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Artwork description & Analysis: Looking almost like a film still, this cropped photograph demonstrates Man Ray's interest in cinematic narrative. The model's eyes and mascara-coated lashes are looking upward, invoking the viewers to wonder where she's looking and what is the source of her distress. The piece was created soon after the artist's break-up with his assistant and lover, Lee Miller. Ray created multiple works in an attempt to "break her up" as a revenge on a lover who left him (similar to Indestructible Object).

The model is in fact not a real woman but a fashion mannequin with glass bead tears on the cheeks. Here, again, Man Ray is exploring his interest in the real and unreal by challenging the meaning of still-life photography.

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Le Violon d'Ingres (The Violin of Ingres) (1924)

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Le Violon d'Ingres (The Violin of Ingres) (1924)

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Artwork description & Analysis: Inspired by Jean-Auguste-Dominique Ingres's La Grande Baigneuse, Ray used Kiki de Montparnasse wearing a turban as a model for this piece. He transformed the female body into a musical instrument by painting sound-holes on her back, playing with the idea of objectification of an animate body. Throughout his career Man Ray was fascinated with juxtaposing an object with a female body.
Ingres's works were admired by many surrealist artists, including Ray, for his representation of distorted female figures. Ingres's well-known passion for the violin created the colloquialism in French, 'violon d'Ingres', meaning a hobby. Many describe Le Violon d'Ingres as a visual pun, depicting his muse, Kiki, as Ray's 'violon d'Ingres.'
This image is one of many of Man Ray's photographs that have gone on to have a rich afterlife in popular culture. F-holes have become a popular tattoo design amongst musicians, and fashion designers like Viktor and Rolf referenced the image to create their spring 2008 collection.

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http://www.visual-arts-cork.com/photography/documentary.htm

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Riis and photographers he worked with were among the first Americans to incorporate flash photography into their work. Many of their nighttime photos were captured by removing the lens cap (thus beginning the exposure), igniting a batch of flash powder, and then putting the lens cap back on the camera.

Not to say that Riis was a saint. He separated the impoverished into two categories: those deserving of assistance and everyone else. He also never outright called for any government intervention, even though it came anyway. What most people seem to agree on is that his photojournalistic work was based on a genuine, heartfelt sympathy for those people whose lives he documented and helped to improve.

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Riis liked to touch on the injustice in the world. I have found personally that many of his works incorporate images of children in situations not necessarily ideal for children. Many, if not all the works I have encountered have been in black and white. I believe this adds a somber effect to the picture that calls attention to his cause. He used sharp focus to bring attention to his subjects, just as many did in this field of photography.

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Jacob Riis was born in Denmark in May 1849 and emigrated to the United States in 1870. He later became a police reporter, a job he incorporated with his natural photographic skills. His interest in New York City's tenement life and the harsh conditions people living there endured led him there. He used his camera in attempts to change the world. With his 1890 book How the Other Half Lives, Riis put those living conditions on display s in a way that was hard to ignore, and his career as a social reformer had officially launched.

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It was said that Riss inspired by Dickens and his writing about London’s poor. His work had a profound effect on the lives of those he photographed. A photojournalist who had lived in these conditions himself, his book was the form of social change that New York so badly needed.

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ttp://www.lanting.com/frans-lanting- nature-photographer.phphttp://www.lanting.com/frans-lanting- nature-photographer.php http://en.wikipedia.org/wiki/Frans_Lanting

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From Lantings's portfolio "Life a Journey Through Time."
Obviously the main focus of the picture are the water lilies. Natural lighting encompasses the entire piece almost giving it a gentle soft glow. The way the lilies are -caught, suspended in the water and clearly stationary gives the entire peace an aura of serenity and stillness that one cant help but bask in. There are leading lines that lead to the top of the water. These serve as the horizon line. One can clearly see the texture in the lilies. Franz is showing the beauty of the underwater flowers. This photo was taken in Okavango Delta, Botswana

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The main focus of the picture is clearly this toad. This is evident because the toad is in the bottom center and the closeness makes it stand out. The use of natural lighting was clearly harnessed in this picture. The lighting comes from behind the toad. The trees reflection leads to the horizon line, which is the land in the distance. You can see the texture of the water and the shininess of the frog. He is showing the bullfrog defending its territory.

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Frans Lanting was born in Rotterdam, Netherlands on July 13, 1951.He attended school and ended up getting an education in econimics. Then he moved to the US to learn further his education and went on to learn about environmental planning. His work appears in renown magezines such as National Geographic. Also in books and exhibits. Lanting is a wildlife photographer but also pitures some landscapes. Frans Lantings photography style is about understanding the earth and the history of it. It is said that one of his biggest influences was a the hero of a Swedish children’s book by Selma Lagerlof. Lanting stated “It really set the stage for a lot of what I’m doing now." and "I stay with wild animals, and then I come back to my own people to tell them about life in nature