The Impact Of Photography In The 19th Century

Towards the end of the 19th century and the beginning of the 20th century, a philosophical movement known as modernism emerged. Although modernism impacted architecture, literature, religious faith, and even sciences; in this analysis, I will analyze the photographic impact. Some of the most known photographers for their impact in this movement include Alfred Stieglitz, Robert Demachy, and Frederick H. Evans. All three photographers had different beliefs in what made an image unique; Stieglitz believed a photograph was unique when left as it was originally taken, Demachy believed in a photograph’s uniqueness was by having the image pigmented with various tones using a gum-bichromate process, and Evans thought an image to be unique when it went

Photographic critics have mentioned that the images he created showed his “mastery of tone and texture and reveled in exploring atmospherics” (The Art Story) In The Art Story, I convey the idea that Stieglitz always used a distinct combination of different tones, textures, and atmospheres; no other photograph was able to be replicated the same exact way. Since the beginning of his photographic period, Stieglitz strived to gain recognition for the particular effects his images generated that were like those effects of other fine arts, such as painting and sculpture. In The Art Story, the author mentioned, “Stieglitz's early work often balances depictions of soft, ephemeral, natural processes with motifs drawn from American industry (The Art Story)”. The images he created later on in his career showed the deterioration of Pictorial photography and the advance of a new path that was revealing truths about the contemporary world that was coming around. This photographic contemporary world was based more on geometric concepts, effects of acute spotlight, and high contrast. One of the best-known images by Alfred Stieglitz is The Steerage, a photograph taken in 1907; yet it was not shown until 1911. It is a combination of evidence of the time and an early example of the modern photographic

One key geometric shape in this image is a circle. I believe this symbol shape represents an object neither starting or ending due to its continuity; this is shown in the barrels and some tops of the people’s hats. They are symbols representing an object that neither starts nor ends. There are many people aboard either waiting to go somewhere or waiting to get off the boat. Another detail I find peculiar is the clothing people have over their heads. Some of the clothing people have over their heads is either old or used; the passengers could have possibly used them to stay warm. Another purpose of the clothing for people is to avoid making contact with other people aboard. The people on the boat do not express any contentment; some seem worried, others seem cold, and it seems as if others are just waiting for the boat to start moving. The bridge in the center of image has three levels of chains with the same circular lockets. The color of the bridge is much crisper than the other white tones in the photograph. It appears as if the bridge is not used but is rather there for decoration. Additionally, I also think that the photograph shows that the bridge does not have a spot where people can get on the bridge to cross from one part of the upper deck to the