The Application Of Documentary Photography In Photography Technology

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Introduction

In general, the meaning of records is to use some means to record specific things in a timely manner. The methods of recording are also diverse. In the early days of human development, the means of ‘recording’ is also constantly improving (Linfield, 2011). For the record of portraits, people initially used only the way of painting to express records, but with the advent of the digital age, photography technology replaced the original painting little by little. Most people prefer to use photography instead of painting in order to keep their own moments. Documentary photography is a photographic method that records the reality of life as the main appeal (Kay, 2011). The material comes from life and reality, and reflects what we have seen. Therefore, documentary photography has the value of recording and preserving history, and has unique qualifications as a social witness.

Whether the documentary works are beautiful or ugly, the purpose is to express a real world, attract people’s attention, arouse the social conscience, and record the unique culture, leaving valuable historical wealth for future generations (Kay, 2011).

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This paper analyzes the application of documentary photography technology in the overall photography technology, and analyzes it, pointing out the future development trend.

Documentary photography in the world

Documentary nature is the essential attribute of photography technology. This kind of photography technology relies on optical characteristics to record the most realistic real life and realistically reproduce the most real life and record, so this authenticity is innate. Documentary photography can be seen as the most authentic exploration of the real world, facing the human life environment and life portrayal (Linfield, 2011). Documentary photography not only challenges photographers, but also challenges the audience. After the long history of history, documentary photography has become more mature and experienced development, climax and low tide (Kay, 2011). In the 1990s, the development of magazines, newspapers and other media, coupled with the improvement of printing technology, the scope of application of documentary photography. Documentary photography authenticity also records people’s initial work experience (Weissman, 2011). Documentary photography successfully reveals the essence of daily life, and also reveals people’s past life conditions and expands the human vision. Therefore, the real concept is no longer the vision of a certain individual, but the scope mentioned by all people’s eyes.

On the objectivity of documentary photography

Bazin’s ‘Ontology’ Defects

André Bazin was a master of modern film theory in the post-war period in France. In 1945, he published the article ‘Ontology of Photographic Images’ in the theoretical system of film realism. This article has played a leading role in the function of the film realism period (Day, 2011). At the same time, he founded the ‘Movie Handbook’ magazine in the 1950s and served as editor-in-chief (Rauch & Bolton, 2010). His ‘Movie Handbook’ brings a new atmosphere of true aesthetics to the film, and is frequently applied to the screen in theory and practice. Therefore, André Bazin is called ‘the father of the new wave of movies’ and ‘ The Father of the Spirit, ‘Aristotle of the Movie. (Day, 2011)’ Bazin did not personally experience the development of Western movies after the Second World War, but Bazin’s artistic status is unshakable. Bazin’s most prominent research is the theory of film aesthetics and the ontology that influences photography (Linfield, 2011). The research results in this range highlight the important role of photographic images (Rauch & Bolton, 2010). This initial research motivation led to the failure of Bazin’s ontology of film photography theory, which was mainly due to the mistake of Bazin’s photography aesthetics (Weissman, 2011).

Out of Bresson’s ‘decisive moment’ theory

In 1952, the famous French photographer Cartier Bresson put forward the concept of photographic aesthetics in his photography collection ‘Decisive Moments’, which is the decisive moment. This idea is mainly intended to capture in the shortest time (Kay, 2011). The most effective information, and summed up in a decisive sense, so that it can create different photographic techniques through powerful visual effects. In the photography industry, this kind of photographic photography is regarded by many photographers as a famous saying and becomes a favorable means of photojournalism (Kay, 2011). Bresson believes that any event has a decisive moment, so in the process of photography, he usually uses the decisive momentary work concept to capture, so that he can capture the most meaningful moment and record it as a permanent lens through the camera. In photography, small things can also play a huge role (Martins, 2013). This concept supports the decisive momentary view in Bresson’s photography. Bresson believes that photography is not only an art, but also a social responsibility (Linfield, 2011). As a photographer, you must have the professional ethics of the photographer, and fully realize that no matter how brilliant the achievements of a photographic work, how photographic technology is superb, the lack of love, lack of emotional works is difficult to win the recognition of the world (Weissman, 2011). Far from the understanding of human encounters and away from the return to human development, this photographic work has lost its meaning (Soske, 2010).

Subjective subject of technology

In documentary photography, in addition to the emotional subjective choices of private photography such as South Golding, there are other photographers who rely on some photography techniques to express their ideas about things. As a documentary photograph, it is the real life of the subject when the photographer instantly freezes at the scene (Weissman, 2011). Documentary photography is not the same as simple copying and reproduction of objective things. For its objectivity, people do not deny it.

Documentary photography is a reflection of social phenomena and realizes the organic unity between the subjective and objective of the whole society (Kay, 2011). This subjective existence determines that documentary photography works with its specific aesthetic value while recording social reality (Rauch & Bolton, 2010). The use of technology also allows documentary photography to avoid many photographers’ understanding of documentary photography as merely a misconception that ‘targeting reality without shooting. (Linfield, 2011)’ As an excellent photographer, we must integrate subjective and objective integration into one, to form our own unique aesthetic concept, and to record the most realistic objective world (Robinson, 2011). On the other hand, using superb photography techniques to design works, such as composition, exposure and other factors can integrate personal emotions with the content of the work (Denton, 2005). Therefore, many photographers today often use the traditional photography techniques to add their own modern artistic concepts when creating photography art (Weissman, 2011). They created and photographed documentary photography in a variety of techniques such as light and shadow, expression, composition, and exposure (Morris, 2014). Many documentary photographers believe that documentary photography should adopt the most realistic method (Abbott, 2010). Documentary photography should not adopt any other external decoration techniques. In fact, this idea is wrong (Linfield, 2011). There is no contradiction between the artistic expression and the objective expression of documentary photography. Based on the aesthetics of photographic technology, this photographic art and objective facts are mutually supportive (Kay, 2011).

Therefore, documentary photographers should be based on higher aesthetic needs. For a documentary photographer, their aesthetic feelings are unique, whether it is to grasp the expression in an instant, or to properly allocate space (Abbott, 2010). The photographer can complete all these factors in the shortest possible time and take a picture of the most beautiful pictures. In the current process, photographers need to learn a lot of things and master a lot of skills in order to use these methods and methods flexibly (Weissman, 2011). For documentary photographers, artistic works have a longer life.

Dialectical relationship between subjectivity and objectivity of documentary photography

Documentary photography is the combination of objective real reproduction and subjective performance. Documentary photography requires the re-exhibition of objective world things, and therefore requires very high demands on photography. Therefore, this kind of photography requires respect for objective things, and has nothing to do with the subjective feelings of photographers. True reproduction provides a good space for objectivity and authenticity in documentary photography (Kay, 2011). According to this statement, true reproduction can be called the essential characteristics of documentary photography (Abbott, 2010). In the documentary photography work, the photographers explore the objective things in the real scene, and at the same time use the non-virtualization method to carry out the art processing process. Linfield (2011) believes that the purpose of documentary photography is to record influential things or events in the development of human society (Weissman, 2011). The summary of its value lies in providing objective influences, recording the current scenes for the convenience of future generations (Morris, 2014). At the same time, it infiltrates the author’s attention to people and society and between man and nature, and thus has an impact on the development of society and humanity (Vescia, 2014). Therefore, the main purpose of documentary photography is to unify the objective documentary with the supervisor’s attention and realize the real life reality (Martins, 2013). Documentary photography, like other forms of art, requires a certain aesthetic character to attract the attention of the audience and promote the development of documentary photography in a lively and interesting form.

Strong Subjective Desires Desire in Contemporary Documentary Photography

Documentary photography often presents a belief that is full of power (Walker, 2007). The work returns to traditional imagination and language, allowing readers to find a firm path. In this path, we can see a connection between heaven and the world, which reveals a spirit of exploration. This spirit of exploration highlights the motivation for people to move into the future (Kay, 2011). Returning to contemporary society, photographers use more work centers to tap the connection between today’s society and the world, transcending the simple imitation and reproduction of real life (Martins, 2013). Therefore, for modern photographers, they pay more attention to the use of their own works to express a long-term mission, which relies on a non-temporal basis (Abbott, 2010). By summarizing the themes of these photographs, we can see that the connection between human condition and destiny reflects a new poetic atmosphere in these works. In some photographers’ imagination and understanding are limited to a narrow fixed space and mode (Brown, 2011). The current photography industry is in desperate need of these new photographers to inject fresh blood. In today’s photography industry, these contemporary photography pioneers have made changes to traditional photography with their own unique and personalized visual expression techniques (Ferrell & Van de Voorde, 2010). Contemporary photography also needs to establish a new concept (Vescia, 2014). In addition to the objective existence of photography, photography also reflects how the photographer is objectively present.

Reader’s objective reading

No matter who the author of the work is, even a small person who is not famous, or a master of art, can analyze and judge from these two aspects. First, we must analyze the ideological nature of the work, and secondly we must study the artistic beauty of the work. These two aspects are indispensable. The author’s purpose in producing the work is to convey his emotions by taking the work as an opportunity (Brown, 2011). Art works focus on the organic unity of reproduction and expression (Kay, 2011). By reproducing objective things, the works can realize the reproduction of real scenes, which can be considered as the reproduction ability of the works (Abbott, 2010). The author expresses his subjective feelings through his works and expresses them clearly through his cognition of society. This is the ability of the works to express. Although photography seems to be a reappearance of the original things, the works also have the author’s emotions (Vescia, 2014). These contents reflect the author’s unique lifestyle and life emotions, which is also a comprehensive expression of the author’s perception of the whole society.

Conclusion

This paper mainly summarizes the cognition, induction and development of ‘documentary photography’, and explores the ‘ontology’ of Bazin and the ‘decisive moment’ theory of Bresson. This article hopes to provide some reference help for all workers or enthusiasts who are engaged in the photography industry by reading documentary photography. Documentary photography can be seen as a witness to the history of social development (Brown, 2011). Documentary photography can preserve and record history, but documentary photographers must always keep a clear head, record everything that happens and truly and objectively, and always be caring for human nature. Documentary photography is a realistic reflection of objects (Abbott, 2010). People use cameras to show a unique way of behavior. In this process, pressing the shutter seems to be a simple action. However, photographers must have a high cultural quality and cultural accomplishment, have a more sensitive visual insight, analyze the current visual image, and grasp the best judgment and analysis of things. A photo that reflects the real situation can also reflect the power of human nature. Documentary photography is a means of recording real scenes (Vescia, 2014). It is different from mere recording influence, but it links image with social development. Documentary photography takes the photographer’s perception of life as an opportunity, including a photographer’s concern for the environment, a pursuit of life and a return to human nature (Brown, 2011). In the process of firm belief, photographers use the cold camera to capture the most real facts, and use the power of images to enhance the status of photography tools. From the perspective of social development trends, cameras have served as revolutionary and qualified reform tools.

References

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