Notes from my video link with my Tutor

My Tutor made four recommendations for my essay. One was simply a typo error the second was to refer to the various types of handmade drawings and the third and forth was to add some quotes to reinforce my statements. From: – The idea that the camera ‘never lies’ started at the very beginning of

In Our Own Image.

In Our Own Image, 3rd Edition, 2010, by Fred Ritchin, New York: Aperture. ISBN:978-1-59711-164-5. This book was originally published under the title, The Coming Revolution in Photography, in the early 1990’s and was revised and republished in 2010. Ritchin’s topic for the book is his concern for the future of photography as a result of

Assignment 4 – Essay

Other Than You. By Shaun Mullins (512659) Assignment 4, PH5SAO – The Self and The Other. Word count without quotations and footnotes: 2563.  Including quotations and footnotes Total: 3931. Sources: Barthes, 2000; 1977; Kelly, Self Image, Personal is Political, 1979; Kuhn, Remembrance, The child I never was, 1991; Ritchin, 2010; Spence, Facing Up To Myself,

Photography and Belief by David Lee Strauss

Photography and Belief (1991) by David Lee Strauss In David Levi Strauss’ essay, Photography and Belief, Strauss looks at how photography is facing new challenges as a result of new digital imaging technology and how this technology is throwing into question the future integrity of photography. Photography as mechanical reproduction almost immediately altered the aura

Reflection point – seeing ourselves through technology

As Jill Walker Rettberg in her book​ ​Seeing Ourselves Through Technology​ says, ‘[p]erhaps the reason we feel the need to take another, and another selfie, is in part that we, as the surrealists wrote in 1928, never seem able to create a photo that will ‘fully correspond to what you want to see in yourself’’’ (Walker Rettberg,

Thomas Ruff

Portrait 1986 (Stoya) Photo by Thomas Ruff, Tate Collection. Reference: P78091 Display Caption – Tate Ruff believes that photography can only capture the surface of things, conveying what he describes as ‘the authenticity of a manipulated and prearranged reality’. In 1981, he began a series of colour portraits of his friends and fellow students at