them still, photographs and photography are constantly changing and moving. The technology is one aspect of photography that is constantly changing; and although no one can agree whether it is for the better or the worst, each decade that photography has been around for has been completely different from the last.
Different cameras that have been used throughout the decades.
Furthermore, photographs are very versatile, moving over time, into different cultures and between different contexts. Even the oldest photographs gain new understandings and interpretations to this day, as well as losing some that it had before.
One of the oldest photographs- people still try to interpret it to this day.
In his book, Campany wrote the line ‘Photographs confuse as much as fascinate, conceal as much as reveal, distract as much as compel. They are unpredictable communicators’ which in my opinion describes photography perfectly. Most photos will have a deeper meaning than we think and looking at it more and more may cause us to slowly discover it.
I think the main purpose of that quote is to show how photography can be interpreted in many ways, and he tried to explain this by using contrasting words. The photo fascinates us, seeming so simple but slowly uncovering its true meaning to us. However, this could seem confusing to us, as at first it just seemed like a ‘normal’ picture- simply a still image of a captured moment but once we look at it again it clearly has another meaning to it. moreover, every photo always reveals something very clearly- capturing an object, person or place in its frame. But on the other hand, it hides the true purpose or meaning the photograph has- the hidden story behind the photo being something we must search for ourselves.
A compelling image with a story. A documentary photograph of a mother with two children hugging her. This photo was taken by Dorothea Lange and she called it ‘Migrant Mother’. It was taken during the Great Depression in the 1930s.
Photography can also distract it’s viewer- distracting them from the truth by portraying something in an untrue way. However, other times it can compel the viewer, causing them to see something in a certain way which causes them to act. There has never been a fine line between these two- as a image can distract and compel at the same time by showing something untrue that results in the viewers reaction- distracting them from the real problem. The final line ‘They are unpredictable communicators’, portrays photographs as things that are more developed than any language in the world- being able to communicate something to anyone that sees them. They are unpredictable as there is no telling what someone will take from a photo- each person may see it differently.
A photograph that can be read in many ways.
Lastly, most photographers aren’t taken under consideration when their photo is evaluated. This commonly results in the photograph’s meaning to be distorted, as the photographer always has a lot to do with their photos.
Photos can also be easily manipulated to create a completely different image. Images can either be staged or documentary- staged photos twisting reality to suit the idea the artist wants to portray. The photo above was taken by Yves Klein in 1960, showing him jumping off a building, the photo not showing any indication of him being caught. This is an image that confuses and fascinates the viewer- proving David Campany’s quote to be accurate. Klein managed to create this image by merging to images together- seamlessly conjoining them to cause the image to look real and like ‘documentary’ photo instead of staged. In one photo, he jumped off the building while some of his friends held out a tarp to catch him. Another picture was taken of just the place, allowing Klein to use the bottom half of that photo instead of the original one with the tarp- creating this fascinating and quite dramatic image. This photograph shows how easy it is to twist the truth, even in the 1960s.
This also indicates that taken the photographer and their life into consideration is very important if you want to know the truth about a photo. To further prove to the public that he was capable of flight, Klein distributed a fake broadsheet at Parisian newsstands commemorating the event.
Aperture is “the adjustable lens opening that controls the amount of light allowed into the camera” as well as controlling the exposure and depth of field. When there is a large hole, more light is being let in to hot the sensor and making your pictures lighter. Therefore, a smaller hole makes your pictures darker. This scale is written using f/stops (e.g. 1.4, 2, 2.8, etc.).
The f/stop can be seen below next to the shutter speed:
HOW APERTURE EFFECTS DEPTH OF FIELD
Depth of field is how much of the image is in focus, or the distance in an image where objects appear “acceptably in focus” or have a level of “acceptable sharpness.” Some images have a ‘shallow’ or ‘thin’ depth of field, where the background is completely out of focus. Or they will have a ‘high’ or ‘large’ depth of field, where both the background and the foreground are in focus.
Still life is a genre of photography, still life derives from the Dutch word stilleven, it is inspired by 17th century paintings of inanimate objects grouped together to create a photograph similar to a still life painting.
still life painting
Paulette Tavormina still life photograph
Still-life photography’s origins reside in the early 20th century. Art photographers emerged such as Baron Adolf de Meyer. It started as it coined in the 17th century when paintings of objects enjoyed immense popularity throughout Europe.
still life timeline
Still life genre began with Netherlandish painting of the 16th and 17th centuries developed as an art genre from the earliest centuries during the Egyptian and Roman periods. The history of the object can be tracked in many still life’s, from fruits, vegetables, skulls, and goblets. The definition of still life is something without life and without movement.
Still Life paintings in ancient Egyptian tombs consisted of common foods and objects, although they held deeper meanings than being mere tombstone decorations. The still life depictions were in honor of the dead and their usage in the afterlife. For example, a bowl of food would be included so that the person would have something to eat in the afterlife.
a photo of an ancient Egyptian tomb with a still life painting.
What is Vanitas?
A vanitas is a symbolic work of art showing the transience of life, the futility of pleasure, and the certainty of death, often contrasting symbols of wealth and symbols of ephemerality and death.
Vanitas is latin for vanity. Vanitas was created because t was thought that vanity encapsulated the idea behind Vanitas paintings, as they were created to remind individuals that their beauty and material possessions did not exclude them from their inescapable mortality.
WHAT IS MEMENTO MORI?
MEMENTO MORI is a symbolic or artistic trope reminding the inevitability of death, it is a latin phrase that translates to “remember that you must die”. The phrase has its origins in ancient Rome, where it is believed that slaves accompanying generals on victory parades whispered the words as a reminder of their commander’s mortality, to prevent them from being consumed by hubris (excessive pride and self-confidence). The concept has become a familiar trope in the visual arts from the medieval period to the present. An example of Memento Mori would be a portrait with or of a skull it may also be accompanied with a timer to symbolise that time is running out and that you will die.
WHAT KIND OF METAPHORS AND SYMBOLS ARE USED IN STILL LIFE AND WHY?
1. Fruit: Varying Symbolism In Still Life Paintings
2. Skulls: The Certainty Of Mortality
3. Candles: The Passing Of Time
4. Flowers: Symbols Of Life And Growth
5. Seashells: Birth, Purity, And Fertility
6. Mirrors: The Soul In Reflection
7. Insects: Transformation And Decay
8. Musical Instruments: Beauty And Transience
9. Dead Animals: Contradiction And The Hunt
10. Silver And Gold: Luxury In Still Life Paintings
Paulette Tavormina is a fine art photographer.She was born in 1949 in New York. Tavormina took a class in black and white photography and dark room technique, she specialises in historical Indian pottery and jewellery She uses food as a prop to her photography she focuses on still life photography.
Studio lighting can be used in many ways to change an images light.
Continuous lighting is when the lights are constantly on before and after taking the photo. This can create an overall lighting that is not harsh but soft.
However flash lighting is when the shutter goes off, the lights flash on and off to capture the light when the camera takes the photo.
An example of continuous lighting is this photo I took in the studio with studio lights. Colour screens were used to cover the main light source to create colourful photos. These photos have a ‘soft’ feeling about them from the light.
However here is a photo from using flash lighting. Colour screens can’t be used for this technique, but overall the image seems brighter and the lighting seems stronger.
Still life photography is a genre of photography used for the depiction of inanimate subject matter, typically a small group of objects. Similar to still life painting, it is the application of photography to the still life artistic style.
The history of still-life photography
Where did it start?
Still-life photography’s origins reside in the early 20th century. Art photographers emerged such as Baron Adolf de Meyer. The Baron was known for his highly artistic approach to photography, as he employed darkroom techniques and used soft-focus lenses to create photographs that looked like drawings, which was fashionable at the time.
Emil Otto Hoppé is an esteemed British photographer who is known primarily for his portrait photography and travel photography, but he also produced wonderful still-life photography in the 1920s, with a handcrafted style, comparable to Baron Adolf de Meyer’s.
Modernist still-life photography
Jumping ahead a few decades, still life became modern in both subject matter and technology. What all Modernist movements have in common is a rejection of the past and the idea that they can make art objectively better by using unconventional approaches, which is what we can see when comparing early-20th Century and mid-20th Century still life-photography.
Man Ray was an American visual artist who was involved in different art media and was a prominent figure in the Dada and Surrealist movements. Man Ray reinvented the wheel when it came to still-life photography. He pioneered innovative techniques in photography, and he also took new approaches to still-life.
Contemporary still-life photography
Fast-forward to the 21st Century and many photographers working today are continuing in the tradition of Man Ray and representing still-life in their photographic art, with many excellent examples of still-life photography to look at.
What is Vanitas?
A vanitas painting contains collections of objects symbolic of the inevitability of death and the transience and vanity of earthly achievements and pleasures.
What is Memento Mori?
The Latin phrase memento mori literally means, “Remember that you must die.” A basic memento mori painting would be a portrait with a skull but other symbols commonly found are hour glasses or clocks, extinguished or guttering candles, fruit, and flowers. Closely related to the memento mori picture is the vanitas still life.
Still life photography is everything that is an inanimate object in front of a camera. Still life derives from the Dutch word stilleven, coined in the 17th century when paintings of objects enjoyed immense popularity throughout Europe. The first still photograph was taken around 1830
Pieter Claesz, Still Life with a Skull and a Writing Quill, 1628. Courtesy of the Metropolitan Museum of Art.
A vanitas is a symbolic work of art that shows the transience of life, the futility of pleasure, and the certainty of death, it is often contrasting symbols of wealth, symbols of ephemerality and death. The term originally comes from the opening lines of the Book of Ecclesiastes in the Bible: ‘Vanity of vanities, saith the Preacher, vanity of vanities, all is vanity.
Memento Mori
Memento Mori translates to “remember you must die” which implies they are objects which reminders us of the inevitability of death, such as a skull.
Paulette Tavormina, Vanitas VI, Reliquary, After D.B., 2015
Tavormina a New York photographer takes pictures of still life inspired by the seventeenth century. She uses nostalgic and ancient items against the young flowers to show that everything ages, this can also be reinforced by the candle that is burned out and the hourglass slowly ending.
Parker is a self taught photographer that experiments with the different possible lighting that can be used. Parker started off as a painter, however soon turned to photography and quickly mastered the way to incorporate extensive knowledge of art history and literature and reference the conflicts and celebrations of contemporary life in her work.
TIMELINE OF PHOTOGRAPHY
METAPHORS AND SYMBOLS IN STILL LIFE
FRUIT – Like human life, fruit is perishable and ephemeral, therefore when a fruit appears to be fresh and ripe, this acts as a symbol of abundance, bounty, fertility, youth and vitality.
SKULLS – When skulls appear in photos the often have a moral purpose. Skulls symbolize mortality and ephemerality. They are a reminder of the fleeting pleasures of life.
CANDLES – Candles represent the inevitability of the passing of time, the longer they burn, the smaller they get until there is nothing left. A lit candle symbolizes light, truth, and knowledge. An extinguished candle symbolizes loss and death.
FLOWERS – Flowers can symbolize innocence as well as impermanence. Furthermore flowers can be a reminder of the shortness of our existence and the fleeting nature of life’s earthly pleasures.
SEASHELLS – Seashells symbolize birth, purity and fertility.
watch the documentary on ‘Fixing the Shadows’ from BBC Genius of Photography, Episode 1.
To embed your understanding of the origins of photography and its beginnings you’ll need to produce a blog post which outlines the major developments in its practice. Some will have been covered in the documentary but you may also need to research and discover further information.
Your blog post must contain information about the following and keep it in its chronological order:
Camera Obscura
Nicephore Niepce
Louis Daguerre
Daguerreotype
Henry Fox Talbot
Richard Maddox
George Eastman
Kodak (Brownie)
Film/Print Photography
Digital Photography
Each must contain dates, text and images relevant to each bullet point above. In total aim for about 1,000-2000 words.
Archives in contemporary photography: Also read text about the resurgence of archives in contemporary photography by theorist David Bate: archives-networks-and-narratives_low-res, make notes and reference it by incorporating quotes into your essay to widen different perspectives. Comment on quotes used to construct an argument that either support or disapprove your own point of view.
Origins of Photography: Study this Threshold concept 2: Photography is the capturing of light; a camera is optional developed by PhotoPedagogy which includes a number of good examples of early photographic experiments and the camera obscura which preceded photography. It also touches on photography’s relationship with light and reality and delve into photographic theories, such as index and trace as a way of interpreting the meaning of photographs.
Photography did not spring forth from nowhere: in the expanding capitalist culture of the late 18th and 19th centuries, some people were on the look-out for cheap mechanical means for producing images […] photography emerged experimentally from the conjuncture of three factors: i) concerns with amateur drawing and/or techniques for reproducing printed matter, ii) light-sensitive materials; iii) the use of the camera obscura — Steve Edwards, Photography – A Very Short Introduction
View from the Window at Le Gras by Nicéphore Niépce in 1826 or 1827
Debates about the origins of photography have raged since the first half of the nineteenth century. The image above left is partly the reason. View from the Window at Le Gras is a heliographic image and arguably the oldest surviving photograph made with a camera. It was created by Nicéphore Niépce in 1826 or 1827 at Saint-Loup-de-Varennes, France. The picture on the right is an enhanced version of the original which shows a view across some rooftops. It is difficult to tell the time of day, the weather or the season. This is because the exposure time for the photograph was over eight hours.
What is a daguerreotype?
The daguerreotype was the first commercially successful photographic process (1839-1860) in the history of photography. Named after the inventor, Louis Jacques Mandé Daguerre, each daguerreotype is a unique image on a silvered copper plate.
In contrast to photographic paper, a daguerreotype is not flexible and is rather heavy. The daguerreotype is accurate, detailed and sharp. It has a mirror-like surface and is very fragile. Since the metal plate is extremely vulnerable, most daguerreotypes are presented in a special housing. Different types of housings existed: an open model, a folding case, jewelry…presented in a wooden ornate box dressed in red velvet. LD a theatre set designer
The invention of photography, however, is not synonymous with the invention of the camera. Cameraless images were also an important part of the story. William Henry Fox Talbot patented his Photogenic Drawing process in the same year that Louis Daguerre announced the invention of his own photographic method which he named after himself. Anna Atkins‘ British Algae: Cyanotype Impressions of 1843 is the first use of photographic images to illustrate a book. This method of tracing the shapes of objects with light on photosensitive surfaces has, from the very early days, been part of the repertoire of the photographer.
Henry Fox Talbot – Latticed Window, 1835
In the month of August 1835, William Henry Fox Talbot produced the first photographic negative to have survived to this day. The subject is a window. Despite the clear connection, it is an entirely different image compared to those of his colleagues Niépce and Daguerre. Those are photographs taken from a window, while this is the photograph of a window. From the issue of realism, we shift here into an extremely modern outlook which today would be likened to conceptual and metalinguistic discourse. While the window constitutes the most immediate metaphor to refer to photography, Talbot doesnʼt use it but more simply he photographs it. He thus takes a photograph of photography. The first to comment on this was the author himself, writing a brief note (probably added when it was displayed in 1839) on the card upon which it is mounted. The complete text reads:
Latticed Window (with the Camera Obscura) August 1835 When first made, the squares of glass, about 200 in number could be counted, with help of a lens6
In 1978, the German photographer Floris Neusüss visited Lacock Abbey to make photograms of the same window. He returned again in 2010 for the Shadow Catchers exhibition at the V&A to create a life-sized version of Talbot’s window (below right).
That 1878 photogram was the start of our adventures in creating photograms of large objects in the places where we found them […] we took our equipment to Lacock Abbey and made a photogram of a fixed subject. This particular subject was for us not just a window in a building but an iconic window, a window on photography, opened by Talbot. The window is doubly important, because to be able to invent the photograph, Talbot first used photograms to test the light sensitivity of chemicals. His discovery became a window on the world. I wonder what percentage of our understanding of the planet we live on now comes from photographs? — Floris Neusüss
The idea of photographs functioning like windows makes total sense. Like the camera viewfinder, windows frame our view of the world. We see through them and light enters the window so that we can see beyond. Photographs present us with a view of something. However, it might also be possible to think of photographs as mirrors, reflecting our particular view of the world, one we have shaped with our personalities, our subconscious motivations, so that it represents how our minds work as well as our eyes. The photograph’s glossy surface reflects as much as it frames. Of course, some photographs might be both mirrors and windows. If you’re interested in thinking a bit more about this you might want to check out this resource.
Examples of Jersey-based Photographers—the early days…
Using Lightroom Classic, I have learnt the features included in the program. I have learnt how to import images from the computer media files into Lightroom classic. Furthermore I have learnt how to rate, flag, star my images, picking the best images from the photoshoot.
Due to absence these are not my images however it has taught me how to use Lightroom Classic, using the flag feature.
FLAG COLOUR REPRESENTATION
GREEN = Good images that I plan on using
AMBER = Good images perhaps used in the future.
RED = Good images but not necessary used
CREATING COLLECTIONS
Here I have created a new collection to separate my best images from the whole photoshoot, to avoid scrolling through hundreds of images. I used the “create new collection” option. This means it is easier to sort and select my objects for editing them in the future.
Now there are two separate folders one of which is filled with all my images from the photoshoot (122 images) whereas the other folder ‘FACE2’ has only 5 of my best images that I can selected easier for when I decide I need to edit them.
Aperture refers to the opening of a lens’s diaphragm through which light passes. The larger the f/ number is the less amount of light the camera is letting in, meaning you are able to focus more things in the image.
APERTURE CHART
WHAT IS DEPTH OF FIELD?
Depth of field (D.O.F) is the distance between the nearest and furthest elements in a scene that appear to be sharp in an image. A deep DOF means all or most of your photo will be in focus, including the foreground, subject and background.
![Yves Klein | Saut dans le Vide [Leap Into the Void], Paris (1960) | MutualArt](https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQWoLD1NACa6QKc5Dp-g6L7sU_U7llzI5Aa421Qxee9DrXU7KMvTreo6qJnKClzG6Yao90:https://media.mutualart.com/Images/2021_11/26/18/185837470/29a31fd8-7ed3-424d-812c-f824c1a07640_338.Jpeg&usqp=CAU)
Henry Fox Talbot – Latticed Window, 1835
