Summary of What was Learned
In the first chapter of the book written by Graham, the author attempted to define the term ‘photograph’. The initial discourse presented a historical evolution of photography through transcending the people who had been instrumental in its creation. The first person who was acknowledged to have successfully capture a fixed photographic image was Joseph Nicephore Niepce in his photograph entitled ‘View from a Window at Gras, 1826’ . Other known personalities who significantly contributed to the historical evolution of photography reportedly included Louis-Jacques Mande Daguerre (founder of the daguerreotype process), William Henry Fox Talbot (producer of the first negative/positive photographic process), Frederick Scott Archer (attibuted the collodion process), and George Eastman (the man behind Kodak) . As such, the author emphasized how the photograph evolved from being “the privileged domain of its early progenitors to being one of the most accessible and accepted means ofvisual representation” .
In defining the term, Graham initially presented the most simple meaning as “'a picture,
likeness, or facsimile obtained by photography” (19). Yet, eventually, Graham asserted that beyond the simple definition, photography’s meaning could be construed as more complex through the evolution in process that it went through, as well as through the manner by which photographs were eventually captured in the twentienth century (through “the polaroid, electronic scanner, digital processes, and so on” ).
Moreover, Graham expounded the definition of a photograph to its function, components, as well as its apparent surface and depth dimensions. In so doing, Graham contended that a photograph could not simply be described in the basic framework noted above due to six areas that create challenges in terms of sight and representation. The six aspects of the problem were learned to be: (1) size as affecting efficacy and effect, (2) the size as framing space, (3) size and shape reflecting aesthetic structure and sight, (4) the surface is always flat, (5) “photography's 'realism' being communicated in black and white” , and finally, (6) photograph’s ability to fix moments in time . Accordingly, a photograph “has a multiple existence which informs its multiple meanings” .
How the Content Inspired
The contents of the chapter provided inspirational insights in terms of enabling the readers to appreciate how photography had evolved through time. One was able to recognize the various challenges it went through before photographs became an apparently universal and common artifact of contemporary art. The ability to preserve images and objects continue to inspire enthusiasts through the aestheic value that photographs present, as well as their ability to preserve moments that have apparently transpired through time. The information in the chapter invites the readers to learn more on the subject and look forward to what else to expect in future chapters.
Thoughts on the Subject
One is significantly amazed by the challenges faced by photography from its inception to the way exists in contemporary times. People could just dismiss the value of photographs today due to the ease of capturing moments, as well as the immediate reproduction of images in an instant. However, from what has been read, one was able to appreciate how photography endured and weathered challenges through the efforts and commitment of identified personalities. As such, these events paved the way for technological advancement to significantly transform photography of current and future times and influenced the way it has impacted people’s lives.
Works Cited
Graham, Clarke. "What is a Photograph?" Graham, Clarke. The Photograph. New York: Oxford University Press, 1997. 11-26. Print.
