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Essay / Research Paper Abstract
A 5 page paper which discusses how aesthetics, as they
apply to photography, are often different than those applied to paintings and other
traditional art forms. Bibliography lists 2 sources.
Page Count:
5 pages (~225 words per page)
File: JR7_RAphoto2.doc
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Unformatted sample text from the term paper:
as they relate to aspects of balance, use of color, and other elements which make an art piece successful. But, the art of photography, being that it is a different
medium than painting or sculpture, has different requirements when it comes to addressing the aesthetics of a piece. Bearing this in mind we present the following paper which discusses how
the aesthetics of photography are different, and yet sometimes similar, than that which we find in other more classic forms of art. Aesthetics In first discussing the aesthetics of
photography we must address what aesthetics are and how they involve the arts in general. As Wylde (2001) states, "The word aesthetic has broadly come to indicate sensibilities of perception,
be they physical or mental" (digitalaesthetic.html). And, according to another individual, whose words are quoted by Wylde (2001), "Aesthetic theory most prominently attempts to define what art is" (digitalaesthetic.html). As
we can see, aesthetics is that which makes a piece of work, no matter the art form, pleasing and/or intriguing. When we find something aesthetically pleasing we note that it
catches our eye and our attention, giving us a feeling of enjoyment. We may, however, even find something aesthetically powerful and somewhat pleasing even if it is disturbing. This is
because it catches our attention. The primarily components and focus of the work is unique or striking in some manner, providing us with its aesthetic presence. With photography we
most often assume it should capture that which it is depicting. Photos, it seems, never truly look exactly like what we see. For example, people in photographs are, although correctly
depicted, often depicted in one minute instance, rarely capturing the individual in action. In real life we observe people moving, talking, laughing, and essentially never sitting perfectly still. As such,
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