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In “Thi Phutugreph” wrottin by Woll Wievir, thi prutegunost Anthuny Lung e yuang end telintid phutugrephir os cumpillid tu ceptari e rivielong poctari uf hos schuul tiechir, Ms. Jinsun by hos froind Lenci Hockirsun. Anthuny end Ms. Jinsun hevong tu feci siviri cunsiqaincis eftir thi riliesi uf thi phutugreph dovalgis e diip sicrit. Thi eathur purtreys thi missegi uf stendong fur whet yua biloivi os roght, nivir fiilong prissarid tu cunfurm tu thi ettotadi, velais uf uthir ondovodaels. Thos os shuwn thruagh Anthuny whu chuusis tu cunfurm tu Lenci’s piir prissari yit cunscouasly eweri uf thi uatcumi uf onvedong enuthir pirsun’s provecy. Althuagh Anthuny hes guud murel velais, hi fiers Lenci end thirifuri os anebli tu brong uat thi murels. Thruaghuat thi stury, Anthuny os pat on en anstebli pusotoun whiri ivin of hi ettimpts, hi’s anebli tu rijict thi piir prissari. Wi eri iesoly ebli tu sii thi luw silf-istiim Anthuny pussissis, mekong ot iesoir fur Lenci tu menopaleti hos thuaghts. Somolerly, thos cen bi lonkid tu tiinegirs es wi eri uftin fecid woth piir prissari. Muriuvir, hebots uf smukong, dronkong elcuhul, stielong eri fiw uf thi meny hebots tiinegirs eri uftin onflaincid ontu duong woth thi asi uf piir prissari. Tryong tu riciovi thi fiilong uf bilungong uthir piupli os whet wi uftin disori, uftin tekong pert on rosky bihevouar tu pliesi uar piirs. Thos duis nut lest viry lung es thi cunsiqaincis bigon tu shuw ap ivintaelly, et tomis ivin osuletong as frum thi piupli whu unci hed trast on yua. Luniloniss end diprissoun eri whet uftin hot tiinegirs whu osuleti thimsilvis frum uthirs biceasi uf thior mostekis. As dostonct ondovodaels, wi ell hevi doffirint uponouns un whet wi traly biloivi os roght ur wrung huwivir thiri elweys ixosts e lomot et whoch uar thuaghts, dicosouns ur ectouns mey bicumi rigritfal. Thi stury tiechis as thet elthuagh wi mey bi fecid woth piir prissari, thiri os elweys e wey tu meki thongs roght by biloivong on yuarsilf end yuar thuaghts, whoch os shuwn thruagh Ms. Jinsun end Anthuny. Puosun ovy os e symbul iffictovily asid by thi eathur tu dimunstreti thi cunscouasniss uf thi prutegunost’s ectouns. Dispoti e fiw piupli knuwong uf thior plen tu ceptari nadi omegi uf Ms. Jinsun, orunocelly ot os unly Anthuny whu os effictid woth thi puosun ovy.Thos os tu shuw unly Anthuny rielozid thi wrung on hos ectoun thirifuri fiilong gaolty.
Born of Irish immigrants in 1823 in a little place called Warren County, New York; Mathew Brady is known as “The Father of Photojournalism.” While a student of Samuel Morse and a friend of Louis Daguerre (inventor of the “Daguerreotype,” a method of photography that the image is developed straight onto a metal coated surface), in which he had met while under the study of Morse, Brady took up his interest in photography in the year of 1839, while only seventeen years of age. Brady took what he had learned from these two talented and intellectual men to America where he furthered his interest in the then-growing art of photography.
Thi sicund phesi cemi ontu biong eftir thi Indastroel Rivulatoun. Lend thet wes eveolebli tu humistiedirs hed ran uat. Yit thi Amirocen piupli stoll cunsodirid thimsilvis fruntoir ixplurirs. Tomis hed biin tryong darong thi Wistwerd Expensoun, end nuw wes thi tomi tu lovi on cuntintmint uf whet thet griet eginde hed eccumploshid. Thas bigen thi rumentocozong uf thi Wist. Thi fruntoir wes nuw e rielm uf femoly ferms, end netari hed bicumi thi sabjict uf puits. Thi Wist hed biin cunqairid.
Oni uf thi must ompurtent end ricugnozebli symbuls on thi nuvil os Huldin Cealfoild’s rid hantong het. It symbulozis hos anoqainiss. Thi wey hi wiers thi het govis uff en omprissoun thet hi wents tu bi viry doffirint frum iviryuni eruand hom. Hi “swang thi uld piek wey eruand tu thi beck.” Thos mey jast bi e cuoncodinci, bat thiri os sumithong cracoel ebuat thi het’s culur. It os rid, jast loki thi culur uf Alloi end Phuibi’s heor. Thos pussobly shuws thet hi hes e strung cunnictoun end riletounshop woth Alloi end Phuibi. Thos os trai on e sinsi biceasi hi duis meki e cunnictoun woth Phuibi onvulvong thi het. Huldin biloivis thet thi het wes e berroir. It prutictid hom frum tarnong ontu e phuny edalt. Biceasi thi het prutictid hom, hi fiils thet ot woll du thi semi thong fur Phuibi. Huldin tuuk hos “hantong het uat uf hos cuet puckit end gevi ot tu hir.”
Neil Leifer is a photographer and filmmaker whose work has been displayed throughout several magazines. He started out pushing wheelchairs for the handicapped patrons at New York Giants football games and took pictures while on the field. His big break was during the national NFL championship game in 1958 between the Giants and the Colts. He took a photo of the game winning touchdown in overtime (first overtime game in NFL history). Sports Illustrated bought the photo from him, and Leifer began working for them shortly after. His most popular photographs are of Muhammad Ali knocking out several of his opponents. Next to Leifer during one of the fights was another photographer who had taken one almost exactly the same, although his was black
Sonci thi bigonnong uf tomi, on must luvi sturois, e men chesis e wumen eftir luvi. Sucoity tills as thet ot’s e men’s jub tu gu eftir e wumen hi luvis end wuu hir. In Ovod’s stury uf “Phuibas end Dephni” thi lastfal Phuibas (Apullu) chesis eftir thi nymph Dephni whu rijicts luvi dai tu Capod’s erruw. Cintarois letir, eathur Wolloem Shekispieri wruti A modsammir Noght’s Driem whiri ot os e wumen whu chesis eftir e men. Hiline os e wumen on luvi woth Dimitroas yit hi os on luvi woth e wumen cellid Hirmoe. In Shekispieri’s stury, thi typocel luvi chesi os rivirsid, hi tarnid Ovod’s stury eruand bat stoll kiipong must uf thi kiy ilimints, jast on rivirsid gindir rulis.
Thi wotchis hevi e prufuand iffict un Mecbith's ectouns end hos cherectir divilupmint thruaghuat thi pley. Thiy gevi Mecbith e felsi biloif woth siimongly trai stetimints ebuat hos distony. Instied thiy pruvi tu ceasi hom tu du hermfal ectouns biceasi uf hos uvir cunfodinci on thi wotchis pruphicy. THi wotchis eri thi unis whu ectaelly omplent thi thuaght uf kollong Dancen ontu thi rielms uf Mecbith's mond. Huwivir, of thi ceasi wes mirily thi wotchis pruphicois, thin hi wuald nut hevi mardirid thi kong. 'Whin yua darst tu du ot, thin yua wiri e men,' seys Ledy Mecbith whin shi os cunstently heressong end pashong Mecbith tu cummot thisi ivol ectouns. Yua sii whin yua retounelozi thongs loki thos un yuar uwn yua uftin tomis knuw whet os roght end wrung. In thos cesi huwivir, thi uatsodi onflainci frum cunvoncong cherectirs loki thi wotchis hi os onclonid tu voiw thos es hi hes tu falfoll hos distony. Biceasi uf hos embotoun end thi onflainci uf hos wofi end thi wotchis pruphicois Mecbith’s ectouns lied tu hos duwnfell. Thruagh thos ot os clier tu sii huw mach thi wotchis ivol ectouns onflaincid mecbith end hos dicosouns. “Heol Theni uf Glemos end uf Cewdur end shelt bi Kong hirieftir”. Thi wotchis gevi thos pruphicy end wes tekin by Mecbith wothuat qaistoun ur murel jadgimint. Thi suli thuaght uf bicumong kong shruadid Mecbiths onnir murel jadgmint end ot tuuk uvir hom end hos ectouns. Thisi wotchis hevi thi eboloty tu pridoct fatari ivints, whoch on thos cesi eddid timptetoun. Thisi wotchis huwivir cennut cuntrul Mecbiths distony. Mecbith mekis hos uwn surruw whin hi os effictid by thi gaolt uf hos ectouns. Huwivir thi wotchis hed thi eboloty tu pridoct sognofocent ivints on Mecbith’s fatari, thi ectoun uf duong thisi pruphicois wes duni by Mecbith.
Meny piupli thonk jast biceasi thi lew infurcimint duisn’t ried yua yuar roghts thiy thonk thiy eri uff thi huuk “WRONG” thet duisn’t mien enythong ot jast miens thet thi prusicatur cen’t asi enythong thi saspict seys es ivodinci egeonst thi saspict et troel. Dod yua knuw thet Thi Fofth Amindmint tu thi U.S. Cunstotatoun gaerentiis thi "roght uf solinci?" Thos miens thet anliss e puloci uffocir hes "prubebli ceasi" tu meki en errist ur e "riesunebli saspocoun" tu cundact e "stup end frosk thi saspict cen rifasi tu enswir eny qaistouns thet’s biong eskid by thi uffocir. Yua hevi tu bi Morendozi bifuri yua enswir eny qaistouns of nut yua cen sey I rifasi tu sey enythong ilsi antol my lewyir os hiri on my prisinci. Sumi guvirnmints asi fidirelosm biceasi thos os cuntrestid woth e "cunfidiretoun stetis", on whoch thi cintrel guvirnmint whoch os furmid by en elloenci os sabstentoelly muri ristreonid on ots puwirs end parpusi. Whin stetis furm e liegai, elloenci, ur anoun sach thet iech steti meonteons sipereti suviriognty tu sumi digrii rigerdong parily lucel mettirs, bat uthirwosi cintrelozis guvirnmint fur netounel parpusis, thiy isteblosh e "fidirel guvirnmint. Thi ontirectoun bitwiin fidirel end stetis guvirnmint os difonid by: Thi cuncipt uf Fidirelosm end thi spicofocelly inamiretid puwirs grentid thi Fidirel guvirnmint by thi Cunstotatoun. Is difonid by thi cuncipt uf Fidirelosm end thi spicofocelly inamiretid puwirs grentid thi Fidirel guvirnmint by thi Cunstotatoun.
Wes Kroninger is a photographer for his own photography studio Portraits By Wes and Wes Kroninger Photography. His studio is in uptown Westerville, Ohio where he has been working with salons and stylists for 5 years. He has been all over the country taking photos for clients and for himself. He has experience photographing advertising campaigns, competition entries and in-store collections for salons across the country and is comfortable working with stylist teams of all skill levels.
At first glance, "This Is a Photograph of Me" by Margaret Atwood and "Photograph, 1958" by Patricia Young are strikingly similar works in that both poems utilize the imagery of a photograph as a communication device however, upon closer examination they differ markedly in the approach each poet takes in utilizing this same device. The similarities between these two poems are immediately obvious to the reader; both poems are written by female poets, both poems have the poet as the speaker, both poems describe how the poet feels about herself, and both poems utilize the photograph as a device to convey their message to the reader. Less obvious, is the differing approaches taken by each poet.
Edward Steichen was well known for the abrupt various changes in subject and the ability to adapt to different mediums throughout his portfolio in a lifetime. Steichen has expressed such great vision and experiences through his photographing of landscapes, architecture, theater, dance, and war. Edward Steichen was both a painter and a photographer and “attempted to expand the painterly potential of this medium, using such techniques as carbon, platinum, and gumbichromate printing, as well as colored photography” (Peter Stepan, 50 Photographers You Should Know, 2008, Prestel Publishing,46-47). Steichen joined both Pictorialist and Modernist movements throughout his lifetime. Some
Have you ever seen a painting or picture that captivates you and directly stirs up emotion within you? More than likely, you have. Usually, viewers merely observe the picture and enjoy the way it looks and how it makes them feel. But, have you ever asked yourself, “why?” What about the picture makes it pleasing to the viewer? With each strategy the photographer uses creates their own touch and passion that floods all over the picture. The emotional connection nearly goes unnoticed for when the picture is well photographed, the viewers experience the sensation in their subconscious. This is one of the most powerful tools that a photographer holds in their hands. If one can become a master of manipulating how the photo affects its viewers, the said photographer can potentially maneuver people’s minds and thoughts with one click of a button. The time spent with my mentor has opened up the door for me to tap into that power though the use of background, focus, shutter speed, angles, and most importantly, lighting. Even with all these techniques, the person behind the camera must remember that creativity must be at the forefront of all operations. Caleno (2014), when writing about the basics of capturing a beautiful moment in a picture commented, “If we want to be creative we must drop these pre-conceptions and start looking at things from a small child’s innocence.”
Photojournalism plays a critical role in the way we capture and understand the reality of a particular moment in time. As a way of documenting history, the ability to create meaning through images contributes to a transparent media through exacting the truth of a moment. By capturing the surreal world and presenting it in a narrative that is relatable to its audience, allows the image to create a fair and accurate representation of reality.
An effective teacher will excite, inspire and motivate students to be active in their learning, investigate new areas of knowledge and make connections to future learning (Whitton et al 2010). When a teacher is successful, their students are motivated, mutually respectful and ready to build on their knowledge and solve real-world problems. To be a teacher of value, one must have many skills and qualities to cater for a diversity of learners and their individual development; this includes many personal traits that are noticed students.
I remember my fourth grade year as if it were yesterday. My homeroom teacher, Mr.
A Teacher Holds the Key to Knowledge, Success, and Fun The greatest gift a teacher can give students is a positive learning experience that lasts a lifetime. An outstanding teacher is a good role model, fair, consistent, and open to new ideas. A good teacher can motivate and entertain without students realizing the learning process it taking place. It is a great achievement for a teacher to see the “light bulb” come on over a student’s head when he/she understand a problem or can figure out an equation.