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The two World Wars were specific times of extreme societal upheaval, providing a political, societal and aesthetic environment for photography to make its own cataclysmic offering to these great efforts. During World War I and World War II, photography emerged with its own artistic styles and established its own genres that relied upon, but transcended the technology of the daguerreotype, the Kodak instant photo and 360 film processing. Photojournalism as an art form was born, and within that genre, photography styles such as realism, propaganda, documentary and surrealism were also born. 7 works cited. jvphotog.rtf
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that century. It is an important historical fact that technology was at pace with the social and artistic revolutions of the time because those technological advances allowed photographers to express
their art within the social and historical framework of harsh times focused on theoretical political differences resulting in global wars. The two Civil
War and the two World Wars were specific times of extreme societal upheaval, providing a political, societal and aesthetic environment for photography to make its own cataclysmic offering to these
great efforts. During World War I and World War II, photography emerged with its own artistic styles and established its own genres that relied upon, but transcended the technology of
the daguerreotype, the Kodak instant photo and 360 film processing. Photojournalism as an art form was born, and within that genre, photography
styles such as realism, propaganda, documentary and surrealism were also born. Civil War and the Introduction of Realism The Civil War
offered up photographic pioneers who presented a world no one had ever seen before who had not been on the battlefield. Prior to wet photography, depictions of the battlefield were
romanticized and consistent with literature, which always glamorized warfare and sanitized it. Photography does not allow for sanitation or glamorization. It is realistic by nature, so the romantic view of
war was destroyed forever, even though a romantic lens is still used. Boyd Tonkin writes: "During the Civil War Mathew Brady and his
colleagues had sold gorily explicit photo-albums of battles and their aftermath. They forged an enduring link between the American camera and the illusion-free portrayal of carnage or conflict" (Tonkin 43).
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