The use of artistic expression in photography is link to the historical perspective of other art forms - Artistic Expression introduction. Soon after the birth of photography, the historical perspective that other artworks such as paintings, lithography, engravings, and drawings will come to an end was widely spread. The historical use of drawings in police files was displaced by photography in 1871. In other forms of art such as paintings, some historical painters such as Degas used photography in their paintings.
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In the 1890’s in the United States and Europe, photographers were known as pictorialists and they were retouching their works with brushes, showing the link and dependence on one another between the artistic expression of photography and art. Sooner, the pictorial codes of modern painting was embraced by photography. This historical revolution includes photodynamic which captures and illustrates life force, the use of photomontages by the Dadaists, and the effects of solarization in both photographs and art portraits (www.huntfor.com, 2007)
The current status of photography is attributed to the large amount of innovations and experimentations that it has undergone through the years. Since 1960’s, a lot of changes has shaped the field of photography. These changes include the development of the first colored film in 1963, development of color negative process in the 1970’s, and the introduction of disc camera in the 1980’s. During the 1990’s, the concept of photo mosaic was introduced and the current development in photography include the development of digital photography (Greenspun, 2007).
In the 20th century, photography was used by artists in the continuous redefinition and refining of art. In this way, the use of new materials such as photographs was investigated and this new art proliferated. Majority of modern artists have switched to this style of profusion of photography and arts (Schilling et. al., 2002)
This profusion of photography and arts only indicates that the field of photography is used not only solely for the purpose of getting photographs but also as a tool in the arts. That is, photography is used as incorporation in the field of arts. In fact, modern artists use various techniques in incorporating photography in the art.
Some of the techniques that modern artists use are: (1) projection of an image and making a detailed drawing using the slides or photographs as maps, (2) the process of juxtaposing a photorealistic image with a contrived or imagined one, (3) addition of a trompe l’oeil (fool-the-eye) border which utilize the juxtaposition of both hard and soft edges in order to enhance the three-dimensional aspect of artworks and provides a separation between the two styles of realism which is distinct, and (4) the specific use of hard-edged objects in the trompe l’oeil fashion, similar to the “eye-fooling” art of the late nineteenth century (Chalk, 2000)
The incorporation of photography into art can also be explained by looking at how photographs are used in the arts such as plastic fine arts. The ways in which they are used include: (1) the use of photographs as source of reference in making art objects like paintings, (2) as part or component incorporated in the art object, and (3) as documentary records of art works (www.jstor.org, 2008).
Chalk, Phil. (2000). Keeping It Real, Fine Artist Phil Chalk’s Techniques for Creating Photorealism. Retrieved May 6, 2008 from http://www.medea-artool.com/artool/archives/2000APR-AIRMAG/keepingitreal/index.htm
Greenspun, Philip. (2007). History of Photography Timeline. Retrieved May 6, 2008 from http://photo.net/history/timeline
Schilling, M. S. Lake, E. Steele, ands S.Q. Lomax. (2002). Modern Science and Contemporary Paintings: Preserving an Evolving Legacy. Retrieved May 6, 2008 from http://www.getty.edu/conservation/publications/newsletters/17_3/feature.html
www.huntfor.com. (2007). Photography. Retrieved May 6, 2008 from http://www.huntfor.com/arthistory/C20th/photography.htm
www.jstor.org. (2008). Photography and The Plastic Arts. Retrieved May 6, 2008 from http://www.jstor.org/pss/1572686?cookieSet=1