Photography in Advertising and its Effects on Society Memory has been and always will be associated with images. As early as 1896, leading psychologists were arguing that memory was nothing more than a continuous exchange of images. (Bergson) Later models of memory describe it as more of an image text; a combination of space and time, and image and word. (Yates) Although image certainly is not the only component of memory, it is undoubtedly an integral and essential part of memory’s composition. Photography was first utilized over 100 years ago in an attempt to preserve life as it existed before the industrial revolution. Over time photography has gradually corrupted memory in a variety of ways, despite its original intention to preserve it. From there, photography has evolved to become a pressing threat not only to memory, but also to consciousness. As seen in paintings of battle scenes and portraits of wealthy Renaissance aristocracy, people have always strived to preserve and document their existence. The creation of photography was merely the logical continuum of human nature’s innate desire to preserve the past, as well as a necessary reaction to a world in a stage of dramatic and irreversible change. It is not a coincidence that photography arose in major industrial cities towards the end of the nineteenth century. The industrial revolution created the societal circumstances necessary for photography to be born. The first and most obvious condition is that of technological advancement. Industry was advancing and expanding so rapidly that history appeared to be distancing itself from the present with unusual speed. Up until this time period life had not changed much from decade to decade or even from century to century. Photography’s popularity during the industrial revolution was, in large part, a result of people’s desire to slow down the perceived acceleration of history (McQuire). It has been argued that the acceleration of historical time is “leading to the possible industrialization of forgetting” and that “we will not only miss history…we will also long to go back to space and times past.” (Virilio) The desire to stop time and preserve the way things were are the primary reasons why the majority of photography in the late nineteenth century focused on documenting dying traditions, practices, and ways of life... ... middle of paper ... ...dvertising.” Picturing the Past: Media History & Photography. Ed. Bonnie Brennen, Hanno Hardt. Chicago: University of Illinois Press, 1999. 158-181. Freund, Gisele. Photography & Society. Boston: David R. Godine, 1980. How Much Information?. 9 May 2002. University of California. Kramer, Edith. “The Art Therapists Third Hand: Reflections on Art, Art Therapy, and Society at Large.” American Journal of Art Therapy Feb. 1986: 71-86. Liss, Andrea. Tresspassing Through Shadows: Memory Photography & The Holocaust. Minnesota: University of Minnesota Press, 1998. McQuire, Scott. Visions of Modernity. London: Sage Publications 1998. Miller, Denise., et al. Photograpy’s Multiple Roles. New York: Distributed Art Publishers, 1998. Schwartz, Donna. “Objective Representation: Photographs as Facts.” Picturing the Past: Media History & Photography. Ed. Bonnie Brennen, Hanno Hardt. Chicago: University of Illinois Press, 1999. 158-181. Sontag, Susan. On Photography. New York: Anchor Books Doubleday, 1973. Virilio, Paul. The Art of the Motor. Minneapolis: University of Minnesota Press, 1995. Yates, Frances. The Art of Memory. Chicago: University of Chicago Press, 1966.
"History of Art: History of Photography." History of Art: History of Photography. N.p., n.d. Web. 24 May 2014. .
In the chapter, “The Mirror with a Memory”, the authors, James Davidson and Mark Lytle, describe numerous things that evolved after the civil war, including the life of Jacob Riis, the immigration of new peoples in America, and the evolution of photography. The authors’ purpose in this chapter is to connect the numerous impacts photography had on the past as well as its bringing in today’s age.
Schaaf, Larry J. Out of the Shadows: Herschel, Talbot & the Invention of Photography. New Haven and London: Yale University Press. 1992.
Anyone today would agree that as far as photography is concerned, we have most certainly advanced far beyond what many of photography’s pioneers could have possibly imagined. The ease in which we are so readily able to document our lives through photos, along with the quality of those photos, is simply amazing. However, there is a certain authenticity that is found in the antiquated processes of photography that modern pictures simply can’t deliver.
George Baker is an American art historian who is mainly known for his writings on photography. He is still alive and is employed as a professor at the University of California, Los Angeles and an editor of the journal October. Baker studied his undergrad at Yale and got his Ph.D. from Columbia University. He has five different publications. The article, Photography’s Expanded Field was written in the October journal in 2005 and was published by MIT press. The title of the article gives a clear understanding of what the article is going to be about. It explains the expansion of photography from post modern to the digital age. The author opens up the article with an understanding of how he views photography, this
Tolmachev, I. (2010, March 15). A history of Photography Part 1: The Beginning. Retrieved Febraury 2014, from tuts+ Photography: http://photography.tutsplus.com/articles/a-history-of-photography-part-1-the-beginning--photo-1908
Between 1500 and 1900, paintings and drawings were the main medium of visual art. They represented the universe based on the author’s imagination and technical skill. However, the birth of photography presented new possibilities and a new means to depict and show an accurate, complete and ‘authentic’ reproduction of reality. Based and inspired by Susan Sontag’s book, On Photography, this essay will discuss and explore the notion of the authentic image as well as what makes for an authentic photograph.
The culture of the Romantic Period marks an era shrouded in astonishing and rapid change, socially and economically. In Europe, between the years 1825 and 1900, enormous technological developments occurred. With the Industrial Revolution full force, the inventions of railroads and steamboats satisfied an insatiable desire for speedy travel and transportation of goods. Photography was changing the way in which history was...
Photography is simple yet versatile. With just the press of a button, any moment in time can be immortalized. Additionally, its ubiquitous nature has made a significant impact on various fields of study as well as our personal lives. Photography is used in academia as a form of reference, in media to tell stories and spread messages; it’s a method of capturing meaningful memories of friends and family and as an art to introduce ideas, pose questions and display emotions. Susan Sontag and Roland Barthes both provide their input on multifaceted and arduous questions, such as: What is the meaning of a photograph? What role do photographs play in our society? How does one look at photographs and proceed to “understand” them? On Photography (by
"A photograph is not merely a substitute for a glance. It is a sharpened vision. It is the revelation of new and important facts." ("Heilbrunn Timeline of Art History."). Sid Grossman, a Photo League photographer expressed this sentiment, summarizing the role photography had on America in the 1940’s and 50’s. During this era, photojournalism climaxed, causing photographers to join the bandwagon or react against it. The question of whether photography can be art was settled a long time ago. Most major museums now have photography departments, and the photographs procure pretty hefty prices. The question of whether photojournalism or documentary photography can be art is now the question at hand. Art collectors are constantly looking to be surprised; today they are excited by images first seen in last week’s newspapers as photojournalism revels in the new status as art “du jour” or “reportage art”.
“The documentary tradition as a continually developing “record” that is made in so many ways, with different voices and vision, intents and concerns, and with each contributor, finally, needing to meet a personal text” (Coles 218). Coles writes “The Tradition: Fact and Fiction” and describes the process of documenting, and what it is to be a documentarian. He clearly explains through many examples and across disciplines that there is no “fact or fiction” but it is intertwined, all in the eye of the maker. The documentarian shows human actuality; they each design their own work to their own standards based on personal opinion, values, interest and whom they want the art to appeal to. Coles uses famous, well-known photographers such as Dorthea Lange and Walker Evans, who show the political angle in their documentations and the method of cropping in the process of making the photo capture exactly what the photographer wants the audience to view. In this paper I will use outside sources that support and expand on Coles ideas with focus on human actuality, the interiority of a photograph, and the emotional impact of cropping.
The camera is simply a portable extension of our eyes that captures images we may otherwise never see, and freezes them into eternity for our scrutiny. If photographs provide any true knowledge, it is that of a visual stimulus, a superficial comprehension that barely scratches the surfaces. What would photographs be without captions? Merely anonymous pictures of anonymous things, anonymous places, and anonymous people. Photography all...
The motivations behind why photos were taken will be explored, such as propaganda, as well as reactions to them. Research into events being photographed, their intentions and who requested them will be made, also assessing its effect on the public determining success. B. SUMMARY OF EVIDENCE Battle field photography was not developed for the sole purpose of recording events as would a newspaper or painting. Battlefield photography brought intense images directly from the field to the public, bringing the horrors of war to families so far from their husbands and sons (Niller). The photography institution brought the reality of war to the public in manners newspapers were incapable of (Harvey 73).
Photography allows us to maintain memories and relish them whenever we desire. Although some advocates might argue that people are no longer enjoying experiences instead taking more pictures, in the essay, “Why We Take Pictures”, by Susan Sontag, she conflates that photography can be used as a defense against anxiety and a tool of empowerment. I agree with Sontag on the significance of photographs and how it allows us to store a part of our extended relatives so we are able to hold on the memories of family. Therefore, we must appreciate how photography allows us to manage anxiety, express feelings and remember our loved ones.
Marrs, Suzanne. Eudora Welty(tm)s Photography: Images into Fiction. Critical Essays on Eudora Welty. W. Craig Turner and Lee Emling Harding. Boston, MA: G.K. Hall, 1989. 288-289.