Fluent Essays

Hello! I have this assignment thats called an IRA! Basically you do a observations on images and give your opinion about them!Second part of the assignment is to do a critique with facts about the pictures. Basically you are given more information on it and then you write about it with true sources.I will attached the Guidelines, the PDF with pictures, and the final pictures with the background of the pictures. background_for_critiques__ira_two__19th_c.__views__as_documents___sp20.docx guidelines_for_observations__ira_two__19th_c.__views__as_documents__sp20.docx ira_two_images...19th_c._views_as_documents.pdf Unformatted Attachment Preview Instructor: m. boruch doccphot@gmail.com Oakton Community College; Des Plaines, IL History of Photography Art 110 Spring 2020 Background for Critiques - IRA Two: 19th c. Views (Please Note: Image Seven must be one of your two chosen photographs.) After you’ve submitted your Observations of the images, download the Background for IRA One document from D2L. This Background should appear in the D2L content page on Monday, 9/23. With the information it provides go to the web and develop a detailed Critique of your chosen images. Continue to use the Talking Points in the “Guidelines” as your starting point. Web research on the images, their subjects and their photographers, set in the context of their time will be expected. This should not be a select-copy-paste job of web materials. Although large blocks of copy-pasted text are prohibited, short borrowed passages are OK but need to be cited in text. You have to do more than report facts about the subject, the photographer, the style, technology available. What did the image tell its contemporary audience? What does is say to us today? Research should inform your Critiques. But I also want to hear your voice. Digest what you find. Challenge the things you do not agree with. Write at least 300 words per image. Cite at least three sources per image. Not needed in Critiques: Excessive commentary of what you did or did not guess correctly in your Observations. Keep that brief. Critique (verb) the photographs, not your Observations, or yourself. Please post Critiques with your Observations attached in a single document to D2L by Friday, 2/28. Neither the Observations nor the Critiques need be exercises in Formal Academic Writing. *********** Image One Lewis Payne [sic] Powell, Alias Lewis Payne, Who Attacked Hon. W.H. Seward. Photo by Alexander Gardner. Albumen Print from the published album, The Lincoln Conspiracy; Boston, 1865. Made from a Wet-Plate Collodion glass negative. What would this portrait say to 19th century Americans on both sides of the conflict? Have another long look at Powell’s (Payne’s) features and do a bit of research on the Lincoln Assassination. Image Two Pasha and Bayadere. By Rodger Fenton, English. Was this a documentary photograph or an attempt at genre painting with a camera? In either case, discuss this picture from its 19th century perspective and your own 21st. Give some thought to gender and portrayal of the exotic ‘Other’. An Albumen Print from a Collodion Wet-Plate Negative, 1858. History of Photography Art 110 Spring 2020 Instructor: m. boruch doccphot@gmail.com Oakton Community College; Des Plaines, IL -2- Image Three Morman Quarrymen. “Mormon quarrymen preparing building stones from huge blocks of granite for the Mormon Tabernacle…” Photo’s caption continues. “These blocks...were thrown down from the canyon wall...” The word “thrown” implies a “thrower”…as if to say, by some (Al) mighty hand (relate to Manifest Destiny). Photograph by Charles Savage, acquired by William Henry Jackson (who made Beaumont Newhall spit up his drink) and incorporated into the Hayden Geographical Survey of 1872. From a Wet-Plate Collodion glass negative. Image Four Paris Urinal, from a documentation project of neigborhoods by Charles Marville. An albumen print made from a Wet-Plate Collodion glass negative-1865-75. Look up the photographer. Also look up Baron Haussmann who commissioned this photograph. Comment upon the French passion and ambivalence for the ‘New’ and their devotion to their cultural past. (Both Chicago Mayors Daley should have taken notes.) Image Five Rodger Fenton, English; The Long Walk, taken on the grounds of Windsor Castle, England 1860. Albumen Print from a Collodion Wet-Plate Negative. What would this picture symbolize to a British citizen at this time about the “Empire” and his/her place in the world ? Image Six Crystal Palace, London England. A View from a series by Henry Philip Delamotte (English of French Birth) on the construction of the Crystal Palace, site of the world’s first great international exhibition. From a Wet-Plate Collodion glass negative, 1853. What was the significance of this exhibition and how was photography represented (as an industry and as an art) at this exhibition which became the model for all subsequent World Fairs? Image Seven Sabbath Eve in a Coal Cellar, Ludlow Street, from the book How the Other Half Lives, by American Jacob Riis, a muckraking journalist who made and used documentary photographs to crusade against the deplorable conditions in New York slums. Riis worked with ‘”modern film”, (actually gelatin dry plates). This image was taken with Magnesium Flash Powder. Riis was one of the first to use is in the US (and nearly burned down a tenement block with it). Before the offset lithography process made publication of photos in newspaper economically practical how did Riis present his photographs to the public? The subject is seated in his rented basement cubby hole where he has been living for three years 1888. The context for this image is better explained in Riis’ book How the Other Half Lives is available on-line at http://www.authentichistory.com/postcivilwar/riis/contents.html. Do a quick read of the chapter, The Mixed Crowd and pick-up on the tone in Riis’ comments about this ethnic group in the later chapter, The Sweaters of Jewtown. Other excerpts from HTOHL will be assigned later in the course, part of a class discussion. History of Photography Art 110 Spring 2020 Instructor: m. boruch doccphot@gmail.com A Oakton Community College; Des Plaines, IL Guidelines for Observation - IRA Two: 19th Century “Views” as Documents (Please Note *: Image Seven must be one of your two chosen photographs to review.) IRA Two Images (6 are “views” Image Seven is a social documentary photo) are found in a single .pdf file by that name in the IRA One Module under Desire2Learn’s IRA..IRA..IRA.. Image Reading Assignments / IRA Two Download and study the images. They are of a fairly high resolution so you can use Adobe Reader’s magnification tool for closer examination. Look at the details. Without the benefit of context, (hopefully you know little about the images) write your initial Observations for your photographs giving your best ‘read’ based on your initial impressions and what you can deduce about their time, place and the reasons for which you suspect the pictures were made. Who would want these pictures and why? Who would commission them? Try to connect them with the big events and the socio-political mindsets of the times. (If you paid attention in high school history class you have a leg up. Otherwise get creative with your web research. Follow hunches. This course is as much about developing research skills as it is about photography.) Critique the pictures not your Observations. And go easy on the pronoun “I”. * NOTE: Image SEVEN is not a strictly a “View”. It belongs to another category, Social Documentation. Upload your Observations to Desire2Learn’s DropBox before 11:59 pm on Sunday, 2/23. Write at least 200 words per image. On Monday 2/24, I will post the Background Information for critiquing the images to Desire2Learn. Your Critiques of two selected images are due to the DropBox by Friday 2/28. Write at least 300 words per image. Cite your sources. Three or more required per Image. Talking Points: A Few Suggestions for Your Observations for IRA Two (Apply these also to your Final Critiques) I. Basic Description: What does each image suggest without the knowing the title, place, or time? Have a long look and describe the following: -Style of Architecture -Country of Origin; A Specific Event? -Where people are present: Body Language, Clothing, Props, etc. - Arrangement of Information within the Picture Plane-is there one subject or many? - Does this picture look planned or posed? II. In-Depth Comments: Bring to the Image what you know about the....... ....Culture of the intended audience. The possible intentions of the maker or client. ....Technical Limitations of the Process Used (elaborate in the Final Critiques). ....Conventions of Style: A straight record? Was an odd shooting angle or special effect used? ....Rules of composition as you know (or improvise) them. How did arrangement of the lines, textures and forms enhance the picture? What about the quality of the light? How did this View function during its own time? News? Entertainment? To foster a national identity or to promote social change? Was it a morality lesson? All of the aforementioned? Personal reactions and ‘asides’ are welcome but should not make up the whole of your analysis. ... Purchase answer to see full attachment