On Writing with Photography


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Making Connections With Photography®

However, there is much more to tell. A photographer is a painter who depicts his life on a canvas by conveying certain emotions or experiences, and who describes reality the way he or she sees it or wants it to be.

How to write about your photographs

So, we cannot always be sure whether a photograph reflects reality with the highest accuracy or vice versa, hides it. In addition to representing reality, photography is also important in other areas of human life. For example, in the world of commerce, a photograph can play a key role in influencing consumers or clients or forming the reputation of a particular brand or company. Photographs have a huge emotional impact on people, making them experience particular sort of emotion, so that they have a certain desire to buy something, go somewhere, or look in a certain way.

This can be especially observed in the case when women want to be similar to models in advertising and buy hundreds of goods.


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Television and the internet have been using it for decades, and believe me, do not lose. The value of the image is determined by its color, its uniqueness, charm, and also practical meaning. The motif that seems to connect the twelve essays together is "pictures mean things," and often times pictures are paradoxical or raise complicated ethics. Yeah, tell me something I don't know. Overall, however, I'd say you're better off seeking out the source materials that get discussed in this anthology and thinking about them yourself. Jan 24, Keith added it. I already think this feels a bit dated -- there's a discussion about authors who don't like being photographed, with the nearest suggestion as to the reason why from Don DeLillo, who wrote about the idea of death resonant within being archived as a function of the work you produce.

I think modern authors are more aware, accepting, and even self-curating in the creation of a public persona that supports t ch 1 Dinius An introductory essay about the role of the author's photograph in how we read. I think modern authors are more aware, accepting, and even self-curating in the creation of a public persona that supports their creative output.

It's viewed like having a resume -- for a lot of us it feels gross to self-brand, but a refusal to do so is looked upon as alternately lazy, or as the luxury of the elite. I dunno, that's a lot of projection in there.


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Mostly this chapter just can't get over authors who can't get over themselves. Interesting how we take for granted that even at the time, artists were curating their images to make unexplored territories more exotic and attractive, and I wonder if they quite understood the centuries of impact they would have, and the ways they would feed into the US's cultural nostalgia, and with American exceptionalism.

Travel Writing and Photography

Also, no mention of how amazingly beautiful these etchings are! An exceptional level of artistry must have been required for what as, at the time, an essentially disposable art form. Talks about how the well-educated McKay wrote in a peasant dialect as a means to subvert, or sometimes simply to reflect, the tourist's view of Jamaica. Historically, the critiques within his work have actually fed into Jamaican nationalism in a problematic way, but Rosenberg also argues that his writing strengthened the Jamaican "brand" for tourists, thereby postively affecting the national economy.

There's also a lengthy discussion of the role of Jamaican tourist photography in destabilizing the country's cultural currency, with a purposeful lean toward portraying women as masculine "black Amazons" and emasculating men.

Images and Text, Text and Images

McKay's work also confronted this gender disparity -- this analysis, down to looking at photographs of bananas as symbols of Jamaican male impotence, was for me the most intriguing aspect of the piece. The question of what is considered the art object -- the assemblage, or the photograph -- wasn't a very interesting distinction for Man Ray, and enough articles have been written about similar subjects that I can't say it holds much fascination for me anymore, either.

Graeff not only embraced avant-garge methods of image manipulation, but created one of the earliest books in which photographs did not simply illustrate, but were a necessary element of the text itself. Among Burrows' thoughts on the subject, he offers the idea that Agee uses text not only to emphasize the life represented in the photographs, but to demonstrate the distance between photographs and the existence they capture.

There's some interesting historical info on Wright, and then some obligatory Freud anecdotes and loose connections to more modern artists, but none of this is really well-synthesized. Just feels like a collection of stuff that rambles on until the article is long enough, then stops. Hey, everybody needs tenure though, I guess.

Nancy Pelosi: An Extremely Stable Genius

Tia marked it as to-read Jan 14, Richard Camilleri marked it as to-read Feb 28, Mary marked it as to-read Jan 02, Dobre Adrian is currently reading it Jun 07, Rad marked it as to-read Sep 25, It is a somewhat wilfully? For years, though, my favourite piece of writing about photography was William Eggleston's brief but intriguing afterword to The Democratic Forest It begins with a description of what, for Eggleston, was a photographic epiphany.

When out taking photographs around Oxford, Mississippi, he realised "it was one of those occasions when there was no picture there. It seemed like nothing, but of course there was something for someone out there. Later, over dinner, a friend asked him what he had been doing all day and he replied, "Well, I've been photographing democratically. Later in the afterward, the tone of his voice changes as he talks scathingly about the "blindness" of those who use the word "snapshot" when referring to his work.

That final sentence has come to, if not define then at least hint at, the singular attitude that underlies his democratic way of seeing. Cartier-Bresson's essay remains one of the key pieces of postwar writing on photography. His sporadic essays and reflections are collected in the thin, but invaluable The Mind's Eye: Writings on Photography and Photographers.

On Writing and Photography

There are too many great photographers who also write well about photography to cite them all here, but I would like to mention William Gedney's journals which now belong to Duke University library. This is a different sort of writing: a mixture of insight, gossip, theorising and reflection, the flavour of which can be tasted here.

The description of a dinner in honour of Edward Steichen is priceless: "I do not relate to the affair of the people, dull speeches, pompous … the self-glorification is disgusting … The Times' cameraman sat at my table … He is such an ass. Bellocq's book, Storyville Potraits. Each one of his photographs seems to contain the germ [of] all his work. If only one of his pictures existed all the rest had been destroyed you would still sense he was a great photographer, at least I get that feeling.

So consistent and concisely clear is his vision. That sense of wonder, expressed by one photographer for another, speaks volumes about how the work of great photographers impinges on the consciousness of those that follow them.

On Writing with Photography On Writing with Photography
On Writing with Photography On Writing with Photography
On Writing with Photography On Writing with Photography
On Writing with Photography On Writing with Photography
On Writing with Photography On Writing with Photography
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