A picture from virtual to real is the process of focus
Adjustment of the focal length is in order to call for the shooting of the image of a clear
Depth of field is when an object in focus is clear, from the front of the object a certain distance to the back of the object of all the scene within a certain distance also are is reasonably sharp. The distance from the front to the back where the focus is sharp is called the depth of field.
Depth of field varies with the focal length of the lens, the aperture value, and the shooting distance. For a fixed focal length and shooting distance, the smaller the aperture used, the greater the depth of field.
1Lens aperture:
The larger the aperture, the smaller the depth of field; the smaller the aperture, the larger the depth of field;
2Lens focal length
The longer the focal length of the lens, the smaller the depth of field; the shorter the focal length, the larger the depth of field;
3Shooting distance
The farther away the distance is, the larger the depth of field is; the closer the distance is, the smaller the depth of field is.
Photography is the process of recording images using some kind of specialized equipment, generally we use mechanical cameras or digital cameras for photography. Sometimes photography is also referred to as photogrammetry, which is the process of exposing a light-sensitive medium to the light reflected from an object.
The word photography is derived from the Greek words φω? phos (light) and γραφι? graphis (drawing, painting) or γραφη graphê, which together mean "drawing with light". It refers to the process of recording images using some kind of specialized equipment, usually a mechanical camera or a digital camera. Sometimes photography is also called photogrammetry, which is the process of exposing a light-sensitive medium by means of light reflected from an object. It has been said that the ability of the photographer is to transform the fleeting mundanity of everyday life into a monumental visual image.
Photography, as it is commonly referred to, is the use of a camera to image a negative, which is then developed into a single photograph that is kept permanently, one by one. But the image of the photograph is motionless, silent, and is only for people to see the characters, the mood, and then to realize its meaning.
The earliest surviving photograph in the world today dates back to 1827, from the Frenchman Joseph Niepce. The first photograph still in existence today dates from 1827, by the Frenchman Joseph Niepce.
The exposure process
When a photograph is taken, light passes through a small aperture (more often a group of lenses) and enters a dark box, where it is imaged on a medium at the back of the box (relative to the direction of incoming light). Depending on the actual light intensity and the light sensitivity of the medium, the required light exposure time is different. In the process of illumination, the medium is sensitized.
Postproduction
After the picture is taken, the image information stored in the medium must be converted and read again by the human eye. The specific method depends on the photographic means and media characteristics. For film cameras, there are chemical processes such as fixing, developing, and enlarging. In the case of digital cameras, a processor is needed to compute the data, which is then output through an electronic device.
Equipment used
Generally speaking, people use visible light to take pictures, the most commonly used camera. Because of the different scenes and uses, the camera has a very large number of classifications. In general, cameras have a few basic parts to ensure the exposure process, which include: light-sensitive media, imaging lens, exposure time control mechanism, film dark box, storage media.
Documentary Photography
Photography was born for the purpose of documentation. The strong vitality it has shown since its birth also lies precisely in its function of recording. This is no other technology or art can be compared or replaced. Therefore, in a broad sense, photography is recording.
Artistic Photography
With the development of photography, people are constantly adding artistic elements in photography, and began to produce artistic photography. The difference between it and documentary photography lies in the amount of artistry and high and low, without absolute boundaries. For example: we go to take a picture for ID card or to keep a souvenir, the general photo studio photographs, at most, a little information or record value. However, Mr. Zheng Jingkang to Mr. Qi Baishi portrait, 50 years later, is still one of the world's twenty best portraits. The difference lies entirely in the level of artistry.
Pictorial Photography
Pictorial photography has always been an important way of expression in portrait photography with its beautiful picture language and beautiful design connotation. Since the invention of photography, it can be said that pictorial photography has been throughout, and in the history of photographic development has played a role in several milestones. In the second half of the nineteenth century, the British photographer Leilanda photographed the work ----- "Two Roads of Life", which had been predicted as "a new era of photography". At the time when photography was still being belittled, this work was highly evaluated by Queen Victoria with its exhorting theme and oil painting-style composition. It can be said that Leilanda was instrumental in promoting the recognition of photography as an art. Since then, pictorial photography has gradually become an important genre in the art of photography.
Holographic Photography
Holographic photography refers to a new type of photographic technology that records all the information such as the amplitude and phase of the reflected waves of the object being photographed. Ordinary photography is to record the distribution of light intensity on the surface of the object, it can not record the phase of the object reflected light information, and thus lose the three-dimensional sense. Holographic photography uses laser as an illumination light source, and the light emitted by the light source is divided into two beams, one beam directly to the photographic plate, the other beam by the reflection of the subject and then shot to the photographic plate. The two beams of light in the superposition of the photographic film to produce interference, the degree of sensitivity of each point on the photographic film is not only with the intensity of the two beams of light with the phase of the relationship between the different. So holography not only records the intensity of the reflection on the object, but also records the phase information. The human eye directly to see this light-sensitive film, can only be seen like fingerprints like interference fringes, but if the laser to irradiate it, the human eye through the negative will be able to see the original photographed object is identical to the three-dimensional stereo image. Even if only a small part of a holographic picture is left, the whole scene can still be reproduced. Holography can be applied to industrial non-destructive flaw detection, ultrasonic holography, holographic microscopy, holographic memory, holographic movies and television and many other aspects.
1. Pictorialist Photography
Pictorialist photography is a school of art in the field of photography in the early twentieth world, which arose in the mid-nineteenth century in Britain.
This school of photographers pursued the effect of painting, or the "poetic" realm in their creations. It has gone through three stages: the imitation painting stage; the stage of honoring Qu Ya; and the stage of painting.
Painterly photographers suggested that "there should be a Raphael of photography and a Tizian of photography."
Painterly photography has gone through a long period of development, the first pictorialist photographic dish is the British painter Hilux (1802-1870), he specializes in portrait photography, works of structural rigor, modeling and elegance. 1851 to 1853, is a period of growth of pictorialist photography. 1869, the British photographer HP Robinson (1830-1901) published a book on the pictorial effect of photography, and he published a book on the pictorial effect of photography. In 1869, the British photographer HP Robinson (1830-1901) published a book on the pictorial effect of photography, in which he proposed: "A photographer must have a wealth of emotion and a deep artistic understanding in order to be a good photographer. Undoubtedly, the continuous improvement and invention of photography reveal a higher goal, which is sufficient to enable the photographer to give more free play to it; but technical improvement is not the same as artistic advancement. For photography itself, however refined and perfected, is still only a means of leading to a higher goal." Laid the theoretical foundation for the school.
In 1857, OG Ryland (1813-1875) created a Renaissance-style work of more than 30 negatives: Two Ways of Life, which marked the artistic maturity of pictorialist photography.
The works of this period, the subject matter is mostly religious, containing a certain degree of metaphor. When shooting, the preview sketches, and then the use of models, props, organization and arrangement of the scene, and processed through the darkroom. The pursuit of the painting effect of the photo image.
Subsequently, the content of pictorialist photography has been expanded, but the style still advocates classicism, modeling and composition still has the law of the academy, thus appearing to be savings, sink table, elegant.
When the genre developed to the stage of pictorialism, the pursuit of works of emotion, mood and the beauty of the form is still its characteristics.
Since the pictorialist photographers emphasized artistic cultivation: "If you want to make photography have a place in art, the photographer must first cultivate the ability to aesthetize and nurture the art of realism." So its historical merit is to guide photography from the initial mechanical copying of objects to the field of plastic arts, prompting the development of the art of photography.
Because most of the creation of pictorialism is detached from real life, coupled with the increasing improvement of photographic equipment, people's early aesthetic interest in the continuous development of the "naturalism" impact. In spite of this, in today's photography art hall, there is still a seat for it.
The main photographers and works of this genre are: Pryor period (? -1896) of the Baron's Feast, Robinson Crusoe, Pagoda Scene; Robin Lin's When the Day's Work is Done, Autumn, Two Little Girls, Maitreya, Juliet with the Poisoned Bottle, Dawn and Sunset; Rylands Baptist Covenant Head of the Sunset, Iphigenia, Eutyches and Horofonis; Mrs. Cameron's (1815-1897) Toms Carlisle and Nida's (1820-1910) Maitreya; Mrs. Cameron's (1815-1897) Toms Carlisle and Nida's (1820-1910) Maitreya. 1910) of the Mass of the clamoring Russians, etc.
2. Impressionist Photography
In 1899, the first exhibition of French Impressionist paintings was held in England. Under the influence of the pictorialist photographer Robinson, put forward "soft tone photography is more beautiful than sharp photography" aesthetic standards, advocating "soft tone" photography. The genre is a reflection of the impressionism of painting in the field of photography.
At the beginning, they used soft focus lens to shoot, fabric paper printing, the pursuit of a fuzzy and hazy artistic expression effect. With the emergence of the "silver bromide wash method" and in the pigment mixed with gum bichromate wash paper method, the impressionist works from the control of the lens image development to the darkroom processing. They proposed "to make the work look nothing like a photograph" and argued that "if there is no painting, there is no real photography."
Under the guidance of this theory, Impressionist photographers also used brushes, pencils, erasers in the photo image processing, deliberately change its original light and dark changes, the pursuit of "painting" effect, such as La Croix in the creation of the park in the year 1900 "sweeping the man", like a charcoal drawings on the canvas. Impressionist photographers made their own works completely lose the characteristics of the art of photography itself, so some people also call it "imitation painting school". It can be said that it is a branch of pictorialist photography.
The art of this school is characterized by dull tones, rough shadow patterns, decorative, but lack of spatial sense. Its famous photographers include Dumasch (? -1937), Pouilleau (1857-1933), Chouin (1866-1944), Waczek (1848-1903), the Hofmeister brothers (1868-1943;1871-1937), Durkov (1848-1918), Evert (1874-1948), Mizunet (1870-1943), Sintoun (? 1863-1908), Chili (1861-1947), and others.
3. Realistic Photography
Realistic photography is a long-established genre of photography, which continues to this day to be the basic and main genre of photographic art. It is a reflection of the realist creative method in the field of photographic art.
The school of photography artists in the creation of photography to adhere to the documentary characteristics of photography, in their view, photography should have "the same as nature itself" of the fidelity of every detail in the picture, only with "mathematical accuracy", the work can play a role in his art medium. A. Stieglitz once said, "Only by exploring fidelity is our mission." On the other hand, they are against reflecting objects indifferently and objectively like mirrors, and advocate that creations should be selective, and that there should be the artist's own aesthetic judgment of the things reflected. The famous master of realistic photography, Lewis Hine, said this: "I want to expose those things that should be corrected; at the same time, I want to reflect those things that should be praised." It can be seen that they advocate the view that art should "reflect life". They dared to face the reality, and most of their subjects were taken from social life. Their art style is simple and unadorned, but has a strong witness and reminiscent of power.
The earliest hobby of realistic photography is the British photographer Philip Dellamorte's documentary film of the fire cotton wool in 1853. A little later came the war photography of Ross Fenton and the Yellowstone wonders of William Jackson in the late sixties. 1870 onwards, realistic photography became more sophisticated and began to turn the lens on society and on life. For example, Dr. Barnardo's, a photographer of the time, shook people by photographing the misery of street children.
Because of the great cognitive effect and extraordinary infectious power of the hobby of realistic photography, it gradually occupied its own position in the field of news. Those works of the American photographer Jacob Riis in the nineties about life in the slums of New York were the seminal works in this regard.
Subsequently, realistic photographers have emerged in great numbers, and their works are known in the history of photography for their strong realism and profundity. For example, British Brand's "Coal Pickers"; American R. Kappa's "French women were shaved head parade"; France Wes's "Girls", and so on, to name a few.
4. Naturalistic Photography
In 1899, the photographer Peter Henry Emerson, in view of the weaknesses of pictorialism, published a paper entitled "Naturalistic Photography", attacking pictorialism photography is fragmented photography, and advocating that the photographer go back to nature to find creative inspiration. He believed that nature is the beginning and the end of art, and that only the art that is closest to nature and cool is the highest art. He said that no art reflects nature more precisely, meticulously, and faithfully than photography, and that "emotionally and psychologically, the effect of the photographic hobby lies in the unadorned view of the lens as recorded by the light-sensitive material." Another master of the school, A. L. Pachou, said even more clearly, "Fine art should be left to the fine artist, and as far as our photography is concerned, there is nothing to be borrowed from the fine arts, and we should engage in independent creation."
It can be seen that this kind of artistic advocacy, is a reaction to pictorialism, which prompted people to free photography from the shackles of the academy, to give full play to the characteristics of photography itself has a role in promoting.
The subjects of this genre are mostly natural scenery and social life.
As naturalistic photography is satisfied with the depiction of the reality of the surface reality and the details of the "absolute" real, and ignored the essence of the reality of the excavation and refinement of the surface object, in a word, do not pay attention to the typicality of the artistic creation and the typicality of the artistic image, it is essentially a vulgarization of the realism. Sometimes it leads to the distortion of reality.
Famous photographers of this school are Dwightson (1856-1930), Wilchinson (1857-1921), Gehl (? -1906), Scratchyer (1856-?) , Sutcliffe (1859-1940), and others.
5. Pure Photography
Pure photography is a school of photographic art that matured in the early twentieth century. Its creator was the American photographer Stieglitz (1864-1946). They advocated that the art of photography should give full play to the qualities and performance of photography itself, free it from the influence of painting, and use pure photographic techniques to pursue the aesthetic effects that photography is characterized by - high degree of clarity, rich layers of shadows, subtle variations of light and shadow, pure black and white shadows, detailed textural expression, and precise image portrayal. In short, this school of photographers deliberately pursue the so-called "photographic quality": accurate, direct, subtle and natural to express the light, color, line, shape, texture, texture and all aspects of the object, without the use of any other medium of plastic arts.
Cobain's 1913 exhibition Overlooking New York is a masterpiece of purism. Photographers from the heights overlooking a square in New York, although there is no processing, modification, but the novel composition, unique modeling, make people refreshing, and then K Sandberg, such as E Steinberg, is the use of multiple exposures of the technique of a single work of space, time constraints, in a picture of a delicate portrayal of the poet's emotional transformation, the combination of shading and compositional changes, extremely rhythmic.
From a certain point of view, some of the ideas and creations of the Pure School are "hybrids" of formalism and naturalism, which later evolved into "new materialism". However, the school has to some extent contributed to the exploration and study of the characteristics and expressive techniques of photography.
The most famous photographers of this school were Strand (1890-?) and Group f 6.2 Photography. and young photographers in the Group f 6.2 Photography organization, such as Ardans and Genringham.
The later work of the purists moved towards the abstraction of lines, patterns and distorted images, with influential photographers such as Yarborough, Steiner, Sturtevant and Evans.
6. Neo-Immanentist Photography
Neo-Immanentist photography is also known as "domination photography" and "new realism photography". For the twenties of this century, the emergence of a school of photographic art.
The art of this genre is characterized by the search for "beauty" in common things. With close-up, close-up and other techniques, the subject from the overall "separation" out of the object to highlight the object of a fine, accurate and realistic portrayal of its surface structure, so as to achieve the visual effect of dazzling people's ears. It does not consider that the essence of art is to suggest the nature of the object, and thus its aesthetic thought belongs to the category of naturalism. For example, photographer Pachou's 1923 photograph of a locomotive's rotary shaft is a close-up representation of the state of the locomotive's rotary shaft in operation, which gives the viewer a strong visual impression by eliminating the other details of the picture.
The theoretical forerunner of Neo-Immanentism was Strand, who defined the artistic character of Immanentism as follows: "The Neo-Immanentism is the essence of photography, and is also the product and limit of photography." According to him, photography "is extremely expressive of life, and requires an eye for the right thing. For this reason, it is not based on perfunctory processes and methods of operation, but must utilize pure photography." The creative pioneers of Neo-Immanentist photography were Ajay and Steichen. The actual founder was Pachou, mentioned above.
Pachou opposed the dependence of photography on painting, he emphasized that the art of photography must rely on the characteristics of photography itself, that the aesthetic value of photography is hidden in its own characteristics, and that only by giving full play to the characteristics of photography itself can create beauty, he said: "Painting should be painted by the painter at will, and only according to the intrinsic qualities of the photography can be created to stand on its own, nothing borrowed from the painting. There is nothing borrowed from painting".
The merit of the neo-immaterialist photographers was to prompt people to study and explore the characteristics of photography itself, and to pull photography back to real life from the unreal world of aesthetics. However, the overemphasis on the depiction of the surface structure of fine matter provided the soil for the later abstractionist photography to germinate.
Before and after 1925, due to the emergence of large-caliber compact cameras, there was a new development in the field of expression of the new materialism, resulting in a number of portraits and works reflecting social life and natural scenery.
The famous photographers of Neo-Immanuelism include Sander (1876-1964), Lasky (1871-1956), Hegger (1893-1955), Hirsha (1881-1948), Hewliman Hoppe (1878-?), Evert (1874-1955), and Hirsha (1881-1948). , Evert (1874-1948), Weston Adams (? -1902), etc.
7. Surrealist Photography
Surrealist photography was a genre that emerged in the field of photographic art during the decline of the Dadaists, and emerged in the 1930s.
This school has a more rigorous artistic program and art theory. They believe that the use of realism to express the real world is a classical artist has long completed the task, and the mission of the modern artist is to explore a new, unexplored part of the human "world of the mind". As a result, the subconscious activities of human beings, accidental inspiration, psychopathology and fantasy have become the objects of surrealist photographic artists' deliberate expression.
The surrealists in photography, like the Dadaist photographers, used scissors, paste, and darkroom technology as their main modeling tools, and piled up, pieced together, and reorganized the scene on the screen, combining the specific details of the performance with arbitrary exaggeration, distortion, omission, and symbolism to create a surreal "artistic realm" between the real and the imagined, the concrete and the abstract. "artistic realm". So its effect is peculiar, absurd and mysterious.
The founders of the genre were the British photographer Silston and the American Breuguier (1880-1945). The real completer was the British stage photographer Mark Bin (1905-?) In his own creations, he combined the "surreal" reality with the real, creating a realm that was both unreal and real. For example, his Self-Portrait of Marco Bing, created in 1946, is a typical surreal work, which was shot using the technique of four exposures - one frontal, two side and one eye.
Famous photographers of this genre include Parhan, a painter who worked on surrealist set photographs; Brandt, a deformed body photographer; Carson, a portrait-cum-propaganda photographer, and Blumenthal, Lorraine, Halsman, Rai, and others.
8. Abstract Photography
Abstract photography is a genre of photographic art that emerged after the First World War.
The photographers of this school denied that plastic art is to reflect the life of the artist's aesthetic feelings with an examinable artistic image of this basic characteristic, claiming that photography "from the photography of the liberation.
In the beginning, the bottomless enlargement method omits the fine texture and rich shading of the "subject", and produces a "light picture" that only expresses its shape. Later on, it developed into the use of light, or editing set, or midway exposure, or shooting camera vibration to make the image of the subject in the negative image of the blurred, or multiple exposures to make the ghost, until the change of the surface structure of the picture, change the original form and spatial structure of the subject, trying to use the so-called form, tone (color) and material "absolute abstract language", so that the subject is not only the subject of the picture, but also the subject. The artist tried to use the so-called "absolute abstract language" of form, shade (color) and material to transform the subject into a combination of lines, spots and shapes that could not be recognized as anything. In order to express the so-called subconscious world of human beings, which is the truest and most essential power of human beings, the artists of this school of art have adopted as their standard. In the works, the subject is merely a musical note that the artist borrows to produce a "melody" that expresses his own imagination and personality as he pleases.
Terbo (1800-1877) was the originator of abstract photography. In the beginning, the images remained somewhat recognizable. By 1917 the photographer Cobain (1882-?) Picture of Bordeaux, taken with pieces of wood and fragments of clear glass, had become completely unrecognizable. In 1922, the Hungarian abstract painter Moholinaki (1895-?) building on the work of Manry (1890-?) and others to develop and theoretically establish them. Subsequently, the abstract painters Kandinsky, Koehler and other introduced microscopic photography and X-ray photography, thus greatly expanding the scope of expression of the abstract school of photography, enriching the language of photographic art, and established its own art system, and popular in Europe and the United States and other countries.
Representatives of this school, in addition to those already mentioned in the text, there are still Scott, Fenninger, An Zhenranter, Fletcher, Winkelstedt, Gelenbaum, Shade, and Briouquier, and so on.
9. Kantian Photography
Kantian photography is a major school of photography that emerged after World War I and opposed pictorialist photography.
This school of photographers advocate respect for the characteristics of photography itself, emphasizing the real, natural, and advocate shooting without manipulation, do not interfere with the object, and advocate the capture of the natural state of the subject's instantaneous mood. Henri Cartier-Bresson, a famous French photographer of the "Cannes" school, said, "For me, photography is the timely recording of the meaning of an event and the precise organization that can precisely express it in an instant." Thus, the art of this genre is characterized by objectivity, authenticity, naturalness, intimacy, casualness, unadorned, vivid and life-like images.
The photographers in the "Can" school, in terms of their aesthetic thinking and creative tendencies, the situation is more complex, although they all advocate the expression of human nature and most of them are engaged in photojournalism, but some for the naturalist, some for the realist.
The spawn of the genre was the photographer Alfred Stieg's Winter on Fifth Street, New York, in 1893, and it was the German photographer Dr. Erich Schalemann who really accomplished it. His "Political Meeting in Rome," taken with a small camera at the end of a night meeting held by the German and French prime ministers, has become a classic of the genre that has gone down in the history of photography because of its vividness, truthfulness, simplicity, and naturalness.
In terms of photographic aesthetics, they believed that "a photograph based on the fundamental characteristics of photography, which cannot be imitated by a painter or an etcher, has its own indivisible I, with its own special expressive power, and even characteristics that are impossible to express in other media". Secondly, with regard to the representation of objective things, they valued and emphasized originality, saying, "(The photographer has to see the world through) his own eyes, not through the eyes of others, and this is the criterion that distinguishes whether a photograph is mediocre or brilliant, valuable or worthless."
Notable photographers of this school include Thomas Dowell McAvoy of the United States; Syrette Mordell of England; Victor Huffman of France; and Louis Dahl-Wolfe, Peter Stackpole Brouwerch, and many others.
10. "Dadaist" Photography
"Dadaism" is a literary idea that emerged in Europe during the First World War. "Dada" was originally a disjointed expression for "pony" or "toy horse" in French children's language. Because the Dadaist artists in the creation of the denial of rationality and traditional culture, claiming that art and aesthetics have no relationship, advocating "abandonment of painting and all aesthetic requirements", advocating nothingness, so that the creation of almost playful, and therefore people call the school of art "Dada School".
Under the influence of this artistic trend, the "Dada School" also emerged in the field of photography. The famous photographer Halsman created a Mona Lisa, her hands not only turned into a pair of plump veins, hairy, and also stuffed with money. It can be described as absurd and unorthodox.
The creation of the Dada School of photography artists, most of the darkroom technology for editing and processing, to create some kind of illusory scene to express their own ideas. For example, LM Naki's Leda and the swan, a beautiful Greek mythological story, processed into some kind of obscure and grotesque, inscrutable combination of images and lines. In the picture, the visual image no longer exists with its own meaning, but is only a constituent element of some kind of idea. Others have used silhouettes to make Niagara Falls pour into New York, creating an apocalyptic Jiang Min scene.
Due to the Dada school of photography art works do not meet the general aesthetic interest and aesthetic requirements, after 1924, gradually by a clearer, more complete art tofu and program of surrealist art school impact. But its influence can still be seen in the later emergence of modernist photography art.
The famous photographers of the Dada school are Philip Halsman, Morgan, Laczlomo Holinaki and Listecki.
11. Subjectivist Photography
Subjectivist photography is a more "abstract" school of photographic art than Abstract Photography formed after the Second World War, so it is also known as the "post-war school".
It is a reflection of the philosophical trend of existentialism in the field of photography. Its founder was the German photographer Otto Stennett. He believed that "photography is a wide field that originally had the ability to play its own ability, but also a high degree of subjective initiative. But at present it has become a kind of mechanical realism". So he put forward the "subjectivization of the art of photography. Strongly advocate that the ultimate photographic art should be to prompt some of the photographer's own hazy ideas and expression of the ineffable inner state and subconscious activities." Subjective photography is personalized, individualized photography. This is the artistic program of the genre. The artists of subjective photography strongly emphasize their own creative individuality and defy all existing artistic laws and aesthetic standards. The theorists of this school openly said, "Subjective photography is not just an experimental graphic art, but a free and unrestricted creative art." "We can use technical means at will to create photographs."
It is characterized by the following:
1 There are two kinds of images, "figurative" and "abstract" No matter what the form of modeling is, the expression of self-concept is its ultimate goal. Everything in the picture is just a "carrier" for the photographer to express himself.
2 Fully utilize the perspective characteristics of the lens, the subject from the reality of the "stripped" out, "moved" to the picture, - that is, the use of certain optical properties of the lens, the objective object to be transformed, so that it becomes the idea of the "materialized body". That is to say, using certain optical properties of the lens, the objective object is transformed and made into a "materialized body" of the idea, so as to create its own "world" by combining it in the picture. And this world is often absurd, mysterious, or puzzling.
3 The use of close-up means clear and strong to strengthen and highlight the object of a fine form.
4 The use of darkroom techniques to simplify the original richness of the subject's shadows, converting natural, mundane relationships into strong visual relationships.
5 The use of exposure means (such as multiple exposures, continuous flash), so that the subject from the concept of time separated from the concept of time, dynamic concept of time and spatial location to be switched.
Its famous photographers, in addition to Ott and Stennett, include Jay Schmoll, Shaw Van Orkan, Len Payne, Moe Volkert, and others.
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