Visual Communication

The Power of the Lens

Dr. Shivendu Kumar Rai
Mr. Karan Singh

Visual
Communication
The Power of the Lens

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Mr. Karan Singh
Visual Communication
The Power of the Lens

Edited by
Dr. Shivendu Kumar Rai
Head of Department
Department of Journalism and Mass Communication
TIAS, GGSIPU, New Delhi

Mr. Karan Singh

Assistant Professor
Department of Journalism and Mass Communication
School of Journalism and Mass Communication
K.R. Mangalam University, Gurugram

This edition published by

IJMRA Publication First Impression: June 2023

 Visual Communication: The Power of The Lens

IJMRA Publications
All Right reserved. No Part of this publication may be reproduced or
transmitted in any form or by any means, electronic or mechanical,
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action on or refraining from action as a result or the material in this
publication can be accepted by IJMRA publications or the
author/editor.

Visual Communication: The Power of the Lens

Published by:
IJMRA Publication
International Standard Book Number (ISBN):
“978-93-91022-13-6”
USA office:
5913 Warren Ridge Dr, Bakersfield
California, USA – 93313

Disclaimer: The Contents of the book Visual Communication: The

power of the Lens is Edited by the Editor Dr. Shivendu Kumar Rai and Mr.
Karan Singh. The originality, authenticity of the papers, the interpretation
and views expressed therein are the sole responsibility of the authors.
Although every care has been taken to avoid errors and omission, this
compendium is being published on the condition and understanding
that the information given in the book is merely for reference and must

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 Visual Communication: The Power of The Lens

not be taken as having authority of or binding in any manner on the

author (s), editor(s) of publisher.
The publisher believes that the content of this book does not existing
copyright/intellectual property of others in any manner whatsoever.
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expenses in this connection are to be borne by the purchaser.

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 Visual Communication: The Power of The Lens

Preface

Experience the transformative power of the lens with "Visual

Communication: The Power of the Lens." Discover the mesmerizing realm
of visual communication as we embark on a journey to uncover the
profound impact of the lens on our perceptions, experiences, and
interactions with the world. Join us in this book and explore the
captivating power of visual storytelling.
In our modern, fast-paced world, the impact of visual
communication cannot be overstated. With society becoming
increasingly visually oriented, the ability to convey messages through
images has become more crucial than ever before. Experience the
power of visual storytelling firsthand. From the pages of your favorite
magazines to the endless scroll of social media, captivating photographs
and mesmerizing videos have the ability to inform, inspire, and captivate
like no other medium.
The lens is not just an accessory. It's a gateway to a world of endless
possibilities, whether it's attached to a camera or incorporated into our
everyday devices. With its power to capture moments, freeze time, and
immortalize memories, it's no wonder that it has become an
indispensable tool in our lives. The lens goes beyond mere technical
functionalities, possessing a remarkable ability to shape narratives,
convey emotions, and provoke thought.
Join us on an exciting journey as we delve into the intricate world of
visual communication. Discover the fundamental principles and
techniques that elevate visuals to new heights of effectiveness and
allure. Explore the art of composition and color theory, and learn how to
craft captivating visual narratives through the power of graphic design

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 Visual Communication: The Power of The Lens

and visual storytelling. Explore the impact of visual communication across

diverse industries such as advertising, branding, journalism, art, and
education.
We delve deeper into the ethical implications of visual
communication. Through our exploration, we'll uncover how the lens can
shed light on the truth while also potentially distorting it. In today's world,
where image manipulation tools are ubiquitous and fake news is on the
rise, it is imperative to comprehend the immense influence of the lens
and its ability to shape our perceptions and convictions.
Explore the fascinating world of visual communication with our
comprehensive and thought-provoking book. Whether you're a student,
a creative professional, or simply curious about the subject, our book is
designed to provide you with a deep understanding of this exciting field.
Discover the true potential of the lens and its ability to shape our visual
encounters as you delve into the pages ahead.
Embark on a mesmerizing journey with me as we delve into the art
of captivating imagery, decode the complexities of visual
communication, and acknowledge the profound influence of the lens in
our constantly evolving world.

Embark on an exciting journey today!

Editorial Team

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 Visual Communication: The Power of The Lens

About the Book

"Visual Communication: The Power of Lens" is an insightful and

comprehensive book that explores the profound impact of visual
imagery in the realm of communication. The book delves into the
principles, techniques, and significance of visual communication,
emphasizing the crucial role that the lens plays in capturing and
conveying powerful messages.
Chapter 1: The History of Photography: A visual Journey
It provides a comprehensive overview of the evolution of
photography. Through a visually stunning collection of photographs and
engaging narratives, it invites readers to embark on a captivating
journey through time, gaining a deeper appreciation for the artistry,
technological advancements, and societal significance of this
influential medium.
Chapter 2: Digital Photography Trends
The chapter explores the latest developments and emerging trends
in the world of digital photography. It highlights the technological
advancements, creative techniques, and changing practices that are
shaping the way we capture, process, and share photographs in the
digital age. It aims to provide readers with valuable insights into the
current landscape of digital photography and offer a glimpse into its
future trajectory.
Chapter 3: Cross Media Photography based on Visual Communication
Design
The chapter explores the intersection of photography and visual

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communication design in a cross-media context. It delves into how

photographers can leverage their visual storytelling skills and apply them
across various mediums, including print, digital, and interactive
platforms. This chapter aims to provide readers with insights into the
principles and strategies of cross-media photography and its role within
the broader field of visual communication design.
Chapter 4: Visual Communication Design and Image Processing
The chapter examines the relationship between visual
communication design and the field of image processing. It enquires
about how image processing techniques and technologies can be
utilized to enhance visual communication, create impactful designs,
and convey powerful messages. This chapter aims to provide readers
with insights into the integration of image processing in the practice of
visual communication design.
Chapter 5: Photography and Ethics
The chapter on "Photography and Ethics" delves into the ethical
considerations and responsibilities that photographers face in their
practice. It explores the moral implications of capturing, editing, and
sharing images, emphasizing the need for ethical awareness and
conscious decision-making. This chapter aims to provide readers with a
deeper understanding of the ethical dimensions of photography and
foster a thoughtful approach to the medium.
Chapter 6: The Art of Story-telling through Photography
The chapter on "The Art of Storytelling through Photography"
explores the narrative potential of photography as a powerful medium
for storytelling. It delves into the techniques, strategies, and creative
approaches that photographers can employ to craft compelling visual
narratives. This chapter aims to inspire readers to harness the art of

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storytelling through their photography, allowing them to convey

messages, evoke emotions, and engage viewers on a deeper level.
Chapter 7: Exploring the Art of Night Photography: Capturing Powerful
Impressions
The chapter on "Exploring the Art of Night Photography: Capturing
Powerful Impressions" dives into the fascinating realm of photographing
in low-light conditions. It delves into the unique challenges and creative
opportunities that arise when capturing images at night. This chapter
aims to inspire and guide photographers in mastering the art of night
photography, enabling them to create captivating and visually striking
images that leave a lasting impression.
Chapter 8: The Fine Line between Transparency and Sensitivity
The chapter on "The Fine Line between Transparency and Sensitivity"
talks about the delicate balance that photographers must navigate
when capturing and sharing images that deal with sensitive subjects. It
explores the ethical considerations, responsibilities, and challenges
associated with maintaining transparency while respecting the dignity,
privacy, and emotional well-being of the individuals or communities
depicted.
Chapter 9: Photography and Painting: Two Different Expressions of Art
The chapter on "Photography and Painting: Two Different
Expressions of Art" explores the unique characteristics, techniques, and
creative processes that distinguish photography and painting as distinct
forms of visual expression. It delves into the similarities and differences
between these two art forms, examining how they communicate ideas,
evoke emotions, and capture the essence of the subject matter. This
chapter aims to provide readers with a deeper understanding of the
artistic qualities inherent in both photography and painting and

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encourages an appreciation for their individual strengths and creative

possibilities.
Chapter 10: The Rise of Digital Photography: How It Changed
Photography Techniques
The chapter on "The Rise of Digital Photography: How It Changed
Photography Techniques" explores the transformative impact of digital
technology on the field of photography. It delves into the
advancements, innovations, and new techniques that emerged with
the advent of digital photography. This chapter aims to provide readers
with insights into how digital technology has revolutionized the way
photographers capture, process, and share images, opening up new
creative possibilities and changing the landscape of the medium.
Chapter 11: Ethical Visual Storytelling: A Toolkit for Protecting the Dignity
of Subjects
The chapter on "Ethical Visual Storytelling: A Toolkit for Protecting the
Dignity of Subjects" delves into the ethical considerations and
responsibilities that photographers and visual storytellers face when
depicting individuals or communities. It provides a comprehensive toolkit
of principles, strategies, and practices for ensuring that the dignity,
privacy, and well-being of the subjects are respected throughout the
storytelling process. This chapter aims to equip readers with the
necessary tools and knowledge to engage in ethical visual storytelling
that upholds the rights and dignity of the individuals they portray.
Chapter 12: The Impact of Digital Photography on Photography Methods
The chapter on "The Impact of Digital Photography on Photography
Methods" explores the significant influence of digital technology on the
methods and practices employed in the field of photography. It delves
into the advancements, tools, and techniques made possible by digital

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photography, revolutionizing the way photographers capture, process,

and share images. This chapter aims to provide readers with insights into
the transformative effects of digital photography on traditional
photography methods and encourages the exploration of new creative
possibilities in the digital era.
Chapter 13: Photography in the 1800s: A Changing Visual Landscape
This chapter explores the emergence and development of
photography during the 19th century. It delves into the transformative
impact of this revolutionary medium on the visual arts, society, and our
perception of the world. This chapter aims to provide readers with
insights into the key advancements, notable figures, and cultural shifts
that shaped photography during this pivotal period in its history.
Chapter 14: The World through a Photographer's Lens
The chapter on "The World through a Photographer's Lens" delves
into the unique perspective and creative vision that photographers
bring to their craft. It explores the ways in which photographers capture
and interpret the world around them, conveying their personal
experiences, emotions, and observations through their lens. This chapter
aims to provide readers with insights into the art of photography,
celebrating the diverse perspectives and narratives that photographers
offer, and inspiring a deeper appreciation for the power of visual
storytelling.
Chapter 15: The Latest Trends in Wedding Photography
The chapter on "The Latest Trends in Wedding Photography"
explores the evolving landscape of wedding photography and
highlights the emerging trends and innovative techniques that are
reshaping this specialized genre. It delves into the creative approaches,
styles, and technological advancements that are transforming how

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wedding moments are captured and preserved.

Chapter 16: The Pandemic through the Lens of Photojournalism
The chapter on "The Pandemic through the Lens of Photojournalism"
explores the powerful role of photojournalism in documenting and
capturing the impact of the global COVID-19 pandemic. It delves into
the experiences of photojournalists on the frontlines, their challenges,
and the stories they tell through their compelling images. This chapter
aims to provide readers with insights into the unique perspective and
contribution of photojournalism in chronicling the pandemic, shedding
light on its social, economic, and emotional ramifications.
Chapter 17: The Power of Visual Storytelling in a Digital Age
The chapter explores the transformative impact of digital
technology on the art of visual storytelling. It delves into the creative
possibilities, innovative techniques, and evolving platforms that have
emerged in the digital era, allowing storytellers to engage and
captivate audiences in new and dynamic ways. This chapter aims to
provide readers with insights into harnessing the power of visual
storytelling in the digital age, enabling them to craft compelling
narratives that resonate with viewers across various digital platforms.
Chapter 18: Photography: A Powerful Tool for social media
The chapter explores the significant role that photography plays in
the context of social media platforms. It delves into the ways in which
photography has become an essential and influential component of
digital communication, allowing individuals and brands to connect,
engage, and convey messages to a global audience. This chapter aims
to provide readers with insights into the unique power of photography in
the realm of social media and how to leverage its potential to create
meaningful and impactful online content.

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Chapter 19: Reflexive Photography in Encouraging Tourism

The chapter explores the role of reflexive photography in promoting
and enhancing tourism experiences. It delves into the concept of
reflexive photography as a means to encourage a more mindful and
immersive approach to travel, where photographers engage with the
destination, its culture, and its people in a meaningful and respectful
manner. This chapter aims to provide readers with insights into the
potential of reflexive photography to inspire responsible and sustainable
tourism practices, foster cultural appreciation, and create authentic
connections between travelers and the places they visit.
Chapter 20: Culture through the Lens
The chapter on "Exploring Culture through Photography" examines
the significant influence of photography in documenting and
comprehending diverse cultures worldwide. It delves into how
photography acts as a potent tool for exploring, representing, and
preserving culture. The objective of this chapter is to offer readers a
deeper understanding of photography's role in capturing the essence
of culture, fostering cross-cultural understanding, and celebrating the
diverse and abundant human heritage.
Chapter 21: Fashion and Visual Communication: The Art of Conveying
Style
This chapter explores the relationship between fashion and visual
Communication. The fashion industry is a vibrant and dynamic one that
constantly changes as a result of trends, cultural influences, and
individual preferences. The ability to interact and engage among
designers, companies, and customers is made possible by visual
communication, which is essential in conveying the essence of fashion.
This chapter delves into the numerous components and mediums that

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go into the visual depiction of style and examines how fashion and visual
communication interact.

Dr. Shivendu Kumar Rai

Date-20-06-2023

***************

[xii]
 Contents

S.NO Paper Title and Author Name Page No.

1 Preface iii

2 About the book v

1
The History Of Photography: A Visual Journey
3
Ms. Aastha Tandon, Mr. Karan Singh, Assistant Professor

Digital Photography Trends 16

4
Ms. Gauri Joshi, Assistant Professor

Cross Media Photography based on Visual 44

5
Communication Design
Ms. Adity Agrawal, Assistant Professor

Visual Communication Design and Image Processing 59

6
Ms. Surbhi Agrawal, Assistant Professor

Photography and Ethics

75
7 Mr. Neeraj Singh Mehta, Mr. Karan Singh, Assistant Professor,
Dr. Shivendu Kumar Rai, Assistant Professor

8 The Art of Storytelling Through Photography 88

Ms. Rebecca Mary Reji, Mr. Karan Singh, Assistant Professor

Exploring the Art of Night Photography: Capturing 95

9
Powerful Impressions
Ms. Navyosha, Mr. Karan Singh, Assistant Professor
S.NO Paper Title and Author Name Page No.

10 The Fine Line Between Transparency and Sensitivity 108

Ms. Himanshi Kochar, Mr. Karan Singh, Assistant Professor

11 Photography and Painting: Two Different 119

Expressions of Art
Mr. Himanshu Sharma, Mr. Karan Singh, Assistant Professor

12 The Rise of Digital Photography: How It Changed 132

Photography Techniques
Ms. Sneha Shrivastava, Mr. Karan Singh, Assistant Professor

13 Ethical Visual Storytelling: A Toolkit for Protecting 143

the Dignity of Subjects
Ms. Prerna Singh, Mr. Karan Singh, Assistant Professor

14 The Impact of Digital Photography in Photography 155

Methods
Ms. Iram Parveen, Mr. Karan Singh, Assistant Professor

15 Photography in the 1800s: A Changing 165

Visual Landscape
Ms. Sakshi Shukla, Mr. Karan Singh, Assistant Professor

16 The World Through a Photographer's Lens 179

Ms. Garima, Mr. Karan Singh, Assistant Professor

17 The Latest Trends in Wedding Photography 195

Mr. Kenneth Macknight, Mr. Karan Singh, Assistant Professor

18 The Pandemic Through the Lens of Photojournalism 207

Mr. Joy Atul Kerketta, Mr. Karan Singh, Assistant Professor
S.NO Paper Title and Author Name Page No.

19 The Power of Visual Storytelling in a Digital Age 217

Mr. Khushal Malhotra, Mr. Karan Singh, Assistant Professor

20 Photography: A Powerful Tool for social media 238

Ms. Tanishka Sharma, Mr. Karan Singh, Assistant Professor

21 Reexive Photography in Encouraging Tourism 245

Mr. Ravi Kumar, Assistant Professor

22 Culture Through the Lens 258

Ms. Riya Nandal, Mr. Karan Singh, Assistant Professor

23 Fashion And Visual Communication: 268

The Art of Conveying Style
Ms. Akanksha Kumawat, Ms. Yashasvi Rajawat ,
Assistant Professor Assistant Professor

***************
 Visual Communication: The Power of The Lens

Photography and Painting: Two Different

Expressions of Art
Mr. Himanshu Sharma (1)
Mr. Karan Singh, Assistant Professor (2)

Introduction
Photography and Drawing are both renowned creative forms.
Beautiful, evocative, and potent are all possible qualities of a well-done
picture or photograph. We'll examine the parallels and contrasts
between photography and drawing in this article. A painting is a work
of art that is made by putting colours on a flat surface. On a surface,
often a canvas, an artist uses paint or another substance to create
artwork. The term "painting" describes both the creation of a painting
and its finished appearance. Using a camera to capture light and
pictures is called photography. This process creates a photograph,
which is an image that may be printed on paper or copied digitally.
The distinctions between a painting and a picture are numerous.
The viewer will typically be able to distinguish a photograph from a
painting with ease. (Hyperrealism painting can be the exception.) The
creative process itself is one of the key distinctions between a drawing
and a photograph. A blank board will serve as the artist's starting point.
However, a lot of photographers work with the existing lighting and the
scene they have. Studio photography is an exception, where

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photographers are permitted to set up on a plain scene.

Painting is viewed by artists as an additive process because it
produces something from nothing. However, since photographers
reduce a three-dimensional reality to its distilled, flat, and potent
essence in a two-dimensional picture, photography can be viewed as
subtractive.
Painting has the potential for impressionism or can be completely
abstract, whereas photography is typically realistic. Paintings can
interpret scenes, emotions, or feelings in any way they choose and are
not limited to depicting how things truly appear. Though it is less
prevalent, photography can be impressionistic or abstract.

Photography and Painting

The same basic components of visual art are used in both drawing
and photography. Space, line, colour, harmony, depth, texture, and
other factors are among them. Any excellent work of art has a shared
knowledge of each of these elements and incorporates them into its
production processes. Fine art painters and fine art photographers both
have the ability to convey themselves through their work. Consequently,
it is possible to classify both drawing and photography as fine arts.
Drawing, painting, and sculpture were the only forms of fine visual arts
for ages. The introduction of photography in the mid-nineteenth century
significantly altered the world of fine art.
Photography has certainly surpassed art in many areas of life, but it
has never completely replaced painting. Prior to the development of
photography, artists would depict any scene or item in paintings or
drawings. Paintings capture a period in time, a portrait, or a scene of a

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family. Photography made it unnecessary to use art as documentation.

Paintings were labour- and time-intensive to produce, and they lagged
behind photography in terms of realism and precision. Additionally, the
cost of producing paintings made them accessible only to a select few
members of the upper class. In many ways, photographs democratised
art and the visual picture. In fact, when photography was a young
medium, art was in danger. Painting is dead, notably said artist Paul
Delaroche upon the invention of photography in 1839. Delaroche would
be shown to be mistaken, though. Paintings were replaced by
photography as a reliable method of recording, but rather than
disappearing, paintings evolved into new forms and aesthetics. These
creative forms serve different purposes. While a painter makes pictures,
a photographer documents life and special moments. One critic will
always hold the opinion that one form or style of art is better than
another because art is always a subjective subject. The "best" painting,
however, ultimately comes down to personal preference.

People Think Painting Is More Interesting Than photography

Even if fine art photography is still a highly regarded creative
medium, photography in general has become more common,
especially in this hyper-digital age. Because of this, some critics and
collectors of fine art think that painting is superior to or more complex
than photography. Compared to a photograph, which is more
generally available, an artwork is rarer and more distinctive. However,
both types of work are engaging and deserving of praise.
Painting is more expressive. Unlike photographers, painters may
utilise their brushstrokes, colours, and arrangement to produce more

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emotionally charged artwork. Paintings can convey movement or

energy, for instance, by using thick, impasto brushstrokes, or calmness or
tranquilly by using gentle, blended brushstrokes.
Painting is more intimate because it allows artists to express their
personal worldview and experiences through their work. A painter could
depict a scene from their youth or a loved one in a portrait, for instance.
Additionally, they may use their paintings to examine their own feelings,
ideas, and worldviews. Unlike pictures, which are sometimes more
transient, paintings may remain for decades. This is attributed to the
reality that paintings are produced using materials that are stronger than
images, such as paper and film. Paintings can thus be passed down from
one generation to the next and can be admired by people long after
the artist who made them is no longer present. There are more original
paintings than photos in existence, making paintings more uncommon.
This is due to the fact that paintings require more time and money to
produce than pictures. Because of this, original paintings are sometimes
worth more than photographs.

Painting is harder than photography

A picture or photo can be made by anyone. But it takes a great
deal of talent and skill to produce genuinely stunning, distinctive, and
significant artwork. Artists must grasp a few fundamental skills and
techniques for both fine art painting and photography.
While using a contemporary digital camera may seem simpler than
using brushes to paint, a true photographer must be skilled in
composition, development, and post-production editing. Both high-
level photography and painting are difficult to perfect. The ability to

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record numerous frames and produce multiple prints is a benefit of

photography. A painter, however, is more constrained by their original
creations and has less room for error.

Painting And Photography Go With Each other

Although painting was originally threatened by photography, the
two have successfully coexisted for the past century. Since the invention
of photography in 1839, the connection between these two media has
produced positive results. Photographers liberated painters from the
restrictions of representing truth in many ways. It is clear that the
development of photography encouraged artists to experiment with
impressionism and abstraction. A few decades after the invention of
photography, there was a time of rapid change and artistic
advancement. Paintings can be a source of inspiration for
photographers looking for new ideas and methods. Many artists,
including David Hockney, work in both disciplines, incorporating
computer editing and other methods to add painting and drawing
techniques to photographs.

Photography Versus Painting

Painting is pushed away by photography. Painting fights back and
is unwilling to give up. This is how the conflict should be seen: it began
one hundred years ago with the invention of the camera and won't be
resolved until photography has ultimately displaced painting from its
position in society. The shooters' credo was accuracy, haste, and
affordability. They had these benefits. They could go up against artists
here, especially when it comes to pictures. The degree of accuracy in

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replication that the camera is capable of surpasses that of even the

most talented painter. Even the fastest painter cannot complete a
picture in a short amount of time.
Although photography does not yet accurately reproduce colour,
at least it does not misrepresent an item by using the incorrect colours.
And it's important not to undervalue this benefit.
The most perceptive and forward-thinking artists have understood
for a long time that accurate colour reproduction is not at all simple and
that the rules of painterly colouring are not the same as those of reality.
"Precision is not the ultimate aim," they proclaimed. Landscapes,
replicas, and genre images were taken. The same advertisement for
accuracy, speed, and affordability was on each one. The risk was
evident to the painters. Photographic success was tremendous. It was
necessary to act right away. A more potent counterattack was
launched. Cheapness and quickness were difficult to combat. The
camera operates more swiftly and affordably. Precision is debatable.
So, this was the focal point of the assault.
Photography is black and white, as is painting. This indicates that
painting is unmatched in this regard and more accurately reproduces
an item. The painter debated in this manner, and the buyer needed to
be persuaded of this. But many people today still believe that the artists
were mistaken. It is accurate that we see objects in colour in real life,
and a painting uses colours to depict these things. However, they are
distinct from nature and not the same as her. Painting can only roughly
replicate a hue we see in nature; it cannot accurately transpose actual
colours. And the issue is fundamental to the very essence of a painter's
work, regardless of how talented they may be. Oil, water colour, and

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other colour mediums used by painters have a different impact on our

eyes than light rays, which give things their various colours. No matter
how hard they try, painters are limited by the palette's limited range of
colours. He or she is unable to convey in a picture the colours that actual
things have, either in terms of quantity or quality. Although photography
does not yet accurately reproduce colour, at least it does not
misrepresent an item by using the incorrect colours, and it's important
not to undervalue this benefit. The most perceptive and forward-thinking
artists have understood for a long time that accurate colour
reproduction is not at all simple and that the rules of painterly colouring
are not the same as those of reality. "Precision is not the ultimate aim,"
they proclaimed.
It is clear that the painter's job is not to depict an item as it is but to
recreate it in a painting using unique, wholly artistic rules. What does it
matter to us how something looks? We, the painters, create images in
which nature is not the topic but simply an initial impetus for ideas. Let
observers and photographers deal with that. In fact, the painter is
practically required to alter reality; otherwise, he is merely a poor
copyist—a photographer—instead of being a painter. Since life cannot
be accurately captured in a picture and cannot be imitated, it must be
recreated on canvas in a unique, artistic manner. The theories and styles
of art that have developed since the middle of the 19th century under
the names of Impressionism, Cubism, Suprematism, and many others are
based on this concept. Painting and photography clearly differed after
the artists rejected the notion of reproducing nature. They couldn't be
compared because they each had unique responsibilities. Every person
completes their own job. Photographers document reality, while

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painters create images. A painting assigns an item a deliberately

different, unreal colour, while a photograph transmits no colours at all.
Everything seems to be in order. However, in Soviet Russia, an
intriguing artistic phenomenon can be seen, namely the painters'
attempts to reclaim their former places and their pursuit of a reality-
based reproduction in accordance with photography. The AKhRR's
actions demonstrate this. (Association of the Visual Artists of
Revolutionary Russia) This phenomenon's social origins are clear: The
need for a visual document of the new life is extremely pressing. Second,
a large number of painters changed their creative direction because no
one wanted to purchase their works; and third, far fewer art-conscious
consumers cannot tell the difference between an exact replica and an
approximation. The AKhRR's effort to revive so-called painterly realism is
totally futile. In a discussion, one of the AKhRR representatives said,
"Realistic painting is necessary as long as photography is not sufficiently
developed in this country." This phrase, "as long as," encapsulates the
essence of what the AKhRR does.
Compared to a painter, a photographer can capture life and
events more swiftly, cheaply, and accurately. His strength and enormous
social significance rest in this. Furthermore, he is unafraid of any
disregarded scrawl. The photographers themselves, however, are
unaware of their societal significance. They are aware that they are
performing a necessary and significant job, but they mistakenly believe
that they are merely artisans—lowly labourers distinct from painters and
artists. The photographer is very taken aback by the fact that the painter
doesn't work on commission but rather for himself, that the paintings are
displayed in grand exhibitions with varnishing days, catalogues, music,

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buffet food, and speeches, that lengthy essays giving a precise analysis
of composition, structure, brushwork, and colour scale are written on
each picture by each painter, and that such exhibitions are regarded
as cultural events.
The photographer is unaware of how his slavish imitation of painting
and pursuit of painterly attitudes ruin his craft and undermine the
forcefulness that underpins its social significance. He abandons the
accurate replication of nature and acquiesces to artistic rules that
distort this very nature. The photographer aspires to the same level of
respect in society that painters receive. This desire is entirely reasonable.
However, it is realised when the photographer rejects the painter's craft
in favour of his own rather than copying the latter. If the photographer
adheres to the fundamental tenet of his trade, which is the capacity to
faithfully record nature, he will inevitably produce items that will have an
impact on the viewer on par with any artist, regardless of who he may
be. The photographer must demonstrate that vivid, everyday life itself,
as it is captured in a technically flawless image, is just as remarkable as
life that is organised in accordance with aesthetic laws. The
photographer earns his right to social recognition by fighting against the
aesthetic distortion of nature, not by futilely and painfully trying to copy
non-photographic models.
The only true route is not an easy one, but it is the one. It is difficult
because there is no philosophy of photography or of how to create
exceptionally accomplished photographs, either here or in the West.
Everything that is being written or said about the topic is boiled down to
a list of technical advice and guidelines or to pointers on how to create
painterly effects and alter the appearance of photographs. However,

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there are some painters and artists who have given up painting in favour
of photography. These individuals recognise that photography has its
own purpose, goals, and development, and some of them have already
made progress in this area.
Until photography as we know it was truly invented, painting and
photography had a very close relationship, regardless of how true that
may be. As the etymological definition of photography implies,
everything that was done with the camera obscura was "painting" or
"writing" with light in the strictest and even ontological sense. But before
the achievements of Niépce and others, photography was a transient
tool used in conjunction with other arts like painting and sketching.
Okay, but why is this important, or are we travelling so far in the past? It's
easy to identify the point at which these two objects and crafts
diverged.
Painting was primarily influenced by artists' desire to depict the
physical world before photography entered the picture. And while
some, like those by Hieronymus Bosch (1450–1516), Rubens (1577–1640),
and Blake (1757–1827), to name just a few, were quite out of this world,
others—like those by the hands of Leonardo, for example—achieved
unbelievable high degrees of reality with them. However, even they
used the laws of light and perspective to guide them as they worked.
And this "thing" has a name that has generated a lot of discussion, but
we'll get to that in a minute.
A few lines above those landscapes, still lifes, portraits, and
architecture were some of the major artistic and non-artistic painting
genres. However, from a practical standpoint, photography was better
equipped than painting to capture those subjects quickly and

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accurately. The love story then begins to become quite rocky. Visual
representations were extremely expensive before photography
became widely accessible, particularly fine-painted portraits. As
cellphones proliferated, a lot more people had access to pictures of
themselves. Family portraits—including those of some dead loved
ones—became common in the nineteenth century, but this was only the
start of a massive shift in visual culture. Painting, meanwhile, was
becoming irritated with this mechanical creation of modernity because
it dared to portray reality without putting forth the effort that painting
required of the great painters of the time's vision, mind, and hands. (As
Baudelaire might have seen it in 1856.)
Abstractions and minimal images can certainly be produced by
artists, but ultimately, they are nothing more than pictures that the
camera registers rather than works of photography. However, some
people, such as Man-Ray (1890–1976) and László Mogoly–Nagy (1895–
1946), came extremely close to it by creating photographic pictures
without the use of cameras at all. However, photography prevailed in
the struggle to capture the truth. And it all began in 1900 with the release
of this diminutive fellow, the Kodak Brownie Camera, which, at just $1.00,
was the equal of the Ford Model T from 1908 in terms of visual culture.
And as photography improved in terms of speed and optical
performance over time, it also became more widely available to the
general population.
When you think about it, photography was able to record events in
fractions of a second due to ever-faster shutter speeds and more light-
sensitive emulsions (better known today as what happens when
cranking up the ISO levels of our cameras). Why? Considering that it

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helped us understand just how much a second really is when filming

handheld, The humanist paradigm, one of the most significant in the
history of photography, was made possible by this possibility. which gave
rise to some of our favourite photographic subgenres, including
reportage, street photography, and social documentaries.
Photographers could now capture reality as it happened, rather than
just the results. Thanks to more light sources and quicker shutter speeds.
However, not all of photography's marvels are linked to high shutter
speeds; slower shutter speeds also revealed things that painting was
unable to do. (at least not in such a clear way). watching lengthy
stretches of time compressed into a single picture captured on film. Or
what else might you name those attractive long-exposure photography
results? Seriously, long-exposure images are too much for our brains and
eyes to process in real time, whether they show humans or nature. And
photography is able to accomplish that job with just a few simple settings
adjustments, perhaps a nicely dark ND filter, and a shutter release.

Conclusion
There are some unresolved dramas between painting and
photography, or, more specifically, between photography being art or
not. To cut to the chase, photography is not art. Like Magneto and
Xavier, painting and photography once had a close relationship that
ended due to a few significant events in each person's life. It is "effective
like trying to solve an algebra equation while chewing bubblegum" to
worry about whether or not photography is an art form (Luhrmann,
1999). What counts most is that your images can evoke strong aesthetic
experiences in the minds of viewers, experiences that can last a long

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time in their memories and ultimately have meaning for them. It all boils
down to the idea or purpose behind the pictures our cameras take,
regardless of your genre or artistic concerns.

References
1. Winter, What/When is a portrait?. Philadelphia: American
Philosophical Society, 2009; p. 153.
2. N. Rosenblum, A World History of Photography. New York: Abbeville
Press Publishers, 1984.
3. H. Napitsunargo, Curatorial Introduction for Revisiting Bandung: Four
Decades of Personal Approach in Photography. Wordpress. [cited 2021
Mar 1]4. Publishing House. 2008. (in Chinese) [2]
5. Sir E.H.Gombrich (UK). Art & Illusion. Hunan Science and Tec
hnology Press. 2006. (in Chinese).
6. Picker, Fred. 1974. Zone VI Workshop: The Fine Print in Black and White
Photography. USA: Amphoto.
7. Ritchin, Fred. 1990. 'Photojournalism in the Age of Computers.' Carol
Squires (ed) The Critical Image. London: Bay Press.

* The writer is Assistant Professor of the Department of Journalism and

Mass Communication at the School of Journalism and Mass
Communication, K.R. Mangalam University, Gurugram-122103, Haryana,
India.

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 Visual Communication
The Power of the Lens

Dr. Shivendu Kumar Rai is working as Head of the Department and

Assistant Professor in the Tecnia Institute of Advanced Studies,
Rohini, New Delhi. Before that, he worked as Assistant Professor in
Galgotias University, Greater Noida and Acting Dean & Assistant
Professor, Faculty of Professional Studies, Department of Journalism
and Mass Communication, Rama University, Kanpur (U.P.) He has
done Graduation in Mass Media (2011) from Jamia Millia Islamia
Central University, and Post-Graduation & M.Phil in Mass
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(Maharashtra).He has qualified UGC- NET examination twice in 2018 and 2019. He
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University, Gurugram (Haryana). He is MAJMC with UGC-NET
(2012), B.Ed. in Hindi & Social Science from MDU, Rohtak. He is
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filed visit for students, short film making competition, 50 hours Film making challenge,
Nukkad natak etc. He is also member of Newspaper Association of India.

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