{"id":1609,"date":"2017-03-08T23:21:04","date_gmt":"2017-03-08T18:21:04","guid":{"rendered":"http:\/\/cgauthier.ca\/en\/?p=1609"},"modified":"2017-03-09T23:29:59","modified_gmt":"2017-03-09T18:29:59","slug":"beauty-stardards-in-photography","status":"publish","type":"post","link":"https:\/\/blog.cgauthier.ca\/en\/2017\/03\/08\/beauty-stardards-in-photography\/","title":{"rendered":"Beauty Norms and Stardards in Photography"},"content":{"rendered":"<p><strong>Venus and Adonis, 2nd Part<\/strong><\/p>\n<p>Standards of Beauty in photography<\/p>\n<p>According to the major principles of the greco-roman aesthetic values<\/p>\n<p><strong>Part 2 Discussion<\/strong><\/p>\n<p>Refer to the Part 1 of this discussion:\u00a0<a href=\"http:\/\/blog.cgauthier.ca\/2017\/02\/25\/histoire-de-beaute-umberto-eco\/\" target=\"_blank\">Histoiry of Beauty by Umberto Eco<\/a><\/p>\n<h3>The ideals of Beauty of ancient Greece<\/h3>\n<ul>\n<li>A\u00a0balance between the realistic representation of Beauty, especially that of human\u00a0body<\/li>\n<li>Comply\u00a0to a specific canon, similar to the rules in the musical composition<\/li>\n<li>Research an ideal of Beauty. in harmony with the body and soul: synthesis between the beauty of the forms and the goodness of the soul<\/li>\n<li>This beauty reaches its best expression in a static forms: movement is captured in a balanced expression<\/li>\n<li>An expressive simplicity is more desired that a wealth of details<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Vision of Beauty in the Ancien Greece<\/h3>\n<ul>\n<li>Confrontation between chaos and tranquillity\n<ul>\n<li>In the opposition of two contraries, only one represents perfection<\/li>\n<li>Harmony consists in the coexistance of two contraries in a continual tension<\/li>\n<\/ul>\n<\/li>\n<li>The more fair is the most beautiful<\/li>\n<li>Observe\u00a0the limits<\/li>\n<li>Nothing\u00a0more than the necessary<\/li>\n<li>Order and harmony<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Beauty in photography<\/h3>\n<ul>\n<li>Subjective vision<\/li>\n<li>No canon\n<ul>\n<li>Distortion caused by lenses do not maintain\u00a0proportions<\/li>\n<li>Perspective introduces distortions, according to the focal length of the lens<\/li>\n<\/ul>\n<\/li>\n<li>Principle of symmetry\n<ul>\n<li>A\u00a0beautiful face is symmetrical<\/li>\n<\/ul>\n<\/li>\n<li>Balanced composition<\/li>\n<li>Contrast and chaos<\/li>\n<li>beauty or illusion (appearance)<\/li>\n<li>An art of imitation in contrast to painting, a creative art<\/li>\n<li>semblance of knowledge (Sontag): the camera reveals a reality and hides much more that what it communicates<\/li>\n<\/ul>\n<p><a href=\"http:\/\/claudegau.blogspot.ca\/2017\/01\/jury-evaluation.html\" target=\"_blank\"><strong>Photography Assessement (Jury)<\/strong><\/a><\/p>\n<h3>Discussion Venus \/ Adonis pairs<\/h3>\n<div id=\"attachment_1570\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><img aria-describedby=\"caption-attachment-1570\" loading=\"lazy\" class=\"wp-image-1570 size-large\" src=\"http:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-53-1024x494.jpg\" width=\"1024\" height=\"494\" srcset=\"https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-53-1024x494.jpg 1024w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-53-300x145.jpg 300w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-53-768x370.jpg 768w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-53-700x337.jpg 700w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-53-1100x530.jpg 1100w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><p id=\"caption-attachment-1570\" class=\"wp-caption-text\">Robert Mapplethorpe<br \/> Lydia, Ken and\u00a0Tyler \u00a0 (1985) \u00a0\/ \u00a0\u00a0Thomas (1987)<\/p><\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_1571\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><img aria-describedby=\"caption-attachment-1571\" loading=\"lazy\" class=\"wp-image-1571 size-large\" src=\"http:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-23-1024x531.jpg\" width=\"1024\" height=\"531\" srcset=\"https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-23-1024x531.jpg 1024w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-23-300x156.jpg 300w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-23-768x398.jpg 768w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-23-700x363.jpg 700w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-06-23-1100x570.jpg 1100w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><p id=\"caption-attachment-1571\" class=\"wp-caption-text\">Richard Avedon<br \/>Nastassja Kinski \u00a0 (1981) \u00a0 \/ \u00a0Model, Dior Advertising<\/p><\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_1572\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><img aria-describedby=\"caption-attachment-1572\" loading=\"lazy\" class=\"wp-image-1572 size-large\" src=\"http:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-46-1024x521.jpg\" width=\"1024\" height=\"521\" srcset=\"https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-46-1024x521.jpg 1024w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-46-300x153.jpg 300w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-46-768x391.jpg 768w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-46-700x356.jpg 700w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-46-1100x560.jpg 1100w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><p id=\"caption-attachment-1572\" class=\"wp-caption-text\">Herb Ritts\u00a0<br \/>Stephanie Seymour Cindy Crawford Christy Turlington Tatjana Patitz Naomi Campbell \u00a0(1989) \u00a0 \/ Fred and tires\u00a0(1984)<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_1574\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><img aria-describedby=\"caption-attachment-1574\" loading=\"lazy\" class=\"wp-image-1574 size-large\" src=\"http:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-04-20-1024x537.jpg\" width=\"1024\" height=\"537\" srcset=\"https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-04-20-1024x537.jpg 1024w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-04-20-300x157.jpg 300w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-04-20-768x403.jpg 768w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-04-20-700x367.jpg 700w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-04-20-1100x577.jpg 1100w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><p id=\"caption-attachment-1574\" class=\"wp-caption-text\">Helmut Newton, \u00a0Dyptic \u00a01981<br \/>Elles arrivent, Vogue, French Edition\u00a0 \u00a0 \/ \u00a0Mardi Reid by Claude Gauthier<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_1573\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><img aria-describedby=\"caption-attachment-1573\" loading=\"lazy\" class=\"wp-image-1573 size-large\" src=\"http:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-13-1024x530.jpg\" width=\"1024\" height=\"530\" srcset=\"https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-13-1024x530.jpg 1024w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-13-300x155.jpg 300w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-13-768x397.jpg 768w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-13-700x362.jpg 700w, https:\/\/blog.cgauthier.ca\/wp-content\/uploads\/2017\/03\/2017-03-04_17-05-13-1100x569.jpg 1100w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><p id=\"caption-attachment-1573\" class=\"wp-caption-text\">Robert Mapplethorpe<br \/> Lisa Lyon, Culturist (1980) \u00a0 \/\u00a0\u00a0 Thomas \u00a0(1987)<\/p><\/div>\n<p>&nbsp;<\/p>\n<p><em>Reference :<\/em><\/p>\n<h3><a href=\"https:\/\/en.wikipedia.org\/wiki\/Pictorialism\" target=\"_blank\">Pictorialism<\/a><\/h3>\n<p>Pictorialism is the name given to an international style and aesthetic movement which has dominated photography during the end of the 19th to the beginning of the twentieth century. There is no standard definition of the term, but in general it refers to a style in which the photographer has in some way manipulated what would otherwise be a simple photograph in a way to &#8220;create&#8221; an image rather than simply recording it. Typically, a pictorial photography appears in the absence of a clear focus (some more than others), and printed in one or several other colors that the black and white (ranging from warm brown to dark blue). It may have brush strokes visible or other manipulation of the surface. For a pictorialist, a photograph, in opposition to as a painting, a drawing or an engraving, is a way of projecting a emotional intent.<\/p>\n<p>Pictorialism as a movement has evolved between 1885 and 1915, although it remained in in vogue with some photographers until the end of the 1940. It is a response to the opinion that a photograph was nothing other than a simple recording of the reality, transformed into an international movement aimed to improve the condition of photography as a genuine form of art.<\/p>\n<p>The influence of pictorialism has gradually declined after 1920. During this period, the new style of photography, the modernism emerged and the precision of the images became an element of interest.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Reference<\/strong>:<\/p>\n<p>Anthology: History of the Beauty, by Umberto Eco<\/p>\n<p><a href=\"http:\/\/www.creative-wisdom.com\/photography\/photo_essay\/aesthetics.html\" target=\"_blank\">Aesthetics of Photography<\/a>\u00a02004, Chong-Ho Yu<\/p>\n<p><a href=\"http:\/\/www.susansontag.com\/SusanSontag\/books\/onPhotographyExerpt.shtml\" target=\"_blank\">On Photography<\/a>, 1977, Susan Sontag<\/p>\n<p>Beauty in Photography, 1981, Robert Adams<\/p>\n<p>Looking at photographs, 1973, \u00a0John Szarkowski<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Venus and Adonis, 2nd Part Standards of Beauty in photography According to the major principles&#8230;<\/p>\n","protected":false},"author":3,"featured_media":1575,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[207],"tags":[215,226,205,225,224,223,214,216],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v15.8.2 - 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