Abstract on the discipline:
Folk art

Subject
“Photography is like a modern art form.”

Completed by: Zakharova M.S.
Student 529 – 3 GROUPS
Checked by: E. Streltsova

MOSCOW

2010
Content:

1.The origins of photography

2. Masters of Photography

3. Russian photographers

4. Types of photography

Conclusion

1. The Birth of Photography

Photo(fr. photographie from Old Greek ??? / ????? - light and????? - I am writing; light painting - drawing techniquelight ) - receiving and saving a static image onphotosensitive material (photographic film or photo graphic matrix ) using cameras .
Also, a photograph or photograph, or simply a snapshot, is the final image obtained as a resultphotographic process and viewed directly by a person (this means both a frame of developed film and an image in electronic or printed form).

Initially originating as a way of capturing portrait or natural images, done much faster than with the artist’s hand, photography then penetrated into all spheres of human activity. The objectivity and accuracy of the photographic image have made it one of the effective ways of displaying reality, the most important means of information and documentation. Photography is widely used in art, which has created the term fine art photography. It became possible to talk about differentgenres of photography . Ability various materials capturing images has become widely in demand in the most various industries science, determining the emergence scientific photography. In technology, not without the participation of photography, such branches as printing and reprography developed. Photography has occupied an equally important place in everyday life. In less than 200 years of its existence, world photography has gone through a long and complex path of continuous development and improvement. At the same time, all aspects of the industry developed in an organic connection: photographic materials and physical and chemical processes, principles of image production, photographic equipment, genres and creative techniques.

The date of birth of photography is considered to be January 7, 1839, when the French physicist D.F. Arago (1786–1853) informed the Paris Academy of Sciences about the invention of the artist and inventor L.Zh.M. Daguerre (1787–1851) of the first practically acceptable method of photography, called daguerreotype by the inventor. However, this process was preceded by the experiments of the French inventor J.V. Niépce (1765–1833), associated with the search for ways to capture images of objects obtained under the influence of light. The first surviving print of a city landscape, made with a camera obscura, was obtained by him in 1826. Niépce used a solution of asphalt in lavender oil as a photosensitive layer applied to tin, copper or silver plates. Trying to implement the invention, on December 28, 1827, the author sent a “Note on Heliography” and samples of his work to the British Royal Society. In 1829, Niepce entered into an agreement with Daguerre to form the commercial enterprise Niepce-Daguerre to work together to improve the method invented by Niepce and Daguerre. A continuation of Niépce's developments was the subsequent work of Daguerre, who already in 1835 discovered the ability of mercury vapor to reveal a latent image on an exposed iodized non-silver plate, and in 1837 he was able to capture a visible image. The difference in photosensitivity compared to the Niépce process when using silver chloride was 1:120.
The heyday of daguerreotype dates back to the 1840s–1860s. Almost simultaneously with Daguerre, another method of photography, calotype (talbotype), was reported by the English scientist W.G.F. Talbot (1800–1877) obtained photography in 1835 using his previously proposed “photogenic drawing.” A significant disadvantage of “photogenic drawing” was the long exposure. The similarity between Daguerre and Talbot's methods was limited to the use of silver iodide as a photosensitive layer. Otherwise, the differences were fundamental: in the daguerreotype, a positive mirror-reflective silver image was immediately obtained, which simplified the process, but made it impossible to obtain copies, and in the Talbot calotype, a negative was made, with which it was possible to make any number of prints, a two-stage negative-positive sequence of the process was implemented - the prototype of modern photography.
Neither Niepce, nor Daguerre, nor Talbot used the term “photography,” which was legalized and given the right to exist only in 1878 in the Dictionary of the French Academy. Most historians of photography believe that the term “photography” was first used by the Englishman J. Herschel on March 14, 1839. However, another version is known, giving priority to the Berlin astronomer Johann von Madler (February 25, 1839).
The inventor of photographic film was the American amateur photographer G.V. Goodwin (1822–1900) filed an invention in 1887 for “Photographic Film and the Process for Its Manufacture.” The introduction of photographic film, and then the development by J. Eastman (1854–1933) of a photographic system using this photographic material, led to fundamental changes in the photographic industry and made photography accessible to the mass consumer, both technically and economically.
Subsequently, photographic equipment changed noticeably, and above all, in its optical part. Optics has made significant progress. There are manytypes of lenses , which began to be used for various types filming The variety of artistic tasks has confronted photographers with the need for a more subtle, more differentiated approach to their implementation. For photography of landscapes and architecture, in order to achieve “greater capacity” of the frame, they began to usewide angle lenses , which turned out to be inapplicable for such a genre of photography as portraits, since the use of the latter causes significant distortion when shooting at close range. Complexlight filters , allowing for very subtle correction of visual effects and masterful control of color fixation. But all these features of modern types of photographic devices deserve separate consideration.

Development of photographic equipment

The first cameras were of considerable size and weight. For example, camera L.Zh.M. Daguerre weighed approx. 50 kg and had dimensions of 30 by 30 by 50 cm. The design of most cameras of this period was a box camera, consisting of a box with a tube in which the lens was built in and focusing was done by extending the lens, or a camera consisting of two boxes moving one relative to the other (the lens was mounted on the front wall of one of the boxes). The further evolution of photographic equipment for filming was stimulated by widespread interest in photography, which led to the development of a lighter and more transportable camera, called a road camera, as well as other cameras of various types and designs.

A single-lens reflex camera was patented by the Englishman T. Sutton in 1861. The devices of several foreign companies were subsequently designed based on the model of his Reflex reflex camera. The two-lens reflex camera was invented by the Englishmen R. and J. Beck (1880). In 1929, German designers R. Heidicke and P. Franke developed the Rolleiflex SLR camera, which was produced in various modifications for about 60 years and became a significant stage in the development of camera manufacturing. In 1955, a box camera was patented that could be placed in a woman's handbag or doctor's bag. For the police, the Englishman T. Bolas in 1981 developed two hand-held “detective” cameras (one of them in the shape of a book), which made it possible to take snapshots. “Detective” cameras were given the appearance of a bag, binoculars, or watches.
In 1890–1950 Cameras called box cameras have become widespread. Among them, a prominent place is occupied by the Kodak camera (1888), which marked the beginning of a new stage in photographic technology. The camera provided shooting 100 frames on film with paper base. After exposure, film processing, printing and reloading of the camera were carried out by company specialists (“photo finishers”). The instructions for the camera said: “...Now photography is possible for everyone. You press the button, we do the rest." Appearance in the 1890s photographic materials with high light sensitivity, the introduction of reel-to-reel film with light-protective paper gave impetus to the further development of photographic equipment, accompanied by a transition from relatively heavy and bulky box cameras to lighter and miniature, pocket folding cameras with corrugated fur. The most famous and technically advanced was the family of cameras of the Ikonta type (Germany), the first of which was manufactured in 1929.
In 1912, the American J. Smith made a small-format camera with a frame size of 24x36 mm for 35 mm film. Then cameras of this type were released in France (Homeos-3, 1913), Germany (Minograph, 1915) and others. However, they did not have a noticeable impact on the development of photographic equipment. In 1913, O. Barnack, a design engineer for the German company E. Leitz, made the first prototype of a small-format camera, later called “Pra-Leika”. In 1925, the first batch (1000 pcs.) of small-format Leika-1 cameras with a focal length shutter, shutter speeds from 1/20 to 1/500 s and an Elmax 3.5/50 lens was manufactured. Thanks to its precision manufacturing and original layout, this camera opened a new stage in camera manufacturing and photography.
The development of photographic equipment led to the creation of miniature cameras (the first development was the Minox camera by Riga resident V. Zappa, 1935), cameras using disk film (D. Dilks' patent, 1926), cameras for technical photography in industry and science (the Tekhnika family of devices " of the German company "Linhof" and devices "Sinar" of the Swiss company of the same name).
Widely used in the second half of the 20th century. color photographic materials, as well as black and white with increased resolution, but less photographic latitude, necessitated the mass production of cameras with automation devices for controlling the shooting process. The production of such equipment began in the second half of the 1950s. After the advent of cameras with semi-automatic control (“Agfa Siletta SL”, 1956) and automatic shutter speed (“Agfa Avtomatik 66”, 1956), designs were proposed that had internal exposure metering, spot light metering (“Pentax Spotmatic”, 1960), and local light metering (“ Leykaflex", 1965), brightness measurement at the working aperture (Asahi Pentax SP, 1964), dynamic system. exposure control TTLDM (“Olympus OM-2”, 1969).
The first photographs required significant exposure time, sometimes up to several hours. In 1839–1840 L. Ibbetson, who used a device that used the glow effect of lime in a hydrogen-oxygen flame (Drummond light), managed to obtain a daguerreotype of a piece of coral within 5 minutes, which required an exposure of more than 25 minutes when photographed in the sun. In 1854 in France, Gaudin and Delamare patented a sparkler as a light source. The flammable mixture consisted of sulfur, potassium nitrate and antimony. It only took 2-3 seconds to get the portrait. The first successful attempt to use electric light in photography was made by F. Talbot, who used a Leyden jar discharge to photograph a fast-moving object (1851). Photo studios with electric lighting appeared in England (1877), France (1879), and Germany (1882). The use of bright actinic light emitted by the combustion of magnesium wire was mastered by R. Bunsen and G. Roskow (1859). The first portrait from life using this source was made by A. Brothers in 1864. The concept of “flash” became widespread in 1886, when magnesium powder was used in a mixture with other components that increased the intensity of light and shortened the combustion period. In 1893, Schaufer developed a magnesium flash lamp with electric ignition, which was a glass ball with magnesium wire filled with oxygen. Its disadvantage was the possibility of destruction of the cylinder as a result of the expansion of oxygen at high temperatures. The design is modern. safe flash lamps were developed in Germany by J. Ostermeier in 1929, in which the cylinder was filled with aluminum foil.
In 1932, the American G. Edgerton proposed using a reusable electronic flash lamp in photography. In 1939, he made a flash based on a xenon tube and developed a method of igniting a flash lamp from a camera shutter, which then became widespread. The Mekablitz 100 flash with a transistor DC converter released by P. Metz marked the beginning of the production of electronic flash lamps (1958). The search for further control of the filming process led to the appearance of a coordinated automatic flash lamp (Canon Speedlight 155A for the Canon AE-1 camera, 1976), which, when installed in a holder, was functionally connected to the camera through additional control contacts.

2. Masters of Photography

During its formative period (1839–1840), photography was seen only as a means of obtaining exact copies of the original. Representatives of the fine arts approached the “technical” means of capturing images ambiguously. Early photography imitated painting techniques in its traditional genres of portrait, landscape, and still life. High artistic results and excellence in the genre of photographic portraiture were achieved by D. Hill, J.M. Cameron (Great Britain), Nadar, A.I. Denyer, S.L. Levitsky, A.O. Karelin (Russia), etc.
D. Hill (1802–1870), called the “father of artistic photography,” was the first to show the specific capabilities of the art of photography, creating documentary-true photographic images.
J. Cameron (1815–1879) – representative of the romantic movement, author of wonderful portraits.
The most significant achievement of Nadar (1820–1910) was the portrait gallery of his famous contemporaries - composers, artists, writers and other prominent figures.
A.M. Denyer (1820–1892), S.L. Levitsky (1819–1898), having adopted the skill of analyzing human individuality from painting, took an important step towards the study of various filming effects (lighting, etc.) for the reliable transmission of documented personality traits of the person being portrayed.

In the second half of the 19th century. Technical and scientific advances in the field of photography have led to the emergence of new techniques that are unique to photography. One of the innovators was the English master O. Reilander (1813–1875), who mounted the allegorical composition “Two life path"(1856) from 30 negatives.
The English writer L. Carroll (author of Alice in Wonderland) was recognized as the best master of children's photographic portraits.
Since the 1860s The technique of outdoor photography spread. Until the 1920s it developed in the spirit of imitation of a picturesque landscape: R. Lamar (France), L. Misson (Belgium), A. Keighley (Great Britain), etc.
Ethnographic natural photography of the second half of the 19th century. set itself the goal of a reliable recording of people's life. During the same period, reportage photography appeared, for example, R. Fenton photographed episodes from the fronts of the Crimean War of 1853–1856, M.B. Brady, A. Gardner – civil war in the USA 1861–1865, A.I. Ivanov, D.N. Nikitin, M.V. Revensky – Russian-Turkish war 1877–1878 The invention and then improvement of the curtain-slit shutter made it possible to photograph moving objects, which gave impetus to the further development of reportage photography.
At the beginning of the 20th century. In the works of photographers, the influence of various trends in painting is still noticeable. At the same time, there was a growing interest in photography in interpreting the forms of the real world. The works of representatives of this trend (the so-called photo avant-garde) combine play of forms, pretentious lines, light-tonal transitions, unrealistic perspective constructions, and non-objective compositions. Photographers photographed old plaster, cracks in asphalt, etc., changing the scale and texture beyond recognition, creating compositions in the spirit of abstract art. Searches on the path of the avant-garde were not always fruitless; they led to the development of their own specific means of expression in photography, such as, for example, the use of angles, close-ups, and multi-faceted compositions. At the same time, the principles of artistic decisions were formed, based on the documentary essence of photography. The journalistic power of photographic art was revealed in many genres.
War reporting had a significant influence on the turn of photography towards documentary forms and the rise of humanistic photojournalism.

3. Russian photographers

Grekov opened an “art office” in St. Petersburg, and in 1841 he published a brochure in Moscow “A painter without a brush and without paints, taking all kinds of images, portraits, landscapes, etc. in their real light and with all the shades in a few minutes.” In the 1840s. The famous Russian photographer S.L. also began his work. Levitsky. The group photo he took of Russian writers is especially good. In 1849, the photographer opened a daguerreotype establishment “Svetopis” in St. Petersburg, and in 1859 - a workshop in Paris, which became one of the best salons for making portraits in Europe. He has repeatedly received awards at international exhibitions. S.L. Levitsky was the winner of a gold medal awarded for photographic work at the World Exhibition in Paris (1851). In the 1850s A.I. stood out. Denyer (1820–1892) was a graduate of the Academy of Arts, who opened the “Daguerreotype Establishment of the Artist Denyer” in St. Petersburg (1851) and published an album of photographic portraits of famous people in Russia, which included images of famous Russian travelers, scientists, doctors, artists, and writers. The last prominent representative of early Russian photographers was another graduate of the Academy of Arts, V.A. Carrick (c. 1827–1878). He is known for his genre and view photography of peasants in the regions of Central Russia. Collections of V.A. Carrick's works were shown (out of competition) at international exhibitions in London and Paris. In 1876, the master was awarded the title of photographer at the Academy of Arts.

4. Types of photography

Black and white photography
Black and white negative photographs have a different color sensitivity than human vision. If, for example, objects of violet and yellow color are shot on a non-sensitized negative film, then under the influence of violet rays the image becomes black, and under the influence of yellow rays it does not appear and remains transparent. When printing a positive (on photo paper) purple will be reproduced in white, and yellow - in black, i.e., the brightness of the object will be distorted when transmitting tones in black and white photography.

Color photography
Unlike black and white photography, color photography covers methods of obtaining images in which brightness and color characteristics the subject being photographed are reproduced in colors that are close to natural. The development of three-layer photographic materials made it possible to solve the problem of obtaining high-quality color images on both film and photographic paper. The basis is the possibility of obtaining all colors by adding light fluxes of three primary colors (red, green, blue), or by subtracting light fluxes from white using layers that selectively absorb light. One of the most common methods of color photography was the method of obtaining a color image on multilayer photographic materials.

Silver halide photography
This type of photography is based on the use of photographic materials: film, photographic plates and photographic paper. The method is very expensive!!!

Silverless photography
Features of silver-free materials: low photosensitivity, poorly convey halftones and have “noisy” images; It is impossible or difficult to obtain color images with them. Silver-free photographic materials are used for microfilming, copying and duplicating documents, displaying information, etc.

Plane photography
The arsenal of traditional visual means of photography and the objectivity of photographic documents are limited by the two-dimensionality of photographic images. Black and white and color photography, electrography and video recording are planar types of photography and do not allow one to imagine an object three-dimensionally, as the eye sees it. The absence of a third dimension in these photographic images is due to the properties of ordinary (incoherent) light, which is used in photography practice.

Stereoscopic photography
Stereoscopic photography covers methods of obtaining photographic images, when viewed, a feeling of their volume (stereoscopicity) is created. The difference between a stereoscopic image and a regular one is that a stereo image consists of two (minimum) conjugate images. Conjugate images are those obtained by photographing the same object from points corresponding to the location of the eyes, i.e. taken on the same scale, with the same brightness and connected by a single perspective.

Holography
An image that is practically adequate to the photographed object is obtained using holography - a special way of recording any information using coherent wave fields. Unlike conventional photography, in holography, in the photosensitive layer, it is not the optical image of the photographed object that characterizes the distribution of brightness of its details that is recorded, but a subtle and complex interference pattern of the wave front of the holographic object, which carries complete information about it. Unlike other types of photography, a hologram conveys spatial relationships with amazing accuracy: varying degrees of distance of individual objects from the observer, their angular and linear dimensions, relative location in space; makes it possible to view images from different angles and get the complete illusion of the objects actually being viewed.

5. Photography genres

The development and formation of photography genres followed similar paths to other types of artistic creativity and used their traditions. As in fine arts in general, genres in photography are determined by the subject of the image and include still life, landscape, portrait and genre photography (everyday scenes, situations).

Still life (from the French nature morte, literally - dead nature) - an image of inanimate household objects, attributes of any activity, flowers, fruits.
The genre of still life began to take shape immediately with the advent of photography.
Photography’s mastery of its own specific visual means, different from painting, also affected the understanding of still life. The range of objects and motifs of still life expanded, and the everyday reality surrounding the artist increasingly penetrated into it. Elements of other genres appeared in still life subjects.
Still life has found a worthy place in the work of many representatives of world photography.

Scenery (French paysage, from pays - country, locality) - a genre in which the object of the image is nature.
The genre of landscape, like still life, began to take shape from the birth of photography.
To create highly artistic works in the landscape genre, it is important to clearly understand the peculiarities of perception of a photographic landscape. As you know, we perceive living nature with different senses, but mainly through vision. Vision is binocular and incomparable to photographic vision neither in terms of coverage, nor in the perceived range of brightness, nor in color reproduction.
When shooting landscapes, one of the most important tasks is to convey the space convincingly. In nature we see it as continuous.
In every landscape there is always a common, changeable element that has exceptional power over our emotions: this is the sky. The entire world landscape experience testifies that a landscape painter must photograph the sky and... everything else.
When brightness accents are not placed, small details stand out too much.
The color of the paper used is of great importance in monochrome photography. It can strengthen or inhibit our associations.
Today's amateur photographic landscape often suffers from unjustified conventionality of the image, and modern attributes, wedged into nature, completely destroy its spiritual origin. This contradiction, however, can form the basis of environmental stories that cannot leave our contemporary people indifferent.
Often an architectural landscape, especially with the thoughtless destruction or natural destruction of monuments, can acquire the value of a historical document. The ecology of culture is a very topical and extremely important topic for a photographer, which should, apparently, be addressed in some new, flamboyant forms.
Also interesting are photographic landscapes that organically include a person in all the diversity of his personal manifestations.
The landscape genre is of great importance for visual self-education. In recent times, when the depiction of nature in painting was very highly valued, sketch training and the pictorial study of nature were a matter of course even for great masters. This is especially necessary for photographers without education, tradition or school. It would be naive to think that technology alone can make a forest look like a forest or rain like rain. Nature must be constantly studied photographically and, using accessible nature, “go through” all possible states, achieving their visual reproduction in a positive way. Then treasured unique subjects, generally rare in the practice of photography, will become more accessible and frequent. The attitude towards nature, due to the threat of its destruction, as well as the attitude towards cultural monuments, is changing today. This is the precondition for a new revival of the landscape genre, in which photography has created artistic values ​​like no other.
Portrait has always been one of the popular types of fine art, and in the pre-photographic era, written by the artist’s hand, it was generally the only way to capture a person’s appearance and preserve it in the memory of posterity. With the advent of daguerreotype, it became more accessible, and photography in the portrait genre immediately became very popular, daring to compete, and to a certain extent successfully, with painting (though it received a contemptuous nickname from artists - “painting for the poor”).
If we talk about the development of the photographic portrait genre as a whole, then two qualities - the depth of insight into the essence of human character, on the one hand, and the desire for the utmost reliability of the details recreated in the photograph, on the other - are fundamental, inherent in the entire history of photography.
Varieties of this genre are widely represented in studio photography. M. Sherling was a proponent of expressive portraiture: in his photographs people were most often represented in violent internal movement. It is no coincidence that this master chose as models those who were naturally endowed with a powerful temperament.
A. Shterenberg has established himself as a lyrical portraitist. Using the range of light, he preferred ultra-close-ups in photographs: in them we see in most cases only the person’s head. The eyes play a special role in these portraits.

Reportage portrait . (event, celebrants, weddings)
Studio portraiture today makes up one half of the genre. The other half is given to reportage portraits, which are part of documentary photography. In such popular genres of photojournalism as essays, series, reports, portrait photographs of participants in real life events are increasingly found. Unlike studio works, where the author has the opportunity to seriously transform a person’s external data using photographic means, here there is a strong documentary beginning.
etc.............

Today everyone understands that photography, which reflects the creative vision of the photographer, is a subject of art. However, when photography was born, it was believed that only hand-made works could be classified as art.

Therefore, photographic prints that were created using physical and chemical methods could not be accepted by the public as objects of art.

Photography as an art did not fit into the system of social values ​​and views for many decades, despite the fact that already the first photographers changed the composition of the image to obtain artistic value. There has been a lot of debate about whether painting and photography can be compared? Or maybe photography is a type of disappearing painting, in which technology replaces the artist’s work? However, these two types of art should not be compared, as they interacted with each other.

The advent of photography freed painting from the function of capturing a real image. And this contributed to the development of painting in new directions with its unique features. Painting gave photography such concepts as coloring, composition, color, angle, perspective, and even the vision of objects “in the frame” came from the art of painting.

To obtain a realistic image no longer requires human labor thanks to the advent of photography technology. Photography serves not only to capture reality; when shooting, a person can express his attitude towards an object or situation, using technical techniques of setting light, choosing an angle, and the ability to choose the right moment.

It is the attitude of photographers to the situations they are shooting that influences what the effect of viewing the image will be. Photography as an art form is also manifested in such moments as the choice of artistic style of the future photograph, genre, color, etc. It was the desire to make the photographs more realistic that gave impetus to the creation of color photography. And here the influence of painting is observed; the choice of colors influenced the meaning of the painted paintings.

This leads to the rules for using color in photographs:

1. Take color photographs only when without color the meaning of the resulting photograph is lost.
2. Has colors symbolic meanings, accumulated by culture, and this can be successfully used in photography.
3. Contrasting colors can be used to further contrast the meaning of a photo.

The style in a photographic work depends on the nature and strength of the deviation from naturalistic, “reflective” photography. Naturally, artistic photography cannot exist without a photographer. A photographer must have a special “vision” of the world. Not all shots can be successful works of art. Therefore, the photographer must train his technique, and also have a clear idea of ​​​​his attitude towards various objects his filming.

In order to shoot, the photographer must learn to capture the essence, character distinctive features models that will reveal his inner world in the photo.

The first fixed image was made in the year by the Frenchman Joseph Nicéphore Niepce, but it has not survived to this day. Therefore, the first photograph in history is considered to be the “view from the window” photograph taken by Niepce in 1826 using a tin plate covered with a thin layer of asphalt. lasted eight hours in bright light sunlight. The advantage of Niépce's method was that the image turned out to be in relief (after etching the asphalt), and it could easily be reproduced in any number of copies.

Artists responded to the invention of photography in different ways. The main stumbling block in the debate about the artistic nature of photography and the role of the photographer as an artist, the creator of a work of art, was the extraordinary accuracy in conveying details, accuracy with which the most skillful painter could not compete. Some enthusiastically welcomed light painting, others, on the contrary, saw in the camera an object dispassionately recording reality without any application of human hands. But at the dawn of its existence, photography did not pretend to be a work of art, and until the end of the 1840s it was impossible to talk about intentional photographic creativity.

3. Photography of architectural structures

This is a genre of photography depicting buildings and their complexes, bridges, etc. As a rule, the goal is to obtain a documentary photograph that creates the necessary idea of appearance of the photographed object or its parts. When highest value has a choice of shooting point based on height, distance and shooting angle. This is what determines the overall composition of the frame, perspective, and the ratio of plans. In urban environments, in the absence of sufficient space, the choice is greatly facilitated by the use of a wide-angle or ultra-wide-angle lens.

5. Shooting sports and moving objects

The peculiarity of such photographs is the speed of movement. It is important to show the dynamics of movements. Sports are photographed only with short shutter speeds - no more than 1/100 sec, and often 1/500 - 1/1000 sec. For such photography, cameras equipped with high-speed shutters and fast lenses are required.

6. Photographing children

There are slight similarities between photographing children and sports. This is swiftness. Children do not sit still, so the most the easy way is to photograph children doing something (watching a play, listening to a fairy tale, playing). At these moments, children do not focus their attention on the incomprehensible interesting “thing” near your face, they are absorbed. This is just a treasure trove of interesting expressions! :)

7. And finally - reportage shooting

This is the so-called method of filming an event without interfering with it. natural history. is a series of photographs taken during an event when the photographer is limited by time and the scenario of what is happening. Thus, the reportage places the photographer within a certain time frame and scenario. The reportage method of shooting excludes directing, although in some situations the photographer can slightly provoke people or the situation. But this happens infrequently - the art of reportage is to, without directing a shot, shoot it impromptu, in the course of the action, accurately finding the point, the plan, the moment.
In my opinion, the ideal photograph of this genre is one that could illustrate a topic in the news under the “no comments” section. The photo should speak for itself.

Photographers

People who take artistic photographs are called photo artists.
He, unlike just a photographer, pays special attention special means People who produce artistic photographs are called photo artists.
He, unlike just a photographer, pays special attention to special means of production, applies certain technical techniques (choice of lighting, composition techniques, effect optics, post-production processing, etc.).

So - lighting

Photographers know that if the light source is behind it, the shot will come out flat. Ideal, say, for landscapes - light from the side (back-side or front-side).
If we talk about shooting times, then ideal, of course, is evening and morning. At this time, the light is softer and more diffused. When the sun is at its zenith, the color temperature is noticeably higher and blue and blue colors predominate in its spectrum. blue tones; in the morning and evening light, as mentioned above, they are yellow and orange, and in the shadows, from blue to blue.

Kurichev Andrey

The educational research work was written as part of additional study contemporary art. The topic is very interesting for this age. The student attempted to explore at his own level the history of the emergence of such a form of fine art as “photography”. The teenager answers questions such as “Does the photograph reflect reality objectively? Is photography art? And why didn’t fine art cease to exist after the emergence of photography?” The student presented his project, as well as interesting results of a study of adolescents on this topic, and an analysis was made.

The work is easy to read and interesting, the material is structured and presented logically. The student emphasized the relevance of the topic and clearly set the goals and objectives of the study.

Main positive points works are:

1. A look at photography as a form of fine art from a teenager's point of view.
2. Students acquire the necessary knowledge on issues that interest them, develop their own thinking and further self-improvement.

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Preview:

Municipal budgetary educational institution

average secondary school No. 10 Pavlovo

Department - Humanities

Section - art history

The work was completed by:

Kurichev Andrey, 15 years old

student of grade 9 "B"

Scientific supervisor: Shitova Olga Konstantinovna,

Teacher of world art culture

Pavlovo

February 2015

1. Maintenance………………………………………………………………………………..3
2. Main part……………………………………………………….4-12

“Is photography art?”

• The birth and meaning of photography………………………………. ….4-6
• Does photography reflect reality objectively?…………………………………………….. …………7-8
• Is photography art? And why did fine art not cease to exist after the emergence of photography?.................................................... .......…….8-9
• Research……………………………………………………10-12

1. Conclusion. Conclusions……………………………………………………..12
2. Literature………………………………………………………………………………...13

1. Introduction

Nowadays everything exists for the sake of

to end with a photograph.

Photography mummifies time.

Henri Bazin

I think that unlike traditional art forms photo has practical application. It is useful in many areas of human life: in science, in educational process, in forensics (photography of crime scenes, evidence left behind, etc.), in the advertising business, in identification, in design, etc. And if this is so, thenIs photography art?

Target:

Find out if photography is an art form?

Tasks:

• Find out the birth story and the meaning of the photograph.
• Find out whether the photograph reflects reality objectively?
• Find out why, after the emergence of photography, fine art did not cease to exist?

My hypothesis:

Photography is a broader concept than photographic art: not everything that is shot on a camera (like a movie camera) will be art.

Research methods

2. Main part

2.1. The Birth and Meaning of Photography

The word “photography” is translated from Greek as “light painting”. Light - main element creating an image in photography. The origins of the photography technique lie in an optical phenomenon known since antiquity: if a camera obscura (lat. " dark room") a ray of light hits, an inverted image of illuminated objects located under the camera will appear on the opposite wall.

The first person to capture a real image was Nicéphore Niepce. This happened in the 20s of the 19th century. Several years after the experiments. This happened in the 20s of the 19th century. A few years after Niépce's experiments, Louis Jacques Daguerre obtained a photographic image by using a thin copper plate coated with a layer of silver in a cassette. These plates are called daguerreotypes. In 1839, the French Academy of Sciences recognized Daguerre's merits and made the discovery of the French scientist the property of mankind.

1839 is the official year of birth of photography.

Daguerreotypes were single copies, that is, copies could not be made from them, and photography, as is known, is divided into two operations - obtaining a negative and making a positive. The method of obtaining a negative was discovered by Fox Tabol in 1840.

Much has changed since then: photographic film appeared, technologies for producing color photography were developed, and not so long ago, digital printing emerged, based on electronic technology that converts an optical image into an electrical signal.

The birth of photography cannot be explained solely by the development of technology.

The 30-40s of the 19th century mark the birth of such a movement in art as critical realism. One of the postulates of realism can be formulated as follows: any human principle is absolute. The presence of each person with his own photograph (even if only in his passport) proves that each of us is equal to each other in the fact of life. Photography affirms our involvement in life and eternity.

In works of realism, human life is viewed in a historical context (the hero is always given in relation to the era).

Attention to everyday life, details - all this characterizes both realistic work and photography.

Photography is the keeper of the past: we study historical eras, family life, etc. from photographs. R. Arnheim formulated the generic properties of photography as follows: “Inextricably linked with the physical nature of the landscape and human settlements, with animals and humans, with our exploits, sufferings and joys, photography has the privilege of helping people study themselves. Expand and preserve your experience, exchange vital messages..." (Arnheim R. New essays on the psychology of art. - M., 1994, p. 132).

2.2. Does photography reflect reality objectively?

Studying different sources, I learned that scientists have different views on the realistic potential of photography. For example, the French scientist A. Bazin argued that a photographic image of an object “is the object itself.” Photography, according to the researcher, is objective, since “between an object and its image there is nothing standing except another object... All arts are based on the presence of a person, and only in photography can we enjoy his absence. Photography affects us as a “natural” phenomenon, like a flower or a snow crystal...” (Bazin A. What is cinema? - M., 1972. - p. 44). The aesthetic possibilities of photography lie in the disclosure of the real, which appears directly without verbal or other artificial intermediaries. The camera lens “frees the subject from habitual ideas and prejudices,” and cinema “appears before us as the completion of photographic objectivity in the temporal dimension... For the first time, the image of things also becomes an image of their existence in time...” (Bazin A., p.45).

There is also the opposite point of view. “We all know,” writes Yu.M. Lotman, how dissimilar and distorting photographs can be. The closer we know a person, the more dissimilarities we find in photographs. For every person whose face is really familiar to us, we will prefer a portrait of a good artist to a photograph of equal skill. In it we will find more similarities. But if we are presented with a portrait and photograph of a person unknown to us and asked to choose the more reliable ones, we will not hesitate to stop at the photograph, such is the charm of the “documentary” nature of this type of text” (Yu.M. Lotman. About art. - St. Petersburg, 2000. - p. 297).

Conclusions: This survey makes us understand that the majority (66.7%) believe that photography reflects reality objectively, and the remaining

(33.3%) do not think so.

2.3. Is photography art? And why didn’t fine art cease to exist after the advent of photography?

Many photographs are casual, everyday, or, more precisely, inexpressive, non-artistic, that is, they are a simple “copying of reality.” Of course, in our home (quite everyday) photographs, the object of the image will be most interesting to us: ourselves, our loved ones, loved ones, friends, etc. Will such photographs be art? For us – without a doubt: how many emotions and memories they evoke. And for other people, strangers to us, will the object depicted in our photo be of interest? It's more difficult here.

What conditions are necessary for a “copy taken from reality” to become art? Apparently, the same as for all other arts. “Art... is the only activity that meets the task of discovering, expressing and communicating the personal meaning of activity, reality” (Leontyev A.N. Selected psychological works. - M., 1983. - p. 237).

Such outstanding masters of the 20th century as A. Rengener-Patch, A. Cartier-Bresson, A. Rodchenko, L. Maholy-Nagy, Mann Ray and others made photography an art.

I did an experiment with my friend:I put two photographs in front of him.

When looking at them, my friend, relying on his intuitive feeling, identified one as “artistic” and the other as “non-artistic”. To my question: “Why did he conclude that?” - followed a somewhat vague answer: “Well, it’s obvious, here’s just the view that was in front of the camera, but here something was added, some kind of mood, the photographer wanted to express something, say it on his own, convey it, you see, some kind of feeling..."

I tried to express these thoughts in a more specific way.

In the production of non-art photography, two participants were identified as a friend: the landscape and the camera; In the production of art photography, he named three participants: landscape, camera, photographer.

In the first case, the photograph automatically recorded what fell into the field of view of the lens, in the second, something was added to the real landscape.

In fact, here are those features that are usually called out highlighting the distinctive features of art: the presence of authorial subjectivity, ... the introduction of thought into the depicted object, the recreation of the object in connection with the artist’s general understanding of the world.” That is, “having become a fact of art, the material world is humanized and spiritualized, it receives meaning” (Yu. Lotman, Yu. Tsivyan, Dialogue with the Screen, - Talin, 1994. - pp. 19-20.)

By photographing, we interfere with the environment around us, we “cut out” from it a “piece” of reality that we somehow liked, or simply needed, or coincided with some of our experiences, expressed some kind of thought.

Of course, photography as an art has its own expressive means. When we look at a photograph, we pay attention not only to the subject, but also to the plan, angle, composition of the frame, light, and color. By creatively using them, using one or another optics, black-and-white or color film, and now also the enormous capabilities of the computer, we can interpret the objects of the world in our own way and create complex artistic images. However, knowledge of the arsenal of expressive means does not guarantee a high-quality artistic photograph. As in any art, you need a special flair, inspiration and taste.

First survey: Why didn’t fine art cease to exist after the advent of photography?

Conclusions: Based on this survey, I can conclude that 84% of respondents believe that photography has become one of the areas of fine art, and 16 percent believe that photography is much younger than fine art and may supplant it in the future.

Conclusions: 32 percent of respondents believe that in order to become good photographer you need to have the most modern and high-quality equipment, and 64 percent still believe that the main thing is not the equipment, but who uses it.

Conclusions: This issue remains controversial for me. The number of supporters and opponents of the use of Photoshop in photography is divided into two identical camps, and this question will remain unanswered for us.

Conclusions: Based on this survey, we can judge that 80% of respondents believe that photography is an art, 4% answered negatively, and 16% do not know the answer to this question. What do you think?

Conclusion

My hypothesis was confirmed - photography is not always art.

Anyone who loves photography, admires the masterpieces of professionals, creates high-quality, unique works himself, and does not set himself the goal of selling his creation - for this the answer is obvious: photography is art!!! And for those who simply take photographs for themselves, for memory, photography is simply a benefit to life, a necessary condition.

Well, I believe that the question of whether photography is art or not is perhaps as difficult to find an answer as the question of the meaning of our existence. Some people believe that if you like a photo and wish you had taken it, then it is art. But, in my opinion, not everything you like is art, and on the contrary, you don’t always have to like art. After all, beauty and ugliness, good and evil - these things are inseparable, therefore they should equally fill art. If we see only beauty, we will not perceive it. Evil and ugliness are as necessary as oxygen to our lungs. People who dream of absolute happiness are most likely wrong; they do not understand that if there were no war, there would be no peace, that they would not know an ounce of happiness if they had not experienced grief. Life itself would be boring and would lose all meaning. It is much more interesting to live in a world filled with opposites that make a person’s life the most rich and varied.

Literature

1. Arnheim R. New essays on the psychology of art. – M., 1994, p.132
2. Bazin A. What is cinema? – M., 1972. – p.44
3. Leontyev A.N. Selected psychological works. – M., 1983. – p. 237
4. Lotman Yu., Tsivyan Yu., Dialogue with the screen, - Talin, 1994. - p. 19-20.
5. http://www.adme.ru/tvorchestvo-fotografy/reshayuschij-moment-546455/
6. http://pics2.pokazuha.ru/p442/s/w/7897210hws.jpg

Today, none of us doubts the fact that artistic photography is an art that reflects the creative vision of the photographer as an artist. However, even at the dawn of the development of photography, for several decades the acute question was whether photography could be classified as art or whether it was simply nothing more than a means of recording and transmitting information about the world around us.

It took photography many years to carve out its own place in the art world, along with sculpture, cinema, painting and theater. But now any photographer can express his attitude to the world around him and phenomena through such means of photography as angle, color or choice of moment of shooting.

When the first photographic prints appeared, no one took photography seriously. It was considered just simple pampering and child's play for a limited circle of people. In the first years after its emergence, photography, due to technical limitations, could not lay claim to either documentary, or any artistic value, or freedom of lighting solutions and the creative vision of the photographer.

In the 19th century, it was widely believed that only a man-made work could be considered art. Accordingly, photographic prints, which were obtained using various physical and chemical methods, simply could not claim the status of art. Even despite the fact that already the first generation of photographers tried to somewhat enliven the composition of their photographs with some interesting techniques and approaches, nevertheless, photography continued to remain a funny trinket in the eyes of public opinion.

Photography was considered by critics of that time only as a mechanical copy of reality, capable of being only a semblance of artistic painting. Until the 20s and 30s of the 20th century, articles and publications seriously considered the question of whether photography is an art or is it just an applied, practical skill, where the key role is played by the technique, and not the photographer himself.

There are several periods in the development of photography as an art. Even at the dawn of the development of photography, it was not much different from painting, that is, photographers tried to use pictorial techniques that were well known to them in photography. They photographed mainly monumental, immovable objects. These first photographic prints belonged to the genre of portrait or landscape. In addition, due to the emergence of the newspaper industry in the 19th century, photography occupied the niche of simple documentary evidence of certain events. We can say that at that time there was no talk about the expressiveness and artistry of photography. When did photography really become art?

Probably, it is impossible to name any exact date. But historians of photography note a significant event that happened in 1856. Then Swede Oscar G. Reilander made a unique composite print from thirty different retouched negatives. His photograph, entitled “Two Roads of Life,” seemed to describe an ancient saga about the entry into life of two young people. One of the main characters in the photograph turns to various virtues, charity, religion and crafts, while the other, on the contrary, is carried away by such sinful delights of life as gambling, wine and immorality. This allegorical photograph instantly became widely known. And after the exhibition in Manchester, Reilander’s photograph was purchased by Queen Victoria herself for Prince Albert’s collection.

This combined photograph can rightfully be considered one of the first independent works related to photography. Oscar G. Rejlander's creative approach was, of course, based on the classical art history education he received at the Roman Academy. In the future, his name is associated with various experiments with photomontage, and with the development of double exposure, and with stunning multi-exposure photography.

Reilander’s work was continued by the talented artist and photographer Henry Peach Robinson, who became famous thanks to his composite photograph “Leaving,” made from five negatives. This artistic photograph showed a girl dying in a chair, with her sister and mother standing over her sadly, and her father looking into open window. The photo “Leaving” was criticized for distorting the truth, but, nevertheless, gained wide popularity. It was immediately acquired by the English royal court, and the Crown Prince even gave Robinson a standing order for one print of any such photograph.

"Leaving." G. P. Robinson

Robinson himself became a leading exponent of so-called pictorial photography in England and Europe. This direction of photographic art occupied a dominant position in photography until the first decade of the 20th century. Many pictorial effects and techniques were used in pictorial photography.

It must be said that photography for a long time could not escape the “shadow” of painting. However, the development of photography as an independent art at the beginning of the last century was greatly facilitated by regular exhibitions, where, along with simple beautiful shots, viewers could see interesting photos worthy of the title of “work of art.” One of the first such international exhibitions was the modestly named 291 Photography Gallery, which was opened by Alfred Stieglitz in 1905 in New York. This was a real exhibition of contemporary art, in which the names of famous artists stood on a par with photographers.

With the beginning of the 20s and 30s, photography began to new period, directly related to the mass production of newspapers and magazines. Photography is changing its style in favor of documentary and reportage photography. Documentary and artistic realization were gradually intertwined in photography into a single whole. A new generation of photographers emerged who, through reportage and documentary photography, daily made the history of their country and the whole world. During this period, photographic art became closely connected artistic expression with an ideological and social component.

Photography becomes a carrier of a certain historical truth, a reflection of events that actually took place. It is not for nothing that in the 20-30s various posters, photo albums and magazines were of particular value. It was during these years that commonwealths and societies of photographic artists began to appear, who sought to turn photography into a self-sufficient art form.

In our country, however, these positive processes were virtually frozen at the end of the 1930s. The Iron Curtain isolated Russian photography from trends in international artistic life for a long time. Talented Soviet photographers were forced to engage only in socialist realist photo reporting. During the Second World War, many of them visited the battle fronts and were able to capture on film memorable moments of the great victory.

In the 60-70s, photographs again began to be considered as independent works of art. This is the era of photorealism and bold experiments with various photographic technologies and artistic techniques. Starting from this period of time, all areas of photography that were on the periphery of public attention finally received the right to be presented as an independent artistic value in art. New genres of photography are emerging, in which the key point is the author’s intention and creative vision of the photographer. Famous photographers of that time in their artistic works began to touch upon such significant social problems as social inequality, poverty, child labor and many others.

We owe the next revolution in photography to the transition from film to digital cameras. The digital image format has allowed photographers to move somewhat away from a simple mirror image of the reality around them. With the advent of digital cameras, computers and graphic editors, the photographer has the opportunity to transform his photographs in such a way that the viewer has the opportunity to get acquainted with the creative vision of the image creator and immerse himself in his surreal world. Although photography has become a mass phenomenon these days, selectivity and a special personal “vision” are still important for photography as an art, allowing a person to create a real work of art using photographic means.

Despite the fact that with the help digital camera You can take several hundred pictures in a matter of minutes; of course, not every frame can be classified as artistic. A modern photographer expresses his vision of the world or the author’s intention through perspective, skillful play of light and shadow, subtle choice of the moment of shooting and other techniques. Thus, the photographer, not the technician, remains at the very center of the art of photography. Only a person is able to put a piece of himself into an image. inner world so that the picture is “overgrown” with new emotions and reveals the talent of the photographer himself.