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Photography
In this photograph, the prominent motif is a flag of the United States. The lines on the metallic roof converge in linear perspective, drawing the viewer's eye to that flag. Based on the number of stars in the flag, the photograph was taken prior to the admission of Alaska or Hawaii to the Union, possibly dating the picture to before Hawaii's statehood of 1959. Three white men are walking in front of the flag, which is painted on a brick wall in what appears to be a traffic tunnel. Two cars occupy the middle ground of the composition. Neither of the two cars is fully within the frame. The car in the front is painted white, whereas the car in the back is painted black. Moreover, the drivers of the car in the back are African-American. The photograph thus makes commentary on race relations in the United States of America in the years following the end of World War Two and in the height of Jim Crow.
The position of the cars symbolizes the racialization of America...
At the time this photograph was taken, African-Americans were considered "separate but equal," and had to ride in the back of the bus. Such overt racism is represented in this photograph by showing the black car, with black drivers, riding behind a white car. Moreover, the white car has no drivers. It does not matter that the viewer sees the identity of the drivers of the white car. What matters is the symbol of whiteness, which represents political, social, and economic power.
This photograph shows a flag that pre-dated the entry of either Hawaii or Alaska. Both Hawaii and Alaska have high proportions of indigenous non-white people. Thus, this photograph makes commentary about American colonialism and imperialism in addition to simple black-white race relations. The three men in the background do not have clear identities. The viewer only perceives these three men as being white, meaning that the men are endowed with symbolic power. Two of the three…
Photography and Images Our Memory, Our Identity, Our Reality: The Affects of Photography "In teaching us a new visual code, photography alters and enlarges our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing." ~Susan Sontag, On Photography "Hence it is essential that any theoretical discussion of the relationship of black life to the visual, to
Photography in Iran Early Photography in Iran Paintings and photography started in Persia just like any other country i.e. slowly but there was a huge difference in the timeline. When paintings and art were highly appreciated and exhibitions were held in Europe, the Persian painting and photography had just started its journey. There are only few portraits and photos available from Iranian history because the world did not know of great painters
Nevertheless, Cartier-Bresson chose to stay true to his format and take the picture in black and white which helps in the translation of what is seen and not seen, in this writer's opinion. The rag pickers are standing in a sea of fabric, most likely discarded by manufacturer's shipping from an impoverished to an industrialized country. The very people who make the fabrics from the natural resources of their
Figure 9 - Fujitsu Tablet Computer Reviews and Discussion The two finalists in the Laptop category were the Dell Studio series and the Fujitsu Lifebook Tablet PC. The Dell Studio was chosen for its processing power, its customer support ratings, and its display's size and resolution (CNET). The tablet pc was chosen for its versatility in input methods, its processing power, and also because you can easily carry this in one hand
Above all that lays the fact that photography possesses the unique power of leaving an impression in the minds of every viewer. Moreover, it may seem that every viewer gets the same meaning out of the picture, but that is not really the case. The most beautiful thing about photography is that every viewer perceives the image differently and recreates it in his or her mind, thinking of it to
Hine was able to leverage the extraordinary power of the camera's image, which "went beyond logic and language" to the heart instead of the mind. Photography was now being used as a tool for social change. The photographs spurred people to work toward state and federal legislation to enact child labor standards. These changes did not happen overnight, by any means, but the photographs were the impetus of other