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Drawing and recording simply by lens based media

“A picture is stationary because it features stopped period. A pulling is static but it includes time. ” John Bergerot People have been drawing since the dawn of humanity, while evidenced at the begining of cave sketches and wall frescos. The introduction of paper a new major impact on the way that drawing was written and given away. In 1826, the invention from the camera a new profound impact on the world, offering a new method of recording details.

In this article, I will talk about and assess the functions of saving through sketching the human eye” and cameras the physical eye, using images from periods of time because the early digital cameras of the nineteenth century. Specifically, I have selected three periods that correspond with human conflicts, the Crimean War, the Vietnam Warfare and the new war in Iraq. Through these three periods Let me explore the developments in technology, in addition to processes and philosophy in the acts of recording, both equally by pulling and by lens based mass media.

We start our debate in the 1850s, when initially we can evaluate the acts of recording by sketching and photography The Crimean war musician, William Simpson was respectable as bringing the reality of war for the British people. He went to the Crimean war and, “he reported faithfully, at times disapprovingly about what this individual saw This individual preferred accuracy to episode, spirit to extravagance” (Lipscomb, 1999) His famous portrait “The Fee of the Light Brigade” (figure 1) was undoubtedly a sustained analyze, bringing together several sketches with the event to provide a full image for the viewer.

On the other hand, Crimean war photographer Encargar Fenton never captured battles, explosions, and the blood and tears which is a moving image of war The first functional photographic technique, daguerreotype, had a process too slow to capture a moving photo, it needed to focus for a longer period on an unmoving object.

Although Michelle Bogre tells us that “If actions happened too quickly for them to have the opportunity record that, they resorted to finding or staging occasions that symbolically replicated what they had genuinely seen” (2011, 19-20) This kind of seems the case of Fenton, in his popular photograph “The Valley from the Shadow of Death” (Figure 2) Arriving at the battlefield months following the battle was over, this individual took two images of the scene, one particular with, and one devoid of cannonballs, “Photo historians suspect that he great assistants existing the all-important cannonballs”, (Bogre, 2011, 20)

Phillip Bounds suggests that “unlike other method of communicating, which will represent incidents or things across an appreciable stretch out of time, the camera data a single instant in full isolation from your temporal procession to which it belongs” (Bounds, 2011). “The Valley in the Shadow of Death” looks very static, as we simply cannot see proof of war, just like explosions, armed service, fighting. All of us just begin to see the landscape and without close scrutiny for the cannonballs, it has no that means and framework. It is a frozen moment which in turn at best reflects the consequences of conflict. Perhaps this best described simply by Barthes: “photography is a fresh sort of hallucination: false on the level of notion, true on the level of time” (Vanvolsem, 2005, 51, )

William Simpson, however , attracts what he sees while at war, but then brings his canvas house to continue and complete his portrait, “The Charge of the Lumination Brigade”. The results are even more dramatic as the picture includes many details (white forceful, postural angles, fighting, and weather) to convey a sense of activity, and therefore to encompass time. By the twentieth century, technology had advanced, the camera is able to accurately capture quicker.

In afterwards twentieth century conflict, the photographer could capture situations and moments of warfare as they were happening. To get both musician and shooter there are a number of choices to become made in documenting. Berger implies: “The photographer’s way of viewing is mirrored in his selection of subject. The painter’s way of seeing can be reconstituted by the marks he makes within the canvas or paper” (1972, 10). The artist offers options of mark-making, choice of coloring, and method. Take, for instance , “Vietnam! ” by Antonio Frasconi (figure 3).

His choice of colors, vibrant whites, purples and oranges, convey a sense of heat and depth, and his selection of mark making provide a larger reference. This image, using its generic two faces, provides an impressive sense that may be wider than an individual encounter. Frasconi put in much time producing “Vietnam! ‘, and makes within that a story of war. Combining the element of bombs dropping with all the human looks, Frasconi is encompassing the complete experience of warfare in a single photo. Although the professional photographer sees everything, there is a need to provide emphasis, to modify, perhaps even to crop to get clarity or political standpoint.

The image of “Vietnam Napalm” by Nick Ut (figure 4) provides impact and is also shocking due to the choice of subject, a naked child running toward the camera. The photographer features clearly made this child the focal point, therefore, while we all “see everything”, we are drawn to an image which will aims to generate maximum effects. From his fixed placement, the shooter seems only able to sign at occasions, actions that did happen before the simply click or are planning to happen” (Vanvolsem, 2005, 50) When Ut’s photograph was published that shocked the earth by capturing a horrific moment inside the lives of ordinary people. The viewer views a bare girl running.

They don’t know what’s occurred before and after this picture. It was a moment iced in time. Nevertheless , “a simple headline or caption can go a long way toward ‘explaining’ a photograph, even if it truly is taken in with a fleeting glance” (Bounds, 2011). The title of this photograph, “Vietnam Napalm” gives a context and an event by which to understand the image. The camera fixes the image in time, offering the viewer time to focus on one thing, including facial manifestation. As Patre is estimates as declaring “a photo arrests the flow of the time in which the celebration photographed when existed” (Bounds 2011).

In the late twentieth-century the advancement of technology provides forever changed the way in which we all record, distribute and contact the world. The Iraq battle artist Michael Fay, shows that modern day war fine art demands a lot more than merely documenting what is seen. “I need it to be a component to a story, not separate from the things i and the community are experiencing”(Nagy & Stocke 2012). Fay experienced the Iraq Battle first hand, together a vast stock of recollections and visible images to draw in in creating his fine art. (Figure 5) His function strives to communicate real experiences of war, yet he is dedicated to the story within his work.

This individual not only RECOGNIZES the conflict, but ENCOUNTERS it like a combat enthusiast, and thus his work is retrospective and reflective. “Fay calls his art a form of slowed vision” (Nagy, Stoke, 2012). The abundance of recording multimedia in the 21st Century ensures that photojournalistic pictures are easily accessible and immediate. Cameras, mobile phones and other digital media ton us with images coming from around the world, nearly in real time. This kind of almost gives new that means to the advice that “the camera sees everything”. Modern day photographers have to find innovative ways to create impact in a over loaded visual market.

Iraq warfare photographer Suzanne Opton would not go out towards the war and promote her encounter, nor make an effort to recount real time war incidents, but rather creates portraits of military workers. Maimon claims, “If functioning at objects during much more a hundred secs, there usually appears to all of us the same connection between the strong lights, the half tinges, and the dark areas (2011, 965). Opton’s work, in the focus on light and shade, in some way captures amount of time in a longer approach than a single moment. Additionally, the work provides a timeless top quality, rather than being rooted within a specific time period.

Maimon says of the aesthetic of the camera obscura, “it remains often the same, and thus appears even more perfect, (2011, 965). Opton’s portraits of Iraq support personnel (Nagy & Stocke 2012) make an effort “to apply some attention grabbing structure into a real instant. ” (Nagy & Stocke, 2012) Opton states “I guess I need the public to find the impact of war on a new person’s face” (Nagy & Stocke, 2012) Clearly, Opton is seeking empathy from the viewer, echoing Berger: “We never look at just one issue, we are usually looking at the relation among things and ourselves” (1972, 9).

In both picture taking and pulling, the human aspect is vital, the camera can be described as tool, there is still a person producing choices. When Dziga Vritov claims the fact that camera is usually “A mechanical eye. My spouse and i, the machine, teach you a world how only I could see it” (Berger, 1972) Berger argues the opposite: “Photographs are not, ones own often presumed, mechanical data. Every time we look at photographs, we are conscious, however somewhat, of the photographer selecting that sight by an infinitude, infiniteness of various other possible sights” (Berger, 1972, 10)

To conclude, we see that since the technology of the camera, the practice of picture taking has been through massive changes, while the practice of attracting remains very much the same. The breakthrough of modern picture taking has opened the world visually on a size that pulling was not capable to achieve. Although we depended on music artists to record information accurately and relay it to individuals, modern technology enables everyone to record and promote through contact lens based press. But while holiday providers able to work with cameras, the skill sets involved in drawing are still unusual, and this improves drawing to me into a more special dominion.

Moreover, the modern artist not simply records, yet interprets what they see, which is seen inside the emergence of abstract skill. Our modern day culture demands instant images, and photojournalists get very well paid for on time images, while artists seem less popular. It raises the question of the future, is going to photography continue as the dominant take action of recording, or will there be a re-emergence of attracting? Perhaps the combination of drawing and photography with digital manipulation will be the most popular ways of recording?


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BERGEROT, John. 72. Ways of Seeing. London: BBC/Penguin.

BOGRE, Michelle. 2011. Digital photography as activism: images pertaining to social modify, Oxford: Focal Press.

BOUNDS, Philip. 2011. ‘Beyond Techniques for Seeing – The Media Criticism of John Berger’ Available at: http://www.fifth-estate-online.co.uk/2p=40

GOMPERTZ, Will. 2012. ‘David Hockney – for what reason art is now “less”‘. Offered by:


HOCKNEY, David. 1984. Hockney’s Photographs. Greater london: Arts Council of Great The united kingdom.

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KONSTANTINIDOU, Christina. 2008, The spectacle of suffering and death: the photographic representation of warfare in Greek newspaper, Aesthetic Communication, several (2)

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MAIMON, Vered. 2011. On the singularity of early on photography: William Henry Fox Talbots Botaniel Images, Artwork History: Journal of the Relationship of art Historians, twenty-four (5)

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Category: Documents,

Words: 1975

Published: 03.09.20

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