What are the types of photography

Photography is the process of recording images using some kind of specialized equipment, usually a mechanical camera or a digital camera. Sometimes photography is also referred to as photogrammetry, which is the process of exposing a light-sensitive medium to light reflected from an object.

The word photography is derived from the Greek words φω? phos (light) and γραφι? graphis (drawing, painting) or γραφη graphê, which together mean "to draw with light". It refers to the process of recording images using some kind of specialized equipment, usually a mechanical camera or a digital camera. Sometimes photography is also called photogrammetry, which is the process of exposing a light-sensitive medium to light reflected from an object. It has been said in eloquent terms that the ability of the photographer is to transform the fleeting mundanity of everyday life into monumental visual images.

Photography, as it is commonly referred to, is the use of a camera to image a negative, which is then developed into a single photograph and stored permanently one by one. However, the image of a photograph is motionless and silent, and it is only for people to view its characters and mood, and then to realize its meaning.

The earliest surviving photograph in the world today dates back to 1827, from the Frenchman Joseph Niephe. It was taken by the Frenchman Joseph Niep.

The exposure process

In photography, light passes through a small aperture (more often a group of lenses) into a cassette, where it is imaged on a medium at the back of the cassette (relative to the direction of incoming light). Depending on the actual light intensity and the light sensitivity of the medium, the required light exposure time is different. During illumination, the medium is sensitized.

Post-production

After the photo is taken, the image information stored in the medium must be converted and read again by the human eye. The specific method depends on the photographic means and media characteristics. For film cameras, there are chemical processes such as fixing, developing, and enlarging. In the case of digital cameras, a processor is needed to compute the data, which is then output through an electronic device.

Equipment used

In general, people use visible light to take pictures, the most commonly used camera. Because of the different scenes and uses, the camera has a very large number of classifications. In general, cameras have a few basic components to ensure the exposure process, which include: a light-sensitive medium, an imaging lens, an exposure time control mechanism, a film magazine, and a storage medium.

Documentary Photography

The reason why photography was born was for the purpose of documentation. The strong vitality it has shown since its birth also lies precisely in its function of recording. This is no other technology or art can be compared or replaced. Therefore, in a broad sense, photography is recording.

Artistic Photography

With the development of photography, people continue to add artistic elements in photography, and began to produce artistic photography. The difference between it and documentary photography lies in the amount of artistry and high and low, without absolute boundaries. For example: we go to take a picture for ID card or to keep a souvenir, the general photo studio photographs, at most, a little information or record value. However, Mr. Zheng Jingkang to Mr. Qi Baishi portrait, 50 years later, is still one of the world's twenty best portraits. The difference lies entirely in the level of artistry.

Pictorial Photography

Pictorial photography has always been an important way of expression in portrait photography with its beautiful picture language and beautiful design connotation. Since the invention of photography to the present day, it can be said that the pictorial photography has been throughout, and in the history of the development of photography has played a role in several milestones. In the second half of the nineteenth century, the British photographer Leilanda photographed the work ----- "Two Roads of Life", which had been predicted as "a new era of photography". At the time when photography was still being belittled, this work was highly evaluated by Queen Victoria with its exhorting theme and oil painting-style composition. It can be said that Leilanda was instrumental in promoting the recognition of photography as an art. Since then, pictorial photography has gradually become an important genre in the art of photography.

Holographic Photography

Holographic photography refers to a new type of photographic technology that records all the information such as the amplitude and phase of the reflected waves of the object being photographed. Ordinary photography is to record the distribution of light intensity on the surface of the object, it can not record the phase of the object reflected light information, and thus lost the three-dimensional sense. Holographic photography uses laser as an illumination light source, and the light emitted by the light source is divided into two beams, one beam directly to the photographic plate, the other beam by the reflection of the subject and then shot to the photographic plate. The two beams of light in the superposition of the photographic film to produce interference, the degree of sensitivity of each point on the photographic film is not only with the intensity of the two beams of light with the phase of the relationship between the different. So holography not only records the intensity of the reflection on the object, but also records the phase information. The human eye directly to see this light-sensitive film, can only be seen like fingerprints like interference fringes, but if the laser to irradiate it, the human eye through the negative will be able to see the original photographed object is identical to the three-dimensional stereo image. Even if only a small part of a holographic picture is left, the whole scene can still be reproduced. Holography can be applied to industrial non-destructive flaw detection, ultrasonic holography, holographic microscopy, holographic memory, holographic movies and television and many other aspects.

1. Pictorialist Photography

Pictorialist photography is a school of art in the field of photography in the early twentieth world, which arose in the mid-nineteenth century in Britain.

This school of photographers pursued the effect of painting, or the realm of "poetry and picturesque" in their creations. It has gone through three stages: the stage of imitation painting; the stage of honoring the elegant; the stage of painting.

Painterly photographers proposed that "the Raphael of photography and the Tizian of photography should be produced."

Painterly photography has gone through a long period of development, the first pictorialist photographic dish is the British painter Hilu (1802-1870), he specializes in portrait photography, works of structural rigor, modeling elegance. 1851 to 1853, is the growth period of pictorialist photography. 1869, the British photographer HP Robinson (1830-1901) published a book on the pictorial effect of photography. In 1869, the British photographer HP Robinson (1830-1901) published a book on the pictorial effect of photography, in which he proposed: "A photographer must have a wealth of emotion and a deep artistic understanding in order to be a good photographer. Undoubtedly, the continuous improvement and invention of photography reveal a higher goal, which is sufficient to enable the photographer to give more free play to it; but technical improvement is not the same as artistic advancement. For photography itself, however refined and complete, is still only a means of leading to a higher goal." Laid the theoretical foundation for the school.

In 1857, OG Ryland (1813-1875) created a Renaissance-style work, Two Ways of Life, assembled from more than 30 negatives, marking the artistic maturity of pictorialist photography.

Most of the works of this period, the subject matter is religious and contains a certain degree of metaphor. When shooting, the preview sketches, and then the use of models, props, organization and arrangement of the scene, and processed through the darkroom. The pursuit of the painting effect of the photo image.

Subsequently, the content of pictorialist photography has been expanded, but the style still advocates classicism, modeling and composition still has the law of the academy, thus appearing to be savings, calm table, elegant.

When the genre developed to the stage of pictorialism, the pursuit of emotion, mood and beauty of form of the work remained its characteristics.

Because pictorialist photographers emphasized artistic cultivation: "If one wants to make photography have a place in art, the photographer must first cultivate the ability of aesthetics and the cultivation of the art of Yushu." So its historical merit is to guide photography from the early mechanical copying of objects to the field of plastic arts, prompting the development of the art of photography.

Because the creation of pictorialism is mostly detached from real life, coupled with the increasing improvement of photographic equipment, people's early aesthetic interest in the continuous development of the impact of "naturalism". In spite of this, in today's photography art hall, there is still a seat for it.

The main photographers and works of this genre are: Pryor period (? -1896)'s Baron's Feast, Robinson Crusoe, and Pagoda Scene; Robin Lin's When the Day's Work is Done, Autumn, Two Little Girls, Maitreya, Juliet with the Poisoned Bottle, Dawn, and Sunset; Rylands Baptist Covenant Head of the Morning Glow, Iphigenia, Eutychus, and Horofonis; Mrs. Cameron's (1815-1897) Toms Carlisle, and Nida's (1820- 1910) of the Mass of the clamoring Russians, etc.

2. Impressionist Photography

In 1899, the first exhibition of French Impressionist paintings was held in England. Painterly photographer Robinson under its influence, put forward "soft tone photography is more beautiful than sharp photography" aesthetic standards, advocating "soft tone" photography. This genre is the reflection of painting impressionism in the field of photography.

Beginning, they use the soft focus lens to shoot, fabric paper wash printing, the pursuit of a fuzzy and hazy effect of artistic expression. With the emergence of the "silver bromide wash method" and in the pigment mixed with gum bichromate wash paper method, the impressionist works from the control of the lens image development to the darkroom processing. They proposed "to make the work look nothing like a photograph" and argued that "if there were no painting, there would be no real photography."

Under the guidance of this theory, the impressionist photographers also used brushes, pencils, erasers in the photo image processing, deliberately change its original light and dark changes, the pursuit of "painting" effect, such as La Croix in the creation of the park in the year 1900 "sweeping the man," as a charcoal drawings on the canvas. Impressionist photographers made their own works completely lose the characteristics of the art of photography itself, so some people also call it "imitation painting school". It can be said to be an offshoot of pictorialist photography.

The art of this school is characterized by dull tone, rough shadow pattern, rich in decorative, but lack of spatial sense. Its famous photographers include Dumasi (? -1937), Pouilleau (1857-1933), Chouin (1866-1944), Waczek (1848-1903), the Hofmeister brothers (1868-1943;1871-1937), Durkov (1848-1918), Evert (1874-1948), Mizunai (1870-1943), Sintun (? 1863-1908), Chili (1861-1947), and others.

3. Realistic Photography

Realistic photography is a long-established genre of photography, which continues to this day to be the basic and main genre in the art of photography. It is a reflection of the realist creative method in the field of photographic art.

The school of photography artists in the creation of photography to adhere to the documentary characteristics, in their view, photography should have "the same as nature itself" of the fidelity of every detail in the picture, only with "mathematical accuracy", the work can play a role in his art medium. A. Stieglitz once said, "Only by exploring fidelity is our mission." On the other hand, they are against reflecting objects indifferently and objectively like mirrors, and advocate that creations should be selective, and that there should be the artist's own aesthetic judgment on the things reflected. The famous master of realistic photography, Lewis Hine, said this: "I want to expose those things that should be corrected; at the same time, I want to reflect those things that should be praised." It can be seen that they advocate the view that art should "reflect life". They dared to face the reality, and most of their subjects were taken from social life. Their art style is simple and unadorned, but with strong witness and reminiscent power.

The earliest hobby of realistic photography was the British photographer Philip Dellamorte's 1853 documentary film of the fire cotton wool. A little later came the war photography of Ross Fenton and the Yellowstone wonders of William Jackson in the late 1960's. After 1870, realistic photography matured and began to turn its lens on society and on life. For example, Dr. Barnardo's, a photographer of the time, shook people by photographing the misery of street children.

Because of the great cognitive effect and extraordinary infectious power of the hobby of realistic photography, it gradually occupied its own position in the field of news. Those works of the American photographer Jacob Riis in the nineties about life in the slums of New York were the seminal works in this regard.

Subsequently, realistic photographers have emerged in great numbers, and their works are known in the history of photography for their strong realism and profundity. For example, British Brand's "Coal Pickers"; American R. Kappa's "French women were shaved head parade"; France Wes's "Girls", and so on, to name a few.

4. Naturalistic Photography

In 1899, the photographer Peter Henry Emerson, in view of the weaknesses of pictorialism, published a paper entitled "Naturalistic Photography", attacking pictorialism photography is fragmented photography, and advocating that the photographer go back to nature to find creative inspiration. He believed that nature is the beginning and the end of art, and that only the art that is closest to nature and cool is the highest art. He said that no art reflects nature more precisely, meticulously, and faithfully than photography, and that "emotionally and psychologically, the effect of the photographic hobby lies in the unadorned view of the lens as recorded by the light-sensitive material." Another master of the school, A. L. Pachou, put it more clearly, "The fine arts should be left to the fine artists, and in the case of our photography there is nothing to borrow from the fine arts, and we should engage in independent creation."

It can be seen that this kind of artistic advocacy, a reaction against pictorialism, which prompted people to free photography from the shackles of the academy, and has a contributory role in giving full play to the characteristics of photography itself.

The subjects of this genre are mostly natural scenery and social life.

Because naturalistic photography is satisfied with the depiction of the reality of the surface reality and the details of the "absolute" truth, while ignoring the excavation of the essence of reality and the refinement of the surface object, in a word, do not pay attention to the typicality of the artistic creation and the typicality of the artistic image, it is essentially a vulgarization of realism. Sometimes it leads to the distortion of reality.

Famous photographers of this school are Deweyson (1856-1930), Wilchinson (1857-1921), Gehl (? -1906), Scratchyer (1856-?) , Sutcliffe (1859-1940), and others.

5. Pure Photography

Pure photography is a school of photographic art that matured in the early twentieth century. Its creator was the American photographer Stieglitz (1864-1946). They advocated that the art of photography should give full play to the qualities and performance of photography itself, free it from the influence of painting, and use pure photographic techniques to pursue the aesthetic effects that photography is characterized by - high degree of clarity, rich levels of shadow, subtle changes in light and shadow, pure black and white shadows, detailed texture performance, and precise image portrayal. In short, this school of photographers deliberately pursue the so-called "photographic quality": accurate, direct, subtle and natural to express the light, color, line, shape, texture, texture and other aspects of the subject, without the use of any other plastic arts medium.

Koban's 1913 exhibition Overlooking New York is a masterpiece of purism. Photographers from a high place overlooking a square in New York, although there is no processing, modification, but the novel composition, unique modeling, make people refreshing, and then K Sandberg, such as E Steinbrenner, is the use of multiple exposures of the technique of a single work of space, time constraints, in a picture of a delicate portrayal of the poet's emotional transition, the combination of shading and compositional changes, extremely rhythmic.

From a certain point of view, some of the ideas and creations of the Pure School were a "hybrid" of formalism and naturalism, which later evolved into the "new materialism". However, the school has to a certain extent contributed to the exploration and study of the characteristics and expressive techniques of photography.

The famous photographers of this school were Strand (1890-?) and Group f 6.2 Photography. and young photographers in the Group f 6.2 photographic organization, such as Ardans and Genringham.

The later period of the purist school moved toward abstraction of lines, patterns, and distorted images, and its influential photographers were Yarborough, Steiner, Sturtevant, and Evans, among others.

6. New Materialist Photography

New Materialist Photography is also known as "Dominant Photography" and "New Realist Photography". For the twenties of this century, the emergence of a school of photographic art.

The art of this genre is characterized by the search for "beauty" in common things. With close-up, close-up and other techniques, the subject from the overall "separation" out of the object to highlight the object of a detailed, accurate and realistic portrayal of its surface structure, so as to achieve the visual effect of dazzling people's ears. It does not consider that the essence of art is to suggest the nature of the object, and thus its aesthetic thought belongs to the category of naturalism. For example, photographer Pachou's photograph of a locomotive's rotary shaft in 1923 was a close-up representation of the state of the locomotive's rotary shaft in operation, which gave the viewer a strong visual impression because other details were discarded.

The theoretical forerunner of the New Immanentism was Strand, who defined the characteristics of the art of Immanentism as follows: "The New Immanentism is the essence of photography, and it is also the product and limit of photography." According to him, photography "is extremely expressive of life, and requires an eye for the right things. For this reason, it is not based on perfunctory processes and methods of manipulation, but must utilize pure photography." The creative pioneers of Neo-Immanentist photography were Ajay and Steichen. The actual founder was Pachou, mentioned above.

Paqiu opposed the dependence of photography on painting, he emphasized that the art of photography must rely on photography's own characteristics, that the aesthetic value of photography is hidden in its own characteristics, and that only by giving full play to photography's own characteristics can it create beauty, and he said: "Painting should be left to the painter at will, and only by the intrinsic qualities of the artist can he create a self-supporting photography that has nothing to do with the painting borrowed from the artist, but only by the painting's own qualities can he create a self-supporting photography. anything borrowed from painting."

The merit of the New Immanentist photographers was to prompt people to study and explore the characteristics of photography itself, and to bring photography back to real life from the illusory world of aesthetics. However, the overemphasis on the depiction of the surface structure of fine matter provided the soil for the later abstractionist photography to germinate.

Before and after 1925, as a result of the emergence of small, large-caliber cameras, the field of expression of the new materialism had a new development, resulting in a number of portraits and works reflecting social life and natural scenery.

Famous photographers of Neo-Imperialism include Sander (1876-1964), Lasky (1871-1956), Hegger (1893-1955), Hirsha (1881-1948), Hewliman Hoppe (1878-?), Eifert (1874-1955), and Hirsha (1948). , Evert (1874-1948), Weston Adams (? -1902), etc.

7. Surrealist Photography

Surrealist photography was a genre that emerged in the field of photographic art during the decline of the Dadaists, and emerged in the 1930s.

This school has a more rigorous artistic program and art theory. They believed that using realism to express the real world was a task that had long been accomplished by classical artists, and that the mission of the modern artist was to explore the new, unexplored part of the human "world of the mind". Therefore, the subconscious activities of human beings, accidental inspiration, psychopathology and fantasy have become the objects of surrealist photographic artists' deliberate expression.

The surrealists in photography, like the Dadaists, used scissors, paste, and darkroom technology as their main modeling tools, and piled up, pieced together, and reorganized the scene on the screen, combining the specific details of the performance with arbitrary exaggeration, distortion, omission, and symbolism to create a surreal "artistic realm" between reality and imagination, concrete and abstraction. "artistic realm". So its effect is strange, absurd and mysterious.

The founders of the genre were the British photographer Silton and the American Breughel (1880-1945). The true finisher was the British stage photographer Mark Bin (1905-?) In his own creations, he combined the "surreal" reality with the real, creating a realm that was both unreal and real. For example, his Self-Portrait of Marco Bing, created in 1946, is a typical surreal work, which was shot using the technique of four exposures - one front, two side and one eye.

Famous photographers of this genre include Parhan, a painter who worked on surrealist set photographs; Brandt, a deformed body photographer; Carson, a portrait-cum-propaganda photographer, and Blumenthal, Lorraine, Halsman, and Rey.

8. Abstract Photography

Abstract photography is a genre of photographic art that emerged after the First World War.

The school of photographers denied that the basic characteristic of the plastic arts is to reflect life and express the artist's aesthetic feeling with the scrutinized artistic image, and declared that they wanted to "liberate photography from photography".

In the early days, bottomless enlargement was used to omit the fine texture and richness of shadow of the "subject" and to produce a "light picture" that only showed its shape. Later on, it developed into the use of light, or editing set, or midway exposure, or shooting vibration camera to make the image of the subject in the negative image of the blurred, or multiple exposures to make the double image, until the change of the surface structure of the picture, change the original form and spatial structure of the subject, and try to use the so-called form, tone (color) and material of the "absolute abstract language The artist tried to use the so-called "absolute abstract language" of form, shade (color) and material to transform the subject into a combination of lines, spots and shapes that could not be recognized as anything. In order to express the so-called subconscious world of human beings, which is the most real and essential power of human beings, the artists of this school of art have taken as their standard. In the works, the subject is merely a musical note that the artist borrows to produce a "melody" that expresses his own imagination and personality as he pleases.

Terbo (1800-1877) was the originator of abstract photography. In the beginning, the images remained somewhat recognizable. By 1917 the photographer Cobain (1882-?) Picture of Bordeaux, taken with pieces of wood and fragments of clear glass, had become completely unrecognizable. In 1922, the Hungarian abstract painter Moholinaki (1895-?) building on the work of Manry (1890-?) and others to develop and theoretically establish them. Subsequently, the abstract painters Kandinsky, Koehler and others introduced microscopic photography and X-ray photography, thus greatly expanding the scope of expression of abstract photography, enriching the language of photographic art, establishing their own art system, and popular in Europe and the United States and other countries.

The representatives of this school, in addition to those already mentioned in the text, there are also Scott, Fenninger, An Zhenranter, Fletcher, Winkelstedt, Gelenbaum, Chard, and Briouquier.

9. Kantian Photography

Kantian photography is a major school of photography that emerged after World War I and opposed pictorialist photography.

This school of photographers advocate respect for the characteristics of photography itself, emphasizing the real, natural, and advocate shooting without manipulation, do not interfere with the object, and advocate the capture of the natural state of the subject's instantaneous mood. Henri Cartier-Bresson, a famous French photographer of the "Cannes" school, said: "For me, photography is the timely recording of the meaning of an event and the precise form of organization that can accurately express the event in a single moment." Thus, the art of this genre is characterized by objectivity, truthfulness, naturalness, intimacy, casualness, lack of refinement, vivid images and rich in the flavor of life.

"Can's" school of photographers, in terms of their aesthetic thinking and creative tendency, the situation is more complex, although they all advocate the expression of human nature, and most of them are engaged in photojournalism, but some for the naturalist, some for the realist.

The spawning work of the school was "Winter on Fifth Street, New York," by the photographer Alfred Stieg, in 1893, and it was really accomplished by the German photographer, Dr. Eric Schalemen. His "Political Meeting in Rome," taken with a small camera at the end of a night meeting held by the German and French prime ministers, has become a classic of the genre that has gone down in the annals of photography because of its vividness, truthfulness, simplicity, and naturalness.

In terms of photographic aesthetics, they believed that "a photograph based on the essential characteristics of photography, which cannot be imitated by a painter or an etcher, has its own inseparable I, with its own special expressive power, even characteristics that are impossible to express in other media". Secondly, with regard to the representation of objective things, they valued and emphasized originality, saying, "[The photographer has to see the world through] his own eyes, not through the eyes of others, and this is the criterion that distinguishes whether a photograph is mediocre or brilliant, valuable or worthless."

Famous photographers of the school include Thomas Dowell McAvoy of the United States; Syrette Mordell of England; Victor Huffman of France; and Louis Dahl-Wolfe, Peter Stackpierre Brouwerch, and many others.

10. "Dadaist" Photography

"Dadaism" is a literary idea that emerged in Europe during the First World War. "Dada" was originally a disjointed expression for "pony" or "toy horse" in French children's language. Because the Dadaist artists in the creation of the denial of rationality and traditional culture, claiming that art and aesthetics have no relationship, advocating "abandon painting and all aesthetic requirements", advocating nothingness, so that the creation of almost playful, and therefore people call this school of art "Dadaist".

Under the influence of this artistic trend, the "Dada School" also emerged in the field of photography. The famous photographer Halsman created a Mona Lisa, her pair of plump hands here not only become veins protruding, hairy, but also stuffed with money. It's truly absurd and incongruous.

The creation of the Dadaist photographic artists, most of them are using darkroom technology for editing and processing, to create some kind of illusory scene to express their own ideas. For example, LM Naki's Leda and the Swan treats a beautiful Greek mythological story as some kind of obscure, grotesque and inscrutable combination of images and lines. In the picture, the visual image no longer exists with its own meaning, but is only a constituent element of some kind of idea. Others have used silhouettes to make Niagara Falls gush into New York, creating an apocalyptic Jiang Min scene.

Because the Dada school of photography art works do not meet the general aesthetic interest and aesthetic requirements, after 1924 gradually by a clearer, more complete artistic tofu and program of the surrealist school of art impact. But its influence can still be seen in the later emergence of modernist photography art.

The famous photographers of the Dada school include Philip Halsman, Morgan, Laczlomo Holinaki and Listecki.

11. Subjectivist Photography

Subjectivist photography is a more "abstract" school of photographic art than Abstract Photography formed after the Second World War, so it is also known as the "post-war school".

It is a reflection of the philosophical trend of existentialism in the field of photography. Its founder was the German photographer Otto Stennett. He believed that "photography is a wide field that originally had the ability to play its own ability, but also a high degree of subjective initiative. But at present it has become a kind of mechanical realism". So he put forward the "subjectivization of the art of photography. Strongly advocate that the ultimate photographic art should be to prompt some of the photographer's own hazy ideas and expression of the ineffable inner state and subconscious activities." Subjective photography is personalized, individualized photography. This is the artistic program of the genre. The artists of subjective photography strongly emphasize their own creative individuality and defy all existing artistic laws and aesthetic standards. The theorists of this school openly said, "Subjective photography is not just an experimental graphic art, but a free and unrestricted creative art." "We can use technical means at will to create photographs."

It is characterized by the following:

1 There are two kinds of images, "figurative" and "abstract" No matter what the form of modeling is, the expression of self-concept is its ultimate goal. Everything in the picture is just a "carrier" for the photographer to express himself.

2 Fully utilize the perspective characteristics of the lens, the subject from the reality of the "stripped" out, "moved" to the picture, - that is, the use of certain optical properties of the lens, the objective object to be transformed, so that it becomes the idea of the "materialized body". That is to say, using certain optical properties of the lens, the objective object is transformed and made into a "materialized body" of the idea, so that it can be combined into a "world" of its own in the picture. And this world is often absurd, mysterious, or puzzling.

3 The use of close-up means clear and strong to strengthen and highlight the object of a fine form.

4 The use of darkroom techniques to simplify the original richness of the subject's shadows, converting natural, mundane relationships into strong visual relationships.

5 The use of exposure means (such as multiple exposures, continuous flash), so that the subject from the concept of time separated from the concept of time, dynamic concept of time and spatial location to be switched.

In addition to Ott and Stennett, its famous photographers include Jay Schmoll, Shaw Van Orkan, Len Payne, and Moe Volkert.