The Emergence of Photography as Fine Art - Essay Example

The Emergence of Photography as Fine Art Visual art can be thought of as a form of creative art whose products are expected to be appreciated solely or primarily for their aesthetic, imaginative or intellectual content. Thus, visual art encompasses a diversity of disciplines such as sculpting, theater, printing, painting and drawing among others. The field of fine art contemporary encompasses some formal features that need to be respected. However, it mostly refers to a kind of creation that expresses emotion and propagates beauty, through an appeal to the senses and enlightenment to the spirit. In the modern world, photography has evolved into a dominant way of communicating which gained significant acceptation as a mode of photographic manifestation that impacts human life. For instance, photography has extended popularity as an approach of crystallizing memories. The most paramount question that persists in the minds of many art scholars is not whether photography can be considered as fine art per se, but whether it has the capability to impart formidable artistic impression. This means that the evolution of photography is yet to prove that its production can be regarded as the work of fine art in the realm of true artistry. Since its introduction, the domain of photography encountered a tough battle in its quest to be considered as a form of art. The various applications that it derive into, and the varied areas that it is utilized in make it a doubtful medium of art. Furthermore, photography has diverse usage that range from commercial photography to scientific photography. The art is also coupled with the popularity of digital cameras, makes it difficult for this form of art to be regarded as a distinct medium in the world of art. These are some of the most outstanding challenges that the photography encountered in its process of gaining a distinct consideration as a discipline of fine art. It is plausible that the photography has gained a significant acceptance as a form of fine art in itself (Rosenblum 22-24) In a similar manner to the impact that the printing press heralded in the distribution of literature, the introduction of photography generated a fundamental revolution in the world of art. The question of whether photography can be regarded as an art or not reflect a search for means to fit a mechanical medium in the contemporary expressive artistic forms. It is plausible that the reproduction of several art objects made was a core development in the use of photography. In fact, it had a pivotal effect on changing the visual culture of society and rendering art accessible to the public. In the process, there was a remarkable change in its perception, knowledge of art, as well as an appreciation of beauty (Wells 19).Furthermore, the reproduction of art objects facilitated the establishment of art history as a serious discipline. There are three main positions that have emerged concerning the potential of photography as a form of art. The most basic argument, articulated by many painters is that since photography involves a mechanical device that involves chemical and physical procedures instead of human spirit and hand, it cannot be regarded as an art form. Proponents of this argument believe that camera pictures have more mutual with fabrics than with manmade work emanating from inspiration. The second perception, harbored by photographers, painters and a group of critics, is that, as a medium, photography should be utilized in other disciplines. However, they should not be used as a form of art in itself. The last argument postulates that photography remains comparable to lithography or etching, and hence, cannot be used to compose valid works of art. Furthermore, photography ought to be a beneficial influence on other arts and general culture (Rosenblum 46). Given that beauty is a critical element anticipated from an inventive creation, and the fact that it is as an effect of taste, tweak, genius, devoutness and intellect. Therefore, abilities that are not found within meticulously detailed visual representations generated by machines can never contend with the fine art. This remains true no matter whether such a creation has a role to play in the world of art. Even though, some scholars recognize that the works of some particular photographers contain the substance and style associated with art. They still believe that the appeal in photography generates a tendency towards the mundane rather than the ideals. It is in no doubt that practical applications of photography extend into virtually every single human endeavor. Thus, photography propels people imagination into the realm of components that are unseen for the reason that they are too aloof or too trifling for detection by open eyes. This also applies to events that take place too fast for recognition by the human eye. However, it is notable in all these instances that the photography needs no fancy or inspiration since the photographic object is ready-made and does not need manipulation by the professional photographer. Even though, a photograph can harbor a strong sense of measure and authenticity, there is no guarantee that photographs can never lie. In fact, they can be manipulated and falsified to achieve the desired goal.   There was a lot of interest in more conceptual photography, especially in the 20th century, in the sense that photographs were close to fine art since they were considered irreproducible. However, there is a significant adjustment underway in the manner that the photography along with its value is perceived. It is plausible that there is much more of a certain overlap currently between modern and traditional photography and the greater modern and contemporary market for art. All in all, it is precise to say that the gap between fine art photography and the other fine art market cannot be closed fully (Graham 176). With the dawn of information communication technology, it is plausible that the technology has blurred the variation between fine art photography and fine art paintings. Photographers can now create super-realist paintings, but with much effort, while photographers easily build impressionistic photographs of fine art. Due to these capabilities, there has been some considerable acceptance that photography can be accorded some legitimacy as a discipline of fine art. This explains why almost every well known museum and art gallery has dedicated several sections of their exhibitions to photographic art. The development and advances of new technologies, as well as new aesthetic theories coupled with the advanced role of photography as a marketable element has influenced the manner in which the medium is now utilized and perceived. When it comes to fine art, the idea of purity does not only place emphasis on the formal elements of the scene. Rather, it emphasis an ideal imaging that has critical implications for a belief in an ideal visual form (Graham 168). In summary, it is notable that the very idea of making an image into an art remains a dominant aspect of art photography. Hence, it feeds into the endless arguments concerning a conceptual idealization of form that seeks a realization of fine art that is free from all representative systems. There is a strong belief that fine art represents an ingenious embodiment of thoughts and urbane ideas. In this regard, photography can be considered as a modest servant of science and fine art, just comparable to stenography and lithography. It is a medium that has not been able to surpass ‘external reality.’ Works Cited Clarke, Graham. The Photograph as Fine Art. Photography, 3 (2); 167-185. Rosenblum, Naomi. A World History of Photography. New York: Abbeville Press Publishers, 2007. Print Wells, Liz. Photography: A Critical Introduction. New York: Psychology Press, 2004. Print Read More