Demonstrate your technical prowess, delve into the depths of conceptual imagery and scour photographic literature for primary sources.In today’s post we’re featuring an essay from a student who went on to achieve one hundred percent in unit 3, a testament to the students endeavor, willingness to explore and patience.Ed Drew Ed Drew is an avid Tintype photographer as well as being an USAF & National Guardsman veteran.
Demonstrate your technical prowess, delve into the depths of conceptual imagery and scour photographic literature for primary sources.Tags: Victorian Writing PaperThe Most Common Organizational Pattern For A Process Essay IsTransition Words To Start An EssayEssay Transitions BeginResearch Paper About BusinessEssays On Apostle PaulDo Assignment For MoneyCritical Analysis Essay On Heart Of DarknessEssay About Helping OthersThesis Office Tamu Latex
Drew uses his colleagues, rather than the destitute landscape of Afghanistan (a relatively alternative concept being that historically photographers had travelled to the front line to take images of the conflict, casualties and the battlefield) as his subject matter.
His subjects, despite being alive and unscathed, seem to express the horror, the pain and the anguish of war.
My practical work is underpinned by the Tintype’s ability to reveal a great deal of depth in a portrait.
Ultimately I want to better understand how the Tintype process is able to achieve this and how it aids an accurate representation of the subject.
Tintypes are incredibly difficult to master from a technical point of view; the overall aesthetic is exceptional, and from examining their application and purpose opened up a whole new avenue for discovery.
I hope that this article will be helpful to any student looking for a level essay ideas and inspiration as complete examples are often hard to come by.The most engaging element of the portrait is the subjects face.The necessity of a long exposure forces the sitter to remain still, and whilst the scene as a whole is constructed (the deliberately placed elements leading to a sense of performance) his face must remain relaxed and motionless, offering a blank expression which is unable to perform.Each Tintype requires meticulous preparation and even when fixed remains delicate, any abrasion to the surface of the plate will cause irreparable damage to the image despite being based on a metal plate.It could be argued that this in itself possesses a symmetry with the subject matter, the toll that war takes on the individual is being documented and that each individual soldier is fragile on the surface, despite any exterior displays of force through excessive weaponry or symbolism derived from the use of American flags.Drew’s exposures were taken in daylight, leading us to assume that even under midday sun the subject would have to remain still for at least two to three seconds.Because of this the pose, expression and setting for the image would have had to be considered beforehand and potentially dictated by the photographer to the subject in order to result in a well exposed portrait.Mirror, Mirror – Investigating The Tintype Portrait Introduction I am examining the work of photographers Ed Drew and Louie Palu, specifically their projects Afghanistan, Combat Zone Tintypes and Kandahar.I will achieve this by studying their photographs and defining similarities and differences in their processes, composition and fundamental statements behind their work.His work has a parity with the photography of Matthew Brady, Alexander Gardner, George Barnard, and Timothy O’Sullivan who photographed battle fields and regiments of soldiers during the American Civil War.Their work ‘…brought the gruesome realities of warfare home to the American public’ (Foner, E.