Photo by Leticia Hernandez |
Photo Leticia Hernandez |
I think is image is about how when people pass away we tend to now remember them and I believe he's trying to remind us that the dead is still important. He uses a different kind of view that some people usual wouldn't see in those type of days. Yes I think that this photo is considered art. Art doesn't discriminate wether its painting, drawing, etc. I believe that anything that anybody creates is art since it came from their point of view. |
Photo by photography.nationalgeographic.com |
Photo by agbeat.com |
Photo by insights.betterphoto.com |
Photo by Michelle(lovethatshot)
This photographer thought that this rose was directly in the sun the background is blurry while the rose is in
focused and can see great details into it. the photographer would overexposed to get the picture lighter.
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Photo by Photo.net (scott Walton) Soft Light This is a example of a soft light photography because you can see more details of the rose and you can describe the mood of the picture the colors are in detail too. |
Photo by wall coo.net.com Soft Light This is also a example of a soft light photography because the leaf is more in focused and more brighter while the background is blurry also the mood of the photo is nature. |
Photo by DPhotoJournal.com |
Photo byMagicAperture.com Hard light Photography |
I can see why people would have been shocked to see paintings because people were surprised that Degas would do paintings of humans being casual because they mostly never seen anything like this in public. |
‘To quote out of context is the essence of the photographer’s craft. His central problem is a simple one: what shall he include, what shall he reject? The line of decision between in and out is the picture’s edge. While the draughtsman starts with the middle of the sheet, the photographer starts with the frame. The photograph’s edge deļ¬nes content. It isolates unexpected juxtapositions. By surrounding two facts, it creates a relationship. e edge of the photograph dissects familiar forms, and shows their unfamiliar fragment. It creates the shapes that surround objects. The photographer edits the meanings and the patterns of the world through an imaginary frame. This frame is the beginning of his picture’s geometry. It is to the photograph as the cushion is to the billiard table.’