There is an aura of pain, mystery, mortification, and a ghostly feeling all embedded in the figure number 3. The horrid memories of the location gets reflected in form of the numb facial expression of the lady who is posing as a model. Her facial expressions seem to express a sense of acquiescence like it is emanating from the belief that she is doomed and she is predestined to embrace a painful end. The horrific incidents of torture and tyranny which had taken place in the Rottnest Jail, perpetrated by the immigrant white settlers from Europe on the indigenous aborigines is an incident of the past, but the marks of it still has been preserved, both materialistically and also symbolically (McKeough 2016). Materialistically, the curfew bell and the board commemorate the marks of the atrocities. Symbolically, the attempts to make the model stand in the strictly straight posture with a cold expression on the face seems to revive the memories of the systematic torture meted out to the aborigines of the region (Ziino 2018). The background in which the model has been placed makes it clearly conceiveable that rigorous attempts to preserve the remains have been undertaken with an immense amount of precision. The dress and the overall outward appearance of the model also shows the degree of being polished to a great extent. However, despite being made to appear so polished and preserved, the meticulous care to preserve the remain of the atrocities meted out to the helpless aborigines is also very evident, as all those tools of the bygone era are also made to feature not in order to glorify the atrocities, but to evoke the painfulness of it (Leong, Thor, Shaphan 2016). Similarly the model, despite being dressed in trend and colourful clothes do not bear a mark of happiness, as she is empathizing with the aborigines who have been buried in mass graves in the region of Fremantle. With regard to the style of photography, it can be said that it is multi-layered, as several layers and spheres of the landscape has been captured in the frame in increasing order. The larger aspects in the photograph seem to narrow down on the main subject, the model (Bate 2015). The picture also shares some characteristic features with the contemporary style of photography, but not all. As Stallabrass (2007) says that a particular genre in art photography follows the style in which the human subject is centrally placed against the landscape with no expression on the face, and the focus of the human subject being fixated at the lens of the camera. The figure number three however does have the human subject centrally placed. The human subject however is just one of the elements highlighted in the image besides the historical artifacts and the remains of a historical monument, but it is definitely the prime focus of the image. The other factors of the contemporary form of art with regard to the facial expression and the posture, those are quite evidently present in the image. Hence once can deduce that the figure number 3 is an eclectic mix of characteristic features of two different styles of art photography harmoniously clubbed together. It should not be mistaken as a fashion photography, as that would mar the deep symbolism attached to the image.
Figure number 4 depicts a woman standing at a corner caused by two walls meeting each other at right angle. The background which has been chosen for the image used to be an asylum at some point of time in the history. However the purpose of the building have been subject to transformation from time to time. It was also utilized at some point as the headquarters for the navy seals of the United States of America, and it had functioned as a home for old and aged women (Wells 2015). The style of photography immanent in this particular image can be called as multi-layered landscape photography. With regard to the significance of the image in connection with its historical past, it can be said that all the specific purposes which have been mentioned above finds a symbolic expression in the image (Best 2016). The cornering of the human subject is symbolism of the fact that the building was once an asylum and an old age home, a shelter, or rather dumpyard for the discarded and outcasted persons of the society who lack people to take care of them, and love them. Despite all the hardships and difficulties of life they still survived, even if it was unhappily and with regrets (Bach 2017). The pain and agony of being discarded can be derived from the placement of the human subject in the picture, at a corner.. The image on an overall basis symbolizes the juxtaposition of the glorious and the gloomy memories associated with the building, if observed properly. This could be deduced on the basis of the study of literature related to it.
For the sake of analyzing the figures 5 and 6, it cannot be done without making an attempt to develop any kind of connection between them as they are inter related on the basis of the purpose and the objective, which is purely commercial. The most important characteristic features of any commercial photograph is attributed to its marketability, impressiveness, specific emphasis on the product and the factor of flawlessness. Figure depicts a model posing for photograph at a pristine, yet historical The location is quite ancient and historic and has been deliberately chosen to give the entire photograph a surreal and exotic look, just to enhance the factor of attractiveness of the image. The angular setting of the model has been done in such a way, so that no facial feature, or the accessories get enshrouded by shadow, as that shall disrupt the intention of displaying the model and the objects (Gibbons 2016). Another very vital social factor can be invoked in this respect, the concern of the feminists all over the world centered around the objectification of women for the capitalist pursuits. It is not very uncommon to use female models for the promotion of any product or service. The focus of such photographs is exclusively or to a great degree on the physical beauty and features of a woman in a rather outrageous way. Feminists are however divided on this aspect, some consider that as having the potential to be associated with boldness, courage, empowerment and freedom. Another branch of feminist views that as objectifying the bodies of women and using women as props for satiating the male ego derived by facilitating the male gaze. Those feminists who condemn the objectification of women in the abovesaid manner hold the view that such photographs reek of the male perspective of a beautiful and attractive, thereby depriving women of autonomy (Snow 2016). However figure 5 is definitely not at all aimed at objectifying women as such, as the human figure does not display anything outrageous, and is not even provocative at all.
Having talked about the nittigritties of figure 5, the ground for explaining the purpose behind figure 6 has been prepared. The underlying purpose behind the featuring of figure 6 is to show that commercial photographs take the definition of perfection to a different level.
Chapter 3
Secondary analysis will be evaluated by the researcher. This is mainly because it is necessary that the photographer multiple images from various angles and then choose the best one to be put up on display for the public (Dennis 2015). That justifies why the cluster of images from which the perfect one has been chosen has been made to feature as a part of the assignment. This is how it could be analyzed on the basis of the readings and conceptual propositions. Apart from this, the researcher will select descriptive design in order to carry out the research. On the other hand, the researcher has used deductive approach in order to carry out the process of research. The majestic, stones, polished and the preserved walls of the edifice is but a symbolism of the glorious past of it when it used to be the headquarters of persons placed in charge of respectable duties, the American forces during war time. location. On close observance it can be found that the prime focus of the image is on the accessories that she is wearing, especially the footwear, and the accessories she has donned on both of her hands, to the right, a watch, and to the left, a bracelet. This could be one possible reason. Another possible reason could be for the purpose of promoting a brand by means of a fashion photography. Commercial photography is all about advertising and promoting products and services. The sense of aesthetics displayed in this particular photograph expresses an unearthly amelioration of the physical features so as to make it appear flawless (Fink 2015). The clicking of the picture must be done so accurately that at a glance it must capture the fancy of the viewer. On taking a closer look at the type of the illumination brightening the human subject matter of the photograph is bound to give the impression that the photograph has not been clicked at natural lights, the use of electronic lighting system is very evident. At the background, the sky has darkened considerably and the glimmer of light generated at that particular time of the day is definitely not sufficient to brighten up the model in the setting. Due to this reason, such approach will be selected
References
Bach, Hedy. A visual narrative concerning curriculum, girls, photography etc. Routledge, 2017.
Bate, David. Art Photography. Tate Publishing, 2015.
Best, Susan. Reparative Aesthetics: Witnessing in Contemporary Art Photography. Bloomsbury Publishing, 2016.
Dennis, Kelly. “Eclipsing Aestheticism: Western Landscape Photography After Ansel Adams.” Miranda. Revue pluridisciplinaire du monde anglophone/Multidisciplinary peer-reviewed journal on the English-speaking world 11 (2015).
Fink, Janet S. “Female athletes, women’s sport, and the sport media commercial complex: Have we really “come a long way, baby”?.” Sport Management Review 18, no. 3 (2015): 331-342.
Gibbons, Michelle Patrice. “Photography in the World of Advertising.” (2016).
Leong, Susan, Thor Kerr, and Shaphan Cox. “Facades of diversity.” Thesis Eleven 135, no. 1 (2016): 115-133.
McKeough, Michelle. “A council & its crises: Challenge and response in Fremantle’s community during three times of crisis-The bubonic plague the great war the depression era.” PhD diss., Murdoch University, 2016.
Snow, Rachel. “Photography’s Second Front: Kodak’s Serving Human Progress Through Photography Institutional Advertising Campaign.” Journal of War & Culture Studies 9, no. 2 (2016): 151-181.
Stallabrass, Julian. “What’s in a face? Blankness and significance in Contemporary Art photography.” October (2007): 71-90.
Wells, Liz. Photography: a critical introduction. Routledge, 2015.
Ziino, Bart. “” They Seem To Understand All About The War”: Australian Children and the First World War.” The Journal of the History of Childhood and Youth 11, no. 2 (2018): 227-247.
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