A key issue within photographic practice and culture is the establishment of perspective regarding the influence that the self and the underlying aesthetic preferences and expectations that are brought to the art. These preferences demonstrate an essential aspect of valuation in regards to not only the perceptions that are held by those viewing the art and their understanding of beauty but also the level of awareness or unawareness that the photographer has in their composition and viewpoint at the point of the photograph's creation. The idea of the unawareness about the self-knowing as a common phenomenon in our society, especially when people explore there beauty judgment about themselves or others by taking or showing image is essential to consider in this respect. There are a variety of elements that are involved in the creation and display of these objects. The core beliefs, prejudices, and motivations that are inherent in these perceptions present a basic valuation of the content and substance that is presented with the photographs themselves. This enhances the level of control that the author has on the views that are seen to correspond with the ideas that have been dictated within their particular character. Through personal reflection and theoretical research it is evident that these elements work to produce a strong influence on the end result of photographic pursuit. The pursuit can therefore be seen to resolve the considerations of the author as well as challenge the observation of their work. Analysis of perceptions of awareness, self-knowledge, and beauty can help to establish the underlying conditions upon which these ideas can be related to one another.
Awareness and unawareness dictate the personal realities that are considered and the content of the photographic evidence allows for a more thorough demonstration of value. The level of personal reflection that is involved in the creation of a photograph presents an essential value that corresponds to the possibilities inherent in the piece. Awareness and unawareness in photography are important conditions that should be ascertained before considering the framework upon which a photographic image is pursued and justified. These elements provide insight into the capacity of the creator to demonstrate the attitudes and justification inherent in their work. These perceptions present the reflection of judgment and the coordination of observational efforts that can induce specific moods or relational values. The awareness that an artist has during the creation of their work is an important element to consider. Through careful personal examination and attention to detail the photographer is able to actively portray a certain idealization. In doing so, rather than simply seeing by looking they are able to “see the world with clear eyes, gradually drawing people closer to a state of susceptibility to intuitive understanding of the reality that surrounds, interpenetrates, and shapes their being” (Ryan 2012, p. 93). These intuitions help to dictate the reflection of the characteristics that are deemed important within the perspectives of those viewing them.
Through spending time on the subject and its presentation the artist can move beyond simply seeing visually to seeing in a more enlightened and spiritual sense. The abstract and aesthetic principles of the composition then become elevated to a more comprehensive form of subjective representation. These aspects of photographic awareness help to provide an important level of control to the artist. This can, in turn help to condition the various emotional or relationship ideas that are depicted. In expressing their intentions with humility the self can essentially dissolve away and the unawareness of the work can be more well-informed. Photographic work is not only a visual portrayal of a scene or condition but is also a reflection of the photographer themselves, their intentions and perspectives being an inherent part of the overall work. “Ideally, the photographer receptively opens the heart, devoting total attention to the subject in all humility until the rift between self and other diminished” (Ryan 2012, p. 94). In challenging themselves to understand their work in a deeper way, the artist experiences what is beyond the painting itself and not simply what it portrays visually. While this experience can result in a sense of joy it also belies a sense of fear as well, as the true self is reflected in these judgments.
The subject can be experienced in a more full way. Photography, in this way, is elevated from being simply physical to being spiritual as well. In this sense, a higher form of understanding is working through them in order to portray a deeper level of objective truth. “the possibility of a deeper awareness and heightened consciousness for those who are willing to use it as a discipline for developing their understanding and experiences of the reality in which they are immersed” (Ryan 2012, p. 95). Photography therefore becomes a tool for seeing the world rather than simply looking at it. Rather than being a reflection of the physical environment the pictures that are portrayed can be seen as witnessing reality itself. The creation of a moment in time, an instant locked in eternity, demonstrates a whole new way of interacting with the world around us. In doing so, a dialogue can be established concerning the nature of this world and the influence that humanity and consciousness can have over it. The pursuit of photography is essentially “sweeping away the self through a sense of awe” (Ryan 2012, p. 96). Awareness therefore becomes the pursuit of personal expectation and the control of aspiration to the extent that the photographer is able to redevelop their own perceptions through judgment of the underlying intentions that have been implemented.
Self-knowledge demonstrates an essential aspect of photographic intent, especially in relation to the level of awareness or unawareness that is expressed through these specific modes of observation. A challenge of the photographer is to develop a deeper level of understanding regarding their personal relationship with the form and content of the work that they have created. The level of awareness or unawareness that is brought to the development of photographic principles underlies an important context that helps to establish the personal understanding or self-knowledge of the photographer themselves. This is an essential attribute of the realities that are portrayed. It is essential to acknowledge that something of the self is evident in the process of photography as well as the creation of art at any level. For this reason, “the resulting photographic image might have embedded meanings that were not consciously produced” (Barbosa 2011, p. 9). These meanings underlie a specific judgment that was present during the time of the photograph's production. At this point, the unawareness of the artist as well as their level of self-knowledge work together in order to produce a unique view of the world that is being considered. This view constantly enhances the judgements of those that perceive the content that is being displayed.
This is a process that is attainable by anybody and the process of continuation an isolation that are inherent in these considerations dictate a deeper level of commitment to the aspects of design and personal preference. Awareness of the frameworks by which these developments have been established can therefore present a more comprehensive challenge to those that are pursuing the deeper portrayal of subjective information in relation to the self-knowledge that it represents. The personal history of the author is therefore merged with the capacity for self-examination and awareness of the principles of self-knowledge. Photography is in this sense a political as well as educational tool for the extrapolation of personal commitments. “the exploration of the ordinariness and informal artistic methods that seeks to inform the audience” (Barbosa 2011, p. 11). In order to question the preconceived notions through which people look at the world the artist must establish an objective framework that can provide a way to connect the various points that are being presented. Reflective photographic practice can help to engage not only the audience viewing the work but also the photographer, as they create their images. Photography can be seen as “taking control over representation by attempting to deal with feelings towards the situation and giving them visual form” (Barbosa 2011, p. 13). Confrontations between the self and the subjects present in photography help to establish a deeper sense of perspective and work to inform the design of a more aesthetic appeal which challenges both the artist and their viewer to look beyond the physical portrayals to the sense of subjective importance that exists within. This results in the establishment of “a bridge between self-exploration and personal healing that leads to the development of a heightened awareness.
Beauty is the underlying expectation that the viewer has and is potentially informed by the problematic nature of cultural and individual subjective bias. The judgments of self-reflection that are inhabited by the viewers of a piece help to challenge the character of the work upon its reception. The relationship between awareness, self-Knowledge, and beauty in Photography is dictated by the underlying definition that is attributed to the aesthetic values that are portrayed within the work itself. These perceptions ultimately result in the capacity for the artist's self-awareness to be communicated to the audience. Awareness of a photographic examination can establish the basic principles by which those who view it are considering their underlying perceptions of beauty. Self-reflection can provide the lens through which awareness and unawareness are determined. More than being simply a portrayal of beauty, photographs are “a mode of storytelling that incorporates ideas of truth, reality, cultural value systems, and perception” (Mullen 1998, p. 2). These areas of thought work together in order to challenge the way in which the views of photographers and the industry in which they work expect to depict a deeper moral framework in consideration of the perceptions of beauty that are valued. The assumptions of the author and their audience as well as the level of self-knowledge that they have are strongly related to the awareness or unawareness that the creator's intentions were imbued with.
The justification for being committed to truth should be considered in relation to the awareness of the forethought that has been achieved. These correlations establish a basic consideration in relation to the intentions of the artist and the reception of the art by the viewers that are eventually exposed to it. Research of a broad level of ideas is therefore necessary in order to establish a better understanding of the similarities among these elements. “Whatever they have in common, I assumed, must point toward a more unified and coherent system of thought than currently exists” (Mullen 1998, p. 3). This thought should be considered in relation to the various aspects of artistic integrity that are espoused by the community as well as the cultural values that can be integrated into these notions. Beauty lasts because of the constancy of human emotion, which work beyond the revelations of new and improved scientific theories and developments. The truth of the human condition challenges the conception of beauty and the valuation of certain conditional responses and aesthetic preferences. This beauty presents the consistency with which the personal reflections and observations of the artist can be said to depict social idealization and judgments. “Photographs tell both stories that have universal appeal and stories that reflect changing social values” (Mullen 1998, p. 4). These stories therefore work to create a new and more advanced dialogue regarding the personal opinions and viewpoints of not only the photographers themselves but also the general social environment in which they exist.
When it was invented, photography was perceived as being largely mechanical in nature, useful for capturing in a real and physical sense exact and detailed copies of the world. As the nature of this understanding began to change through technical advancements in both the form and function of photography this gave way to the notion that pictures could display the reality that is often hidden behind the ideal and fantastical nature of other forms of art. The immediate authority of photography presents the aspects of awareness and truth which work to promote a deeper sense of understanding. The truth of the personal reflection and observations that were depicted continue to establish a greater promotion of awareness for the artist. This is the underlying beauty inherent in photographic art, which dictates the need for awareness and self-knowledge. Despite the moral truth presented by the reality of photographic portrayals the capacity for manipulation challenges the underlying conditions that are expected to be present. “Even when a photographer tries to capture the scene precisely, he may miss representing the essence of the scene before him” (Mullen 1998, p. 9). For this reason, it is necessary for the artist to develop the level of awareness that they have through self-reflection in order to help to justify their personal depictions of beauty and truth.
Accurate representation of a scene therefore heavily relies upon the photographer's interpretation of the scene and expectations of what the viewer will feel when exposed to it in the form of film. In this sense, these elements go a long way in promoting the personal good that is attached to their nature. These ideas can be seen to consist of the aesthetic, cultural, and personal values that have been brought into the photographic content. “Just as people can lie with words, they can lie with pictures” (Mullen 1998, p. 13). Standards of beauty coupled with the underlying integrity of the photographer themselves can have a profound effect on the end result of a photographic composition. These compositions are fundamentally related to the perception of the content of the work. In a biological sense, everybody perceives of pictures in the same way. The image will look largely the same to anybody that views it. “Because perception is not just the brain’s response to stimuli, but is also an interpretation based on memories and various cultural cues, it relies on signs to indicate certain meaning” (Mullen 1998, p. 18). These meanings express the intent of the authors as well as their personal considerations of the content that is being depicted. This is essential in order to present a sense of beauty to the audience that they are working for.
Recognition of not only the visual cues presented by the artist but also the underlying cultural distinctions present challenges the viewer to reconsider the relationship between beauty and truth within a photograph. The uses, values, and meanings that are present within the world around us are essential characteristics of these standards and the content of photographs that are depicted through these visual representations. The photograph itself as an object as well as the objects that it contains present a relationship between beauty and time which determines the consistency by which these relationships can be understood. The static state of the photograph allows us to study it in detail, closely scrutinizing the photographic image for aspects we may not see if we were to witness the actual scene” (Mullen 1998, p. 21). Awareness and unawareness of these ideas, which are inherent in the personal observations of both the artist and the viewer, help to depict the present through a sense of beauty and standardization. These principles are profoundly related to the cultural aspects of self-knowledge and beauty, which require a similar aspect of conditional truth to expose the certainty of truth to the static presentation of a visual mode of expectation.
References
Barbosa, LV 2011, 'Self-Portraiture And Future:An Examination Of A Photographer’s Creative Identity', SENAC Press, pp. 54.
Mullen, L 1998, 'Truth In Photography: Perception, Myth And Reality In The Postmodern Wold', University of Florida, pp. 117.
Ryan, JF 2012, 'Photography as a Tool of Awareness', The Journal of Transpersonal Psychology, Vol. 44, No. 1, pp. 92-97.
