What differs from a photo of nature out in the sun with a photo of nature glared from the moon? Depth. The sun holds emphasis on light that contract to the environment which makes them glow. Therefore, the nature that is shown encaptures the distance from the camera to everything in front with the sun as its boundary. The moon works the same way except it overpowers what’s in front by censoring nature with darkness, making the photo apparent only to the moon than everything else surrounding it. Depth is an important aspect of photography that integrates the perception of reality through a frame. It creates a standstill immersion that can sufficiently connect and relate to each other. By analyzing the foreground-background element in a photo,
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In Susan Sontag’s, “On Photography”, she exemplifies how photographs gets “blown up, cropped, retouched, doctored, and tricked out” (34). This indicates that modified images are inherited by the authors preference to pose a striking image that attempts to surpass its original. Sontag made the expression of a fake persona that discharges negativity on its subject by discrediting photography that “package the world” (34). Revised photos are trending throughout the internet, technology made it possible to enhance a digital photo that can still retain its depth. It is vital for an image to look appealing as it is most remembered when illustrating. Some photographers retouch their works in order to crop out sharp colors that can impede their purpose. It is feasible to assume that the author wants to hold emphasis on one subject rather than the environment that can change its …show more content…
Simply viewing an image leaves the impression of someone who is consistent in their works. In Freeman Patterson’s “Barriers to Seeing,” he justifies how “we rule out visual exploration, and seldom discover the myriad facets of each object” (27). His perspective in photography envisions the forthcoming of labeling in sensory experiences. There is a pattern where photographers establish and rediscover environmental cues that remains fixated in their works. “Instead of seeing everything, we select a few stimuli and organize these” (Patterson 27). This implies that our eyes are fixated on the most striking object in an image while our mind absorb its surroundings. Because it is most easily noticeable, the foreground is the most dominant feature because it’s brought up front. A good photographic expression leaves symbolic content to receive most attention while the background acts as a filler that embalms the figure. In “Analyzing the Composition of Your Photographs” by Noella Ballenger, She demonstrates how getting into the habit of reviewing one 's own photographs can be teaching towards oneself. “If we look at a print, we are really physically looking at a blank piece of paper. It is a one dimensional flat surface.” By implying that looking at a blank piece of paper as a one dimensional surface, the intricacies of it does not resonate by simply viewing on its exterior. It is critical to view photography as an
In Susan Sontag’s, “On Photography”, she exemplifies how photographs gets “blown up, cropped, retouched, doctored, and tricked out” (34). This indicates that modified images are inherited by the authors preference to pose a striking image that attempts to surpass its original. Sontag made the expression of a fake persona that discharges negativity on its subject by discrediting photography that “package the world” (34). Revised photos are trending throughout the internet, technology made it possible to enhance a digital photo that can still retain its depth. It is vital for an image to look appealing as it is most remembered when illustrating. Some photographers retouch their works in order to crop out sharp colors that can impede their purpose. It is feasible to assume that the author wants to hold emphasis on one subject rather than the environment that can change its …show more content…
Simply viewing an image leaves the impression of someone who is consistent in their works. In Freeman Patterson’s “Barriers to Seeing,” he justifies how “we rule out visual exploration, and seldom discover the myriad facets of each object” (27). His perspective in photography envisions the forthcoming of labeling in sensory experiences. There is a pattern where photographers establish and rediscover environmental cues that remains fixated in their works. “Instead of seeing everything, we select a few stimuli and organize these” (Patterson 27). This implies that our eyes are fixated on the most striking object in an image while our mind absorb its surroundings. Because it is most easily noticeable, the foreground is the most dominant feature because it’s brought up front. A good photographic expression leaves symbolic content to receive most attention while the background acts as a filler that embalms the figure. In “Analyzing the Composition of Your Photographs” by Noella Ballenger, She demonstrates how getting into the habit of reviewing one 's own photographs can be teaching towards oneself. “If we look at a print, we are really physically looking at a blank piece of paper. It is a one dimensional flat surface.” By implying that looking at a blank piece of paper as a one dimensional surface, the intricacies of it does not resonate by simply viewing on its exterior. It is critical to view photography as an