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Something from the history of photography that really resonated with me was the work of Henri Cartier Bresson. His book about the decisive moment really impacted me when thinking about my own photography. A process that comes by nature the more photos you take. The decision you make as a photographer on when the perfect split second is to take a photo. Sometimes these moments can completely change the feeling of an image all depending on your timing.

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Personally I think the first photo I shared of Dorothea Lange Migrant Mother is one of the most striking images in this photography project. I think it really shows the lives of these farmers and the conditions they are going through. I think her expression says a thousand words.

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The FSA project or Farm security administration was a highly influential photography project run by the works of many American photographers like Dorothea Lange, Walker Evans and Gordan Parks. The project portrayed the challenges and difficulty of rural poverty in America. The project's purpose was to improve the lifestyle of extremely poor farmers in hopes to give them better living conditions that's more sustainable for efficient farming.

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The use of characterization in Life magazines photographs are Strong, Compelling and gripping news photographs. Their photographers were at the top of their craft documenting these points in time for all people.

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Life magazine is important to the history of photography because it was one of the pioneers to photojournalism and documentary photography. Back in a time without the internet Life Magazine was a staple in a photography based news and journalism around north America. It's most prominent use was during world war II, documenting the lives of the soldiers for people back home.

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Hines an American photographer documents the terrible conditions immigrants were forced into when they came to the United States. Documenting sweat shops and tenements and bringing them to the light of the public in 1908. In 1909 Hine published Child Labor in the Carolinas and day labors before their time documenting child labor in America. This photo series shows children as young as eight years old working long hours in terrible conditions

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Riis started taking photos of the interiors and exteriors of the New York slums. Often times including images with the people living in the harsh conditions shown in his art as shown in the bottom two photographs. His work reminds me a lot of Shelby Lee Adams in the way he documents these rough conditions that some people my have never experienced.

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You should have at least 3 examples of each.

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You should have at least 3 examples of each.

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Can you support your argument with a visual example? What would be a particularly strong example to demonstrate that photography is imaginative?

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Can you support your argument with a visual example? What would be a particularly strong example to demonstrate that photography is imaginative?

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Is it the same story? They each have quite different relationships to the communities being represented. What are your thoughts on how these images relate to questions around identity and representation?

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Is it the same story? They each have quite different relationships to the communities being represented. What are your thoughts on how these images relate to questions around identity and representation?

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I believe that photography is imaginative, especially on the fine art side of things. Most of my photographic ideas come from my imagination. Either it's an assignment prompt or inspiration I've seen in the real world, My creative mind constantly runs and gives me ideas for photographic projects.

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Marey’s work had different applications than Muybridge’s for artists. Marey’s work became influential in physical training programs and focused more of the science rather than the art. Corporations used results of his motion studies to make assembly lines more efficient. The way he used his camera and other tool for creating these motion pictures became one of the foundations of the motion picture industry even to this day.

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As Muybridge created a visual reference guide of motion, he wasn’t concerned with the scientific accuracy of the motion in his photography. He often rearranged the order of his photos. Some even from entirely different photoshoots. His goal was to create the effect of sequential motion though his work.

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Eadweard Muybridge: The horse in Motion https://photofocus.com/inspiration/history-of-photography-muybridge-and-marey/

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Marey, Schenkel, High Jump from July 1886 https://photofocus.com/inspiration/history-of-photography-muybridge-and-marey/

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Marey recorded onto one photographic plate. https://homepages.hass.rpi.edu/ruiz/MediaStudioImagingFall07/LECTURES/LESSONS/lesson4motion/Motion.htm

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I believe these two photographers have a very similar style although they were taken almost 100 years apart. Both have this composition of story telling portraiture that includes landscapes to show the subjects surroundings. The first photo for each photographer are the most similar with composition, landscape and attire for the model. I think the biggest differences are on the technical side for medium of choice and colour vs black and white. Although both of these photographers photograph communicate the same story of first nations.

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As immense to the sky, A photo series https://canadianart.ca/essays/as-immense-as-the-sky/

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As immense to the sky, A photo series https://canadianart.ca/essays/as-immense-as-the-sky/

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As immense to the sky, A photo series https://canadianart.ca/essays/as-immense-as-the-sky/

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As immense to the sky, A photo series https://canadianart.ca/essays/as-immense-as-the-sky/

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https://www.thunderbaymuseum.com/exhibits/virtual-exhibits/robert-joseph-flaherty/

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Nanuook of the north https://www.criterion.com/current/posts/42-nanook-of-the-north

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Man of Aran. 1934. Great Britain. Directed by Robert Flaherty https://www.moma.org/explore/inside_out/2010/10/26/the-films-of-robert-flaherty-and-john-grierson/

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This photo was made in the 1970s and was shot on what looks like to be 35mm colour Film. This photo is of my Mother (Christina) and her little brother Jason seeing Santa. This is one of the oldest photos I could find in my house and I think it's important to have photos like these for memories or to show a younger generations.

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Photographers typically used high-quality cotton writing paper for their photographic prints. Nineteenth-century papers were usually produced with gelatin or starch sizing. In order to make prints more durable, photographers often incorporated other substances into printing papers, a process known as additional sizing. By adding gelatin, starch, or resins, photographers could change the surface, create a sharper appearance, or alter the tonality of a print.

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In contrast to photographic paper, a daguerreotype is not flexible and is quite heavy. The daguerreotype is accurate, detailed and sharp. It has a mirror-like glossy surface and is very fragile. Since the metal plate is vulnerable, most daguerreotypes are presented in a housing.

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Nicéphore Niépce
https://www.bhphotovideo.com/explora/photography/features/historical-processes-the-daguerreotype

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Edwin H. Manchester, Edgar Allan Poe, daguerreotype, 1848 https://www.bhphotovideo.com/explora/photography/features/historical-processes-the-daguerreotype