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Brian Dilg

30-Second Photography

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    ELLIOTT ERWITT

    1928–

    French-American documentary and advertising photographer, famous for his impeccable sense of visual wit, and ability to capture the absurd in the everyday
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    room for viewers to assign unique meanings. Our brains seem to re-experience these realizations afresh even after many viewings: man with leaf blower… wall…
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    Emergence is based on the way we “read” pictures. Obvious connections are underplayed, leaving room for viewers to assign unique meanings
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    Images that reward close attention utilize subtlety to delay the viewer’s complete realization of the full story implied by the elements of a photograph
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    It might be argued that smart photos employ the most powerful tool of all—the unique imagination of each viewer
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    Deprived of an obvious punchline, each viewer will assign a unique explanation to the image
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    Rather than simply emphasizing visual impact or providing one obvious interpretation, photographs can provoke interesting questions, imply relationships or cause and effect, and delay both visual perception of key details and realization of a picture’s full meaning
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    In contrast to that is an approach based on subtlety, restraint, and rich content. Viewers are intelligent, and our brains enjoy decoding images
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    The result is visual exhaustion or quick disinterest, however impressive an image may be at first glance
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    to inflate attention-getting devices until every aspect of an image screams for attention, or to get consumed by making beautiful surfaces, while neglecting to provide substantive content
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    We live in an age where everything is photographed and shared. Instantly. Globally. Without restraint
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    CINDY SHERMAN

    1954–

    American photographer whose work studies the representation of women and role of feminine stereotypes in modern visual culture
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    A recognizable physical subject that can be used as a patterning, as iconography, or as a metaphor in photography and other arts.
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    The motif is always a recognized visual form, one that can create a theme or mood, but is always rooted in the physical world
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    Another form of motif is its use as a physical metaphor or explicit narrative element
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    of work, used as a form of visual iconography
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    Motifs can also be a recurrent subject matter found over a larger body of work
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    In an artistic sense, motif can be considered in many ways. Physical patterns that are repeated create a sense of rhythm that is often visually pleasing, as the human brain seeks patterns involuntarily in order to make sense of scenes
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    . Juxtaposition gives the photographer a visual means to create tension, depth, interest, and meaning
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    It is a way of inviting the viewer to contemplate a specific idea by comparing and contrasting subjects
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