Social Imapct of Photography Essay Example for Free

Social Imapct of Photography EssayIn politics, pictures have always made governments very nervous because of their powerfully smooth-tongued and propagandistic potentialities.(In 1835 before clicky the Emperor Louis-Philippe banned caricatures, describing them as acts of violence too dangerous to go unchecked)Then along came the picture showic image swift, visceral, intense, realistic, and clothed in an au indeedticity unlike any mode of illustration before. Not even a masterpiece painting possessed the lifelike and distressingly truthful nature so capable of producing responses resembling human reactions to actual sight of people, things, places and situations. If (as described) pen and line illustrations and painting and sculpture evoked varied and often cherry-red responses from especially the Church and State, photographs made both these Institutions more nervous still.Still today, photographs argon feared by politicians. In South African Israeli and Chinese historie s, non to speak of American and European ones, proves ofthis nervousness (to put it mildly) can be found.Prohibitions against photographs testify directly to their power. Suppression worksThe existence of certain photographs in our own recent history have changed and re-directed the courses of whole nations.Likewise, the absence of photographs can have great consequences. This is illustrated by the following In India, in 1946, Mohammed Ali Jinnah, the leader of the then Moslem League, was diagnosed, through X-ray photography, as having severe tuberculosis. He had only somewhat two or three years to live Yet, he swore his gear up to secrecy concerning the state of his health.The X-rays were locked away, and he continued his work towards the creation of the Moslem State of Pakistan, which he successfully accomplished in August of 1947. It is surmised that had his sickness buy the farm known (as borne out by the X-ray photographs) his political support might not have been strong en ough to result in the establishment of PakistanIn this, the very late 20th century, we know full well (from first hand experience) the enchant both positive and negative of photography.In fact most like an addict is under the influence of his drug, so are we (as Citizens of the World) under the constant, unrelenting influence of photographs.Photography came into a world that was already crazy about pictures and drove it positively mad. We have become collectively addicted. Photographs took up residence in our daily lives they moved in, and they practically took over. It is now indeed unaccepted to imagine life without themPhotographs sell newspapers and magazines. This is a truth that became evident already in 1842 with The Illustrated London News, the worlds first (at first non-photographic) illustrated magazine. It was a hebdomadal magazine.Others followed in vast numbers, so that when photography arrived, the scene was already set for its use. Until the 1890s, all of the il lustrations were lithographs and engravings, but from about this time onwards, the halftone, and photography took over. In one calendar week in 1899, The Illustrated London News carried twenty-eight photographs and only nineteen drawings.And this led to the inevitable happening Photographs soon became superabundant, transient and superfluous, as, perhaps, some say, it still is today.A photograph has power only if the right people see it in the right context at the right time. It must answer some need, belief, and expectations of its times. If the audience is not ready for the message, the image may be seen, but the message will not be recognized. (Like telling a child about sex when he or she is too young to understand they hear what their age permits, and ignore the rest).Certain categories can be created corresponding to the types of photograph and what kind of influence they exert revelation, proof, political persuasion, social reform, etc. but these categories are not rigid a nd necessarily exclusive to a photograph of a different category.These are the suggested categories, as identified by Vicky Goldberg in her book, The Power of Photography (Goldberg, G. 1991. The power of photography. New York Abbeville Press).1. The photograph as a proof and witness.2. The photograph as a revelation of discovery.3. The photograph as a detective.4. The photograph as a political tool.5. The photograph as a recorder of fame and celebrity.6. The photograph as an icon.7.The photograph as a medium for social reform.8.The photograph as catalyst.This lecture comes to you as an adaptation and very much condensed interpretation of the Introduction from the abovementioned book. Acknowledgement is herewith given. Also See it as an introduction to Assignment 06. (Refer to the separate Assignment Briefing).I have scanned and converted to pdf my copy of the book. See the additional pdf document shoot titled vic200s 2014_p09_additional.