The Power of Photography
I have never looked at anything as intensely as I have through the viewfinder of a camera. It may seem odd that my most intense experiences of reality have come through an artificial lens, but a camera is a close cousin to both a magnifying glass and a microscope. It is not only the ability to see things in more detail that commands our attention. It is something else, something about the art of photography that forces us to examine the world as we don’t normally do. Normally we don’t see things as they are. The familiar is forced into the background of our focus. Objects become ideas. Our couch is no longer a collection of darks and lights, patterns and textures; it is simply a couch. Have you ever found something unusual about something familiar that seems very out of place? For instance, if you find some mole or freckle on your body that you never noticed before, do you wonder if it was always there? How could I have never seen it, you may say to yourself. I look at my arm (hand, foot) every day. Here your assumptions have been challenged. The arm is no longer the arm that we imagined in our head, and it becomes disturbing. Our lives have become predictable in the sense that we see symbols instead of images, and only upon close examination do we find discrepancies between the two.
Walker Percy calls this the problem of symbolic complexes. In his article “The Loss of the Creature,” he describes the loss of such grand monuments as the Grand Canyon to these complexes. He states that it is almost impossible to experience the Grand Canyon as its discoverer did because people have already formed an idea in their heads, thanks to the myriad of tourist folders, postcards, and sightseers’ manuals that they have seen before the confrontation. Instead of coming upon this great thing and admiring it for what it is, sightseers come upon it and compare it to their already formulated expectations. The whole situation is made worse, Percy says, when the tourist has a camera. In this situation, the tourist comes upon the thing to behold, takes a photograph, and leaves without ever really seeing the thing. He “waives his right of seeing and knowing,” as Percy puts it, “and records symbols for the next forty years.
In a society dominated by visual activity it is not uncommon to be faced with images
Everyone’s experience is not all the same similarly to the Grand Canyon situation that is mentioned by Percy. The individual needs to be taken into consideration. Like with me, I went to many tourists spots, such as the Valley of Ten Peaks, that are talked among many people that and have been influenced by the media, but when I got their I was left speechless by the sight of the of the Peaks. This experience is a counter point Percy’s idea, that prejudges of situations can skew the perspective of people. Percy states “[a tourist] Does not one see the same sight from the Bright Angel Lodge that Cardenas saw” (Percy 464). This quote explains how people cannot see the true beauty of a sight with these expectations that block it for us. Most of the time I have had my expectations of a sight given to me by media or other people lessen my experiences in life. This occurs because how much someone is willing to let so...
Practiced by thousands who shared no common tradition or training from the earliest days of taking photos, the first photographers were disciplined and united by no academy or guild, who considered their medium variously as a trade, a science, an art, or an entertainment, and who often were unaware of each other’s work. Exactly as it sounds photography means photo-graphing. The word photography comes from two Greek words, photo, or “light”, and graphos, or drawing and from the start of photography; the history of the aforementioned has been debated. The idea of taking pictures started some thirty-one thousand years ago when strikingly sophisticated images of bears, rhinoceroses, bison, horses and many other types of creators were painted on the walls of caves found in southern France. Former director of photography at New Yorks museum of modern art says that “The progress of photography has been more like the history of farming, with a continual stream of small discoveries leading to bigger ones, and in turn triggering more experiments, inventions, and applications while the daily work goes along uninterrupted.” ˡ
“The passive American consumer, sitting down to a meal of pre-prepared foods or fast-food, confronts a platter covered with inert, anonymous substances that have been processed, dyed, prettified, and sanitized beyond resemblance to any part of any creature that has ever lived” (Berry). This quote from a book of collective essays by Wendell Berry is exactly what pushed me into finally deciding my topic. Wendell Berry’s quote from his essay, “The Pleasures of Eating” truly encapsulates what I wish to refer to throughout my thorough research and overall argument. There is nothing wrong with a little self-indulgence regarding the different foods we eat, we all do it once in a while. The problem itself stems from when we get too wrapped up in what
Photography is defined at the art or practice of taking and processing photographs. To understand photography is having insight or good judgment to know how to take the picture, but also edit it if need be. Does photography limit our understanding of the world? What some people haven’t realized is that photography is all around us, whether it is in the person’s mind to see it or not. While we see photography throughout our daily routine, people dismiss the small types of photography and focus on the bigger sceneries like other countries beautiful cities and landscapes. It’s true that in this day and age, most photographs we see have been altered in some way. When photographers use Photoshop to edit our photos, we use many different ways to make that image appealing to the eye. Although, photographers unless told to do so will not change an image into something totally absurd that takes away from being astatically pleasing. Images are a gateway to the insight of the rest of the world’s cultures landscapes, and architecture, and photography is the key aspect to it. Photography is a one way to see the world, but it is better if you go and travel around the world to see it. In order to see if photography actually limits our understanding, we have to first look at the positive side of photography.
In the world of science there are many discoveries. “A discovery is like falling in love and reaching the top of a mountain after a hard climb all in one, an ecstasy not induced by drugs but by the revelation of a face of nature … and that often turns out to be more subtle and wonderful than anyone had imagined.” (Ferdinand Puretz). Most people in the world we live in lack to notice and or appreciate the gift of sight in life. By not cherishing the gift of sight and using it properly, many discoveries are left unfound. In the writing piece, Seeing, Annie Dillard speaks of nature and the small things that we all are unconsciously blind to and not appreciative of. Seeing explores the idea of what it means to truly see things in this world. Annie Dillard’s main point is that we should view the world with less of a meddling eye, so that we are able to capture things that would otherwise go unnoticed. There’s a science to how we view things in nature. Dillard attempts to persuade her reader to adopt to her way of seeing, which is more artificial rather than natural.
The theory of photography originated from the discovery of the camera obscura phenomenon – light that enters a darkened chamber through a small hole is projects an identical inverted image on the interior wall of the outside scene. The first recordings of scientists recognizing this concept was in the writings of Greek philosopher, Aristotle (384 – 322 BC).
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.
I believe that pictures are able to capture a single moment, highlighting the important meaning behind every action presented. According to Mitchell Stephens’ “By Means of the Visible: A Picture’s Worth,” images possess “great power - religious, tribal, romantic, pedagogic” (479). Similarly, in Kenneth Brower’s “Photography in the Age of Falsification,” a picture of earthrise is described as having “poetic power, evoking sentiment” (564). When looking at pictures, whether in my photo album or a Life magazine, I discover that emotions are stirred by those pictures that hold the greatest number of feelings, from anguish to happiness, thus making them the most memorable. Through my analysis of my most compelling photographs and the essays of Stephens and Brower, I have concluded that each picture evokes a feeling inside of me, whether it is a photograph of a kiss, a family in the mist of the Depression, or my grandfather.
“The camera may be thought of as a comparable to the eye. The difference is
When going for a walk, a person takes in the beauty around them. On this particular day, the refulgent sun is extra bright, making the sky a perfect blue. White, puffy clouds fill the sky, slowing moving at their own pace. The wind is peacefully calm, making the trees stand tall and proud. There is no humidity in the air. As this person walks down the road, they see a deer with her two fawns. The moment is absolutely beautiful. Moments like this happen only once in a great while, making us wanting to stay in the particular moment forever. Unfortunately, time moves on, but only if there were some way to capture the day’s magnificence. Thanks to Joseph Niépce, we can now capture these moments and others that take our breath away. The invention of the camera and its many makeovers has changed the art of photography.
In times, we often see things, but we don't really capture what is beyond it. In some cases, there are people who are artistic and are prone to see what other's cannot visualize. Every individual has a talent which can be expressed and processed differently. Something you see can mean entirely divergent things to someone else;for example, some may see thing's that may seem simple, but in the eyes of an artist, it can be perceived with a whole new definition, dimension, and a potentially new discovery. As a photographer, my view of the world, can be skewed towards looking at everyday objects as potential art, but it wasn't always like that.
Paintings, like many forms of art, are very subjective—what one may find intriguing another may completely disagree. “Art is physical material that affects a physical eye and conscious brain” (Solso, 13). To glance at art, we must go through a process of interpretation in order to understand what it is we are looking at. Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception—the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes—which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history—the entire set of our expectations and past experiences—and knowledge (Solso, preface)
In Sontag’s On Photography, she claims photography limits our understanding of the world. Though Sontag acknowledges “photographs fill in blanks in our mental pictures”, she believes “the camera’s rendering of reality must always hide more than it discloses.” She argues photographs offer merely “a semblance of knowledge” on the real world.
Photography is a word derived from the Greek words “photos” meaning light and “graphein” meaning draw. The word was first used by John F.W Herschel in 1839. It is a method of recording images by the action of light, or related radiation, on a sensitive material (Bellis, N.D).