Social Meanings of a photo - 2
June 22, 2009 by admin
Category Photo Meaning , the Media Seminars
Images used in the field of tourism according to their own city there is a language of expression, or expression pattern. For example, consider Istanbul, describing the photos to a tourist. The molds and the city's most modern structures of the city's ancient history and the underlying claim is usually gather together on this city is worth seeing, as well as worthwhile entertainment and shopping centers also claim that modernity and comfort. In short, urban culture of modernity describes the two elements (in terms of consumption and comfort) and historicity. Both a commercial city of the lens as the object of transferring the resulting marketable and consumable Accents. This form of expression and transmission, the words of Berger kusursuzlaştırılır city. Never poverty of the city, created an urban structure of social problems to hit dem. This narrative pattern and perspective, a social scientist, researcher or a journalist's view of the city or town of the social sensitivities of detection and expression of an artist who can have the same format. Below the form of two different approaches to Istanbul and which appeared with this approach will see the different styles of narration. First of all downloaded from a website which purports to be a tourist guide to see photographs of Istanbul.
Then Ara Guler, "Whew Istanbul" photograph exhibition, see Istanbul. There is indeed a striking contradiction between the two. Language of social sensitivity, artistic self ifadelendirmiştir İkincisindeki. This gives very different results narrative forms in Istanbul imported photos. As Berger put it, "but on the streets of a city, who lived in a kind of agony, paving stones, door sills, bricks, windows can realize what it means" (Berger, 1988: 29). Indeed, the Istanbul kaldırımlarıyla Güler's photographs, windows, and the city yaşayanlarıyla explained. Here, the intensity of the city's attractions are included in the urban residents and the city itself, independently of them emphasized that consist of a spatial view. The internal streets of the city, the daily events in people's attitudes and takes so many cases of this kind of scene photographs, in fact, historically, what 's left to be forgotten, ignored in a language containing gelineni protest hits and reminds us of our faces. This is due to the language of this kind of detailed ethnographic information, including photographs contain. 
Subcultures, Peasants, Workers, Women, etc.
As noted above, the photographs of the period, the city's cultural features, or detect the social sector in terms of materials considered as offering important evidence. However, looking at pictures, so these photos were taken and by whom to ask for what purpose, in other words, put them to read the historical and social ties are important. This is also based on social differences, and it also requires taking into account the social conflicts. For example, a colonizer of everyday life through the eyes of the colonial territory, or photograph is transferred to a city, one indigenous person will gaze very different results. Women, with women, colonizer locals, adult child, how citizens are reflected in peasant bakışındaki asymmetry or inequality perception and imagery?
The photographs of unequal relations of this type of issue (for example, led by men or women photographs taken by tourists as well as photographs of the east) or the encounter of meeting the most basic issue of differences. The encounter between cultures is possible, there may be between individuals with different locations within the same culture. Here, typically focusing on what was one of the mechanisms and processes typical of the variety of what is or is to reduce stereotypes. Once upon a time the children living in poverty in rural regions and the trip there and make no çekmeyenimiz photographs of people, I guess. Beyond the typical patterns are created through the eyes of the citizens here as there is a perception, rural poverty is also very doubtful that a genuine relationship established.
How the West is perceived by the villagers and urbanites Burke into how visual representations created this perception by examining images reveal peasant. It is known that the images of peasant urbanites are usually made by and for city dwellers. 12. descriptions contained in images from a century of peasant villagers grotesque (ie their rough, ugly, dirty, etc.). transfers in question. 15. and 16 Burke also be spread to these negative depictions century urbanization, the cultural distance between the urban and rural areas being opened increasingly acts as a proof. 18. and 19 centuries, the grotesque, this vahşileştirici ethnographic point of view or outlook attempts to replace the leaves of idealization. Community relations with the peasants in the villages have lost idealleştiren approach claim that the city is becoming of materiality. In images created with the ethnographic point of view what is more concerned with the negative approach, nor idealization. As rural life in an attempt to transfer the cold, distant, and try to establish an objective relationship. As can be seen here have both pictorial photographic images reflect the reality of us peasants, but rather say something about the relations between city and countryside, and evidence has been presented. Such comments, but these images is how, by whom, which is produced by looking at the historical circumstances and within the reach of social contradictions.
This kind of family album, as well as depictions of peasant dies in comparison with photographs taken by examining the social issues of children and family in such places, some conclusions can be drawn on. Keep working in children's clothing for one of the photos in the history of childhood photographs and attitudes and behaviors of children, and their positions so many cases involves a periodic variation in expression is expressed in many things. For example, photographs of children in the absence of a period or a lesser family albums, photographs, children gradually increased, and even for children, leaving the earth to open up separate albums for children and adults to begin the transition from child-centered culture may be the expression of a change in outlook in that direction. In addition, children in a manner almost identical to the elders, and they are in the style of clothing, its growing acceptance that there is a change in the seizure of the children may reflect the large ones, a separate identity (in this context, examines images of Burke's children be looked into).
Photos of War
Part of this culture is the culture of the material facts and the photos will be used to analyze the social differences and relations of inequality, where the expression patterns of the photos, and if people did not wear clothes photo çektirirken day, as they pose photo points should be considered. Here, those who offer us the most material of natural or instant picture. You need to be mentioned, especially documentary photography. Photography and reality are quite intense between the emphasis here. Also often used in newspapers, photographs, and assertion contained similar language can be said. Claim of objectivity in documentary photography, must be approached cautiously. Burke "documentary photography" of the term in America (documentary film shortly after the term) in the 1930s ordinary people, especially for scenes from the lives of the poor begin to use everyday specifies (Burke, 1988: 22). (Jacob Riis and Lewis Hine by artists such as Dorothea Lange's photographs are all examples of them.) However, looking at photos or reading eye to note that the only thing that's a quote from the photographer may not be what you chose, or how reality. When it apart from the technical language used in it are also important. For example, the message may include a photo texture. Here, too, may apply to some of the molds. Soft brown tones, or black and white photography is the language of nostalgia. Film historian Siegfried Kracauer says:
All the great photographers motif, angle, lens, filter, according to sağduyularına emulsion and free to choose their own treatment to the tissue (Siegfried Kracauer, Burke, 2003: over 23).
Furthermore, some type of documentary photographs, the photographer has gone beyond the angle, and choice-making related to technical jargon. For example, MV Rejlander famous celebrity photographer taking a picture of street children pose a trembling hand to give a child of five shillings rags Wolverhampton'lı büründürerek fired in the mud, and so attracted suggested that bulamış (Burke, 1988: 24).
Seen in the American Civil War photographs of corpses lying in front of the camera posing on some of the soldiers known to have asked (Timothy O'Sullivan and Alexander Gardner's "Harvest of Death" at the photo).
One of the most famous photographs of the Spanish Civil War, Robert printable PDF format "Death of a Soldier" in like manner with the originality of his controversial photograph. 
Why is all of these interventions? Try to resolve the reason for this in the context of war photographs. War photography was a painter before the war and some imagination, war, motion pictures are produced entirely narratings or painter, who made himself visited the area where the battle of the war. Mostly aim here was to create stories of heroism. Burke, 16 20th century century, the period from the Western depictions of war expresses the realization of two major changes. The first of them occurring in parallel with the development of military techniques instead of the general views of the war, and usually containing a particular account of the war strategies used in the war pictures in the prevalence kazanmasıydı imagine. Here, the art of war is a schematic view of the language used in books begins with appropriate narratives. Thus, the location of the war a regular appearance of chaotic motion, the depiction of warfare leaves that contain offensive and strategies. Burke orientation of this new idiom, "the audience is expected to take into the 'hot' to give information about the location of the descriptions 'cool' to leave descriptions as" comments.
The second big change is the move away from the epic approach "factual" or "anti-hero" has become a stylistic orientation. Although difficult to complete on this development, Burke works since the 1800s indicates that the stage of the horror of war. Especially in the 20th preserves its place in the epic narrative century, many painters and photographers when choosing an alternative style of civil, democratic and populist cultures and values are maintaining aging serdikleri revealing the horrors of war seen. As a result, we see all these photographs of the war itself, rather than how approximating the war. As Burke pointed out, epic narratives, for example, those who order them and they usually tablolarsa monarchs, generals, and that they produced for the expectations should be noted that these images. Interested in the humanitarian dimension of the phenomenon of counter-heroic photographs that photographers or film makers, and sometimes they also should be noted that the pressures on the newspaper editors or television channels. In other words, the photo is here again, the social and political differences and conflicts as well as photographs of others contextualizaton required. Those non-ideological differences between the ruling İktidardakilerle reflected in the use of photography and photography. Burke adds that despite this ideological formations:
Nonetheless, the images reveal a lot of importance skipped written reports. They are due to time or space away from the remaining audience, gives an impression about the experience of the different periods of war, but also the changing attitudes in the face of war is a witness to a dramatic way. (Burke, 2003: 169)
Icons and Portraits of Political Leadership
As mentioned above, the propaganda texts and visual images, and especially photographic ones have formed an important part of the work. Essentially this is the case throughout history and still continues to be such. For those in power get pictures and sculptures, photographs and television films to create a good image about themselves and ideological approaches to get an impressive and has always been important tools to make it realistic. Corruption in the hands of Brazil's youngest prime minister in 1961 Quadros'un Janio sweeping with a broom symbolizes the desire to appear and has created an opportunity to appear on television, but also revived an old tradition. This is an interesting example of political metaphors and symbols given in Burke's book. After a similar incident in Turkey, the symbolic expression Susurluk leaders were directing the actions of the public for clean politics. Photographic images of the leading symbol of this and so many are encountered. To compare the ship and the ship captain's approach to the issue of state of the country and any other symbolic expression used in the form of moving pictures and photographs.
As is known, the ruler, manager, leader in the classical period, especially the images of a victorious Standard of mien. Success, victory, glory, strength in the host images on the highlights as they are exaggerated. For example, the first noticeable aspect of Roman statues of magnitudes exaggerated. Burke says about themselves monarchs outside of images:
Monarchs themselves, just images, icons perceived as. Clothing, posture, and the surrounding properties, just like paintings and sculptures, spreading a sense of the majesty and power (Burke, 2003: 75).
For this purpose, the rulers seem more noble than the old Roman costumes or everyday clothes, they would pose an armored clothing. This style of expression or pattern are often autocratic regimes and monarchies. Here you will receive from God the power of rulers, and that power is unquestionable. This form of power and power is described in pictures.
Burke, along with a change of these regimes after 1789, underwent a difference how these images and how these patterns themselves of liberty, fraternity, liberty and progress asks adapts the modern principles. 19. and 20 A secularist leaders and managers are bombarded with images of centuries. These accounts, including more conspicuously plain. For example, Jacques-Louis David (1748-1825) Napoleon subject area table, depicted in the den leader. Burke described herein, "linking night to morning hours (almost four quarter hours of the night, and shows a candle burning) as a ruler even bureaucratic desk not get up early" to highlight.
The other application is passing the age of virility Democracy leaders, youth and emphasizing atletikliğini forward images of emergence. Jogging suits or shorts in the right photography soldiers Musolini'nin get Burke to be one who loves, gives the example of U.S. presidents to submit most of the exposure while playing golf. Reinforces the image of a strong and compassionate man, and resides in our memory when you kiss a boy playing back the images in other leading exposure.
Significant changes with the transition to modern states and monarchies, although the images of leaders, some are also found devamlılıklara. He was short of leaders or by the heels by wearing a high place or fotoğraflanmaları picturesque, sometimes they use the old symbols have power in order to appear strong and the same techniques used in the old image. 20. sometimes appears as a uniform, entered century armor. Horseback riding is a pattern used as before. For example, Alexander the great tradition of monumental sculpture in the USSR follows that values the classic revived. Napoleon jacket sticking in your hand movement is identified with the movement rather old, though, there are portraits of Stalin and Mussolini leaders like the same pose.
Leaders as well as their own photographers, press and television today, but the effect did not last too long for the leaders broaden their perspective images. Of course, there is a need to highlight the issue of image management. For example, the person to withdraw from the bottom photo shows a large and lofty language as there are some well-established techniques.
Turkey is an important emerging patterns of change recently as the beginning of the image of a leader Turgut Ozal is not wrong to think belirtsek. Turgut Ozal's "strong, but a populist leader" (that is, at a level that meet its ideology imgeydi) were bitten by Turkey in the air, the public images of leaders, which had existed until then seriously, impartially, based on principles similar to the elite and the populace rather than the visual image drew one of the leading typology.
He lifted both hands into the air, combining bilemeyenimiz probably no symbolic meaning. In the 1980s a political umbrella that combines left and right with the claim that the rising MP, this discourse on the history of the 1970 political crisis and internal conflicts, and set up against him.
After all, leaders in photographic images of individuals and do not reflect how they look in those times, deceptive descriptions can be concluded that the approach should be. However, such an approach would be to the extent? As we mentioned before, which is based on parsing the meaning of the photo images of social reality is not a call-to-one. Instead, the truth is to read the story of how converted to. Who's hands, why and for whom certain molds are constructed reality. Idealized portraits of political leaders in terms of personalities, and more important that the image presented to the public. In other words, who is the leader in question is rather, these descriptions should be used as evidence of the public to reflect on the desired image.
Result
Especially when some of the discussion over documentary photography, photos, proof of date olmayacakları, there are those who pretend to be their own history itself. In other words, do not take these photographs illuminate the history, historical writers themselves, and they build it again. However, as Burke pointed out, the situation is not so terrible. Burke has argued this point is impossible to agree with this war. "Other types of evidence such as photographs and testimony, and the date" (Burke, 2003: 24). Not told us what the photo to try to resolve this dual structure, detail, focus on what söylemediğine and DAS, their display can be used many techniques to resolve the underlying text and the examples above, they were made. But here is the photographic images of the historical and social context of the seat base, ie, to examine the field of social differences and conflicts. In this respect, photograph, by whom and for what purpose and how they are produced for consumption whose questions are used in different ways, the photo must find an answer by considering the technical jargon. Changes in expression patterns, and contrasts this perspective will give us important clues.
NOTES
1) For example, when roaming in Europe, the Middle Ages, depicting a very small number, after the discovery of a wooden printing ability to print a pictorial images easier to see an increase in the number (Burke 17). Burke, 15 woodblock prints from the late-century works are related to medicinal plants as an example of this development to begin resimlendirilmeye give thanks. Maps printed in 1472 started on the other hand, the repeatability is identified with the quality of printing, this facilitates an example of how to transfer information through images.
2) According to Berger, the revitalization of the image in this way, to revitalize the original being the limiting value of the image. Berger, "where no man is only a striking image from the image or the image of their meaning, but what is," he says. However, according to Berger, precious and unique work of art, which should make the market value associated with the original, but rather should be the social and historical meaning. Theme of the need to deepen the debate on the uniqueness is not really possible here.
SOURCES:
Barthes, R. (1998). Camera Lucida: Reflections on Photography, Istanbul: Six-Forty-five Publications.
Berger, J. (1988). He dedicated Home, Istanbul: Metis.
Berger, J. (1986). Ways of Seeing, Istanbul: Metis.
Burke, P. (2003). Sculpture poster, photograph Miniature Eyewitness History (çev.Zeynep Yelçen), Istanbul: Book Publishing.
Bourdieu, P. (1997). On television, Istanbul: Disney Credit Card
Information: Associate Professor at Gazi University Faculty of Communication. Dr. Yarar'ın Betul on 26 April 2008 from the "social meanings of photography seminar on".
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Social Meanings of a photo - 1
June 22, 2009 by admin
Category Photo Meaning , the Media Seminars
Bombardment of the cities of today's visually rich and very intense images offer us a way of life. In this sense, establishing a modern forms of power relations and everyday life is increasing the effectiveness of the symbolic and visual expression and communication. For this reason, the social sciences in general and in particular the field of communication as the historical and social interpretation of visual images in contemporary societies has become one of the important issues. Although it also began to develop a new a new, serious efforts in this area also began to accumulate said. In this context, the existing social environment we live in and their upcoming events and facts, visually characterized as a visual expression of the media used in visual arts and photography, painting, advertising materials produced using techniques such as creating the basic concepts of this presentation together, especially focus on photography. In this context, the visual arts and photographic images in the media and discussed on how to read! Questioned their historical and social meaning. The main purpose of the presentation, structure contradictory social life, and we are living in conditions of visual expression and visual materials and products that affect the way we perceive ourselves and the meaning of language, social, political and historical point of view, and enhance our ability to interpret and critically in this respect is to develop a questioning look. In addition, and beyond, "the dynamics of social life and date with a different visual language, and the products it possible to develop a different approach by looking through" to the question to answer. In addition, and beyond, "the dynamics of social life and date with a different visual language, and the products it possible to develop a different approach by looking through" to the question to answer. In this context, the importance of visual images for historians and other social scientists and social yaşantımızdaki visual images instead of today will be discussed. Then how the photo could have emerged, and social effects of changing functions are discussed briefly. Then the photographic image and other images in the image of what the difference will be discussed. Finally, how to read the photo response to the question, taking into account all these points, to look for different areas of the photographic plates, and their change of the given some examples of photographs will be discussed. Photos of the city and place, especially this last part, which is the product of unequal relations photos, pictures and photographs of the war of political symbols and images containing portraits of the leader will be examined. 
Power of Visual Images
In recent years, especially in the field of history, outside of the official history-writing history, and studies from different angles facing the approach is increasing. Historians have expanded their interests, major political events and actors, the macro-economic and social trends and phenomena, economic crises and outside structures, mentalities, everyday life, material culture, exploring new areas of the body extending to the historical and social context, and conduct studies in these areas. According to historical evidence and the limited resources of the type of sources other than the written documents and visual material is changed in the idea can be used as evidence becoming widespread. Developments in this direction is not confined to the date field has also affected all the different disciplines in the social sciences. Thus, everyday life, material culture, personal biographies and research areas of social sciences has become an important issue. In parallel, social scientists, (they are usually presented in the official ellerce) written texts in the archives, statistics and other sources not satisfied, except they tended to find new materials. These new sources of literary texts, oral testimonies, personal letters, family albums, and they go back to have an important place in the visual images. For example, maps, carpets, pictures, flags, decorated plates, photographs, tables, signs, such as the need for historians, social scientists and social group for a particular person or way of life, understanding / representing the world of mind, a symbolic visual images are worthy of study in high-value data has become. In this context, the photo can not be denied its place in these materials. Investigative historian Peter Burke, despite all the changes in history seriously enough historians still have not received the evidence offered by images in the 'invisibility of the image "emphasizes the more recent period brought with it a debate going. Walking in the field of history in this debate to express complaints, some historians serzenişlerini Burke: "We also voiced one historian as '... the images that historians descended into the deeper layers of experience, rather than the text and prefer to deal with political or economic realities' and another in the pointed out that the situation 'to patronize the images' refers to the phenomenon. "Again, Burke, at the Victorian period, a historian Raphael Samuel, who studies how about photos of himself and historians of his generation" visually illiterate "reminds discovered (Burke, 2003: 9). All of these images of the present study are important for historical and social research and studies will be considered as data sources, and images can be read, and in particular on how the photo will be discussed in this regard.
Before returning to the question of how to use the images as historical data, however, as Burke pointed out, changes in types of images seen in certain places and periods, especially the two major revolution occurring in the production of image is worth to mention. "These revolutions 15 and 16 century, the rise of printed imagery (wooden printing, engraving, acid download, etc.) with the 19th and 20 centuries, the photographic image (including film and television), the rise transition "(Burke: 16). Burke and facilitate the production and distribution of images of the results of two revolutions, as well as the acceleration has been described. Techniques used in the production of images in this way are easy to make access to the images produced in the audience to another result of the exchange. 
State that both the importance and meaning of these developments for us. The first important point is the language and imagery as a form of expression and activity increase in the use of more and more. Thus, the formation of images of our world, more and more involved in mental state begins to take vehicles. In addition, facilitation and expansion of production and consumption of images, images that allows you to enter our world more than the images produced by different groups have brought about the conditions. For example, a particular sector previously tekelindeyken art or a picture, image production over time, the penetration and illustrators from diverse backgrounds entering the field have demolished the image patterns. With the emergence of photography or pictorial images or icons out of museums and dining rooms with the t-shirts to wear on us, so widespread and have lost their original meaning. As a result, today, and the language of visual expression of urban life have become important parts of the ordinary, and so far, citizens need to grab anything from political movements and political actors in establishing identities, language and communication are important in creating the visual images to use and has been the language of visual expression. Accordingly, both the social sciences, as well as in everyday life images and narration provided by them has increased in importance and influence. So how images of historical and social point of a "proof" or "document" used as a very important question for us.
The emergence of photography and its effects:
The camera was invented in 1839 by Fox Tablot. Berger has said, this tool was invented to serve the elites, thirty years after such a short period of time, "police reporter for the police file records, military intelligence, pornography, encyclopedia, documents, family albums, postcards, anthropological records (most of the time the United States 'As to the Indians, along with genocide), emotional, moral lessons making, troubleshooting wondering where the name of each intrusion path (an incorrect naming it the "Candid Camera" is called) As to create aesthetic effects, the news began to be used for röportajcılığı and passport photos. " (Berger, 1988: 74). Cheap digital cameras for public use in 1888, the market was first made. Keeping pace with the development of industrial capitalism continues to grow and evolve into a photo, even though Berger puts it, "making appearances submit the most dominant and most 'natural' is the way of the 20th It was in the century and coincided with the two world wars "(Berge, 1988: 75). The photo "everything ... was the most closely instead of seeing the world as a witness." During this period, photography is now "freed from the fine arts kısıtlılığından, democratic means of communication had been used as a public" (Berger, 1988: 75). However, as soon as possible "so faithful to the truth" because it is a new tool of communication has become a propaganda tool. The first was the Nazis who use the photo in this way.
As pointed out by Berger as the photos first came out to a new technique also created an incredibly striking effect, a common tool today. Take a photo and see no longer a matter of reflex. As pointed out by Berger transformation due to the emergence of this new cinema industry, the development of photography, the invention of a portable camera, photo röportajcılığının The discovery and development of a range of advertising has the effect of emergence. Today, however, new discoveries, such as digital cameras represent the current stage of this process.
As the German Marxist critic Walter Benjamin in the 1930s changed the original character art in the age of photography. Burke, Benjamin's approach to transfers as follows:
Machine "brought the abundance of copies of a single instead of the original asset" and image "cult value" "value of exhibiting" a shift from what was right. "What is fading in the age of mechanical reproduction air of a work of art" (Burke, 2003: in 18).
Impact on the uniqueness problem here is the work of art photography. Photo thanks to the unique work of art ceases to be copied, when the meaning of the artwork varies. The consequences of this are different ways of reviewers. For example, according to some, this development is favorable for the art and rendered more accessible work of art. In fact, with reproductions of works by some of the air, higher than the others. According to some, led to the decline in the artistic value of a negative development. Berger, a replica of the image of the camera image, the image emphasizes that the meaning of a development that resulted in the proliferation (Berger, 19). Replicates and divides in other words, the meaning of a work of art photography. Becomes understood through the power of photography and re-reproduced images: "The image of Image." Been revitalized in this way the context and time an image is plucked. For example, the image of a Monalisa sense of the original table, resulting in a T-shirt, meaning the same can not be pressed on. In short, the photograph is a revolutionary development in the field of art it is clear that the undisputed effects.
Berger, an article written in 1923 revolutionary Russian filmmaker Dziga Vertv'un makes the following quote:
"I have one eye. A mechanical eye. I, the machine, but I can see the world open to you. I still, after that of man, then saving your inactivity. I never stop moving. Approached the objects move away from them. Falling under slipped them. I'm running across the mouth of a horse running. Falling, rising falling objects, staying with me too. Intricate movements, movements in the most complex joints in the order returned by saving me: the machine.
Get rid of the limitations of time and space, each point of the universe, all points, according to him where I want to be organizing. My way, the perception of the world is the way to a new way. So I open a world unknown to you. "(Burke, 2003: 17 in)
As we have seen, the art of photography, not only of individuals in relation to their environments into visually developed a new look. This machine's eye, he can not see the person is capable of seeing and representation. Erişebilerek speed of an object falling in the air it transfers the image to view and to us. Bringing a very small detail or visible reveals dimensions. Also photography as a tool to freeze the moment, a moment in our gözlemleyemediğimiz is our view. For example, images of a war we can not testify soframıza breakfast comes up through the newspaper photos. What makes the eye appear not to the photograph's style of visual perception of our world, and it certainly brings a new dimension. Thus, facing the outside of the eye is an eye camera and more effective. This is also the "I" in a case that shook the development (Berger, 18). In this way, "I" and the witness of the visual world has ceased to be a single center. This transformation accelerated in the transition from the camera to the camera.
What is the image? What is the difference between the other images in the photographic image?
"I view the image re-created or re-produced. The image appeared for the first time and the time-space-for a few minutes or a few centuries, or in a detached and stored in the layout views. Each form of seeing that the image lies "(Berger, 1986: 9-10).
This will identify if a little bit, where the visible image or an image transformations are discussed and the performance or events to look at its own mode of seeing and interpreting the form of the human. This is a painter, could be a photographer. Their views on the resulting image through his actions, within the meaning or interpretation which is now transformed into an image. In short, the view is a mental process or activity requires conversion of image-thing now, and the resulting product of this mental activity. His track, stamp, and is the language of. This 19th century image of women, similar to the differences between a woman in the street. 
Visual images and content have a different effect than other languages. This is seen and cared for, and what to see and look at the act created, with words to that effect can be explained differently. Seeing comes before words, and words that contain exactly anlatılamayanı. As pointed out by Berger, for example, someone who loves a lover to see the integrity of any word or kucaklayışla are unaffordable. To see the action as the most realistic look at the action link was established with the outside world and its meaning is also the minister who cared what it is (ie, visual form of the minister's words of Berger) depends. However, as a historical look at the actions and the resulting images bakılanı transfer, transfer the claim of common objects, as well as carrying cases, the person looking through the eyes of such a transfer is forgotten. The main issue is the relationship between image and reality.
Photo of one of the most striking issues. Because of distortions reflect the reality of the historical claim to the camera's power lies in the photo: "representation of reality." Berger, as told by a very literal way, the power of photography as well as ways to spiritual reality of scientific ways of achieving the correct date is kayıldığı modernization and secularization. Photo will be the most important tool in the process of achieving reality. Reflecting the fact that the camera as well as from the date of discovery the most important tool, most important evidence that has developed from the truth fotoğrafsa. Indeed, the photograph that bear witness to history and to us it as a dull, historical documents, data, or as a power source is undeniable. Berger comparing photographic images or other visual image, the subject of the photo aktarmadığını Unlike others, does not imitate or yorumlamadığını, indicates that his certificate. Until the issue of whether or gravure photos are no oil paintings.
Photo, only one image (the sense of painting an image of the image), not an imitation of reality, but also document, because the footprint of the deceased or removed directly from the thing itself, like a mask of reality (Berger, 1988: 76)
This form of 18 photos Though similar to the-century oil paintings or engravings, more poised to assume the function of memory.
Both the camera and the eye lens - because of the light-sensitivity at the time of the event and record images at a great pace. However, his camera, but when the eye can not do any thing, he dondurmaktır the appearance of the event. Event, the appearance of the camera, removing the views of the flow out of the stores, perhaps forever, as long as there is not ... but the film camera, otherwise inevitably save the appearance of a series of overlapping stores in the views. Them unchanged, the amount as they are. Before the invention of the camera, imagination, memory ability was nothing else to do so. (Berger, 1988: 76-77)
Despite this similarity, however, there are significant differences between the photo memory.
However, the memory on the contrary, the meaning of their own saklamazlar photos. Us all the credibility and seriousness with-views-meanings that we attribute normally offer detached views. Meaning, functions that occur as a result of understanding ... Photos tell us a story in their own right. Store snapshots. (Berger, 1988: 77)
In this way, just as memory or recall of forgotten who decide what pictures at the same time a powerful tool for the judiciary.
Looking at the photo that used to date we have seen the power of many different purposes. Exploring the visual impact of the power of persuasion, and many users of the photo is an example. Among these fascist regimes and film it is important to use as a propaganda tool. In addition, the media has a big impact in the photo is change the language of expression. Here, I want to cite another example given by the press Berger, Berger's interpretation of the subject again. Berger in the United States in 1936, Life magazine published his first start of the mass media indicates that two of prophecy. The first new thing for that day, the sales of financial resources to derginini not seçmesiydi printed ads. The second is the relationship of the new form of visual material. According to Berger magazine pictorial material, and still more by weight gave the name of the magazine there was a link between the pictures inside. Name of the magazine contained pictures of the magazine (Life, ie, life), represents the life of such claim. Indeed, the power gained by photography, press the facts alleged transfer. Today, leading to further this claim, which is a new type of media, film and photograph more television. Indeed, their impact on print media, newspapers, parallel to the increase in the consumption of these resources can be reflected in the quantitative decline in consumption. One reason for this can reach them, even to people who live and having knowledge of reading and writing habits, thanks to the technology used by the optical çıkarabilmeleridir other reason. These new techniques of visual narrative increasingly stronger ulaştırdığı us the news, events, instant photographs, the film is transferred to us, there is an increase of the extraordinary power of persuasion. Of course, the variety of program types included in this new media types are also important. Bourdieu cites the following examples to us talk about the power of television to spread its "television, eight evening news, all the morning and evening newspapers in France more than the total number of people per screen readers collect" (Bourdieu, 1997: 50). Bourdieu also what they call American agenda also highlights an increasingly large extent determined by television. We know the situation in Turkey is no different. The basis of this new means of photo realistic fictional narrative. So how is it that despite the claim of photo realism, and the ideological propaganda programs that respond to the desire to receive information as well as democratic individuals can be subject to different usage patterns? Based on the nature of how this should be read as evidence that the photo? I wonder Is it a mirror reflecting the reality of images directly? What is the story on the photo?
Photo Reading
On the basis of different forms of use of this photo, the photo instantly hide the reality (and therefore much to be connected to reality), and striving for a simple indicator for the reduction of the moment lies in the context bağımsızlaştırdığı. Different uses of this dual nature of the photographic image on it (at a level that this is true for any type of image clarity) makes it the effect of credibility it is beyond a lot of visual material. What is the story on that case, the photo and the photo story / photo how to read? Talk about the story of two elements on the photo. The photographer is one of the second user. However, beyond these first two cases that come to mind is an extra dimension.
Most of the time, the overall picture of contemporary with us, or event okuruyla no relation to the original meaning of a non-event, caught offers an array of views. This type of photography gives us the information, but information severed all lived experience. General picture, even if there is a known contributing anıya, with everything that is foreign to us it's a tribute to the memory of someone. Violence, act out in this strangeness. This stranger, "Look!" Shouted an instant overall picture of contemporary records images. Who is this stranger? The following response we can give the photographer. Still, total use-photographed sequence of images in mind, "photographer" lack of response is clearly revealed. Current response remains inadequate: using photo. Do not carry a particular meaning in themselves, completely foreign one's memory for images that resemble photographs are open to all uses. (Berger, 1988: 78)
In short, the meaning of the photographer and the picture is taken, the person who installed it for the purpose of this photo was taken, and even çözümlesek points, such as the photo contains completely tüketemiyor or sabitleyemiyoruz story. Because images can acquire new meanings with each new usage. But in any case be temporarily secured to the framework of certain uses photographs and photo stories this is a temporary or her direction may make it difficult for new meaning in new situations. That is the meaning of the photographic image, brought the accumulation of mutations in its historical and social independent, is not an infinite set of possibilities. So we can do to resolve this might be a temporary process of meanings and predispositions. This analysis is called photo reading.
According to the photo which will be primarily carried an image of reality, despite its pretense to admit that the photo had created. Accordingly, in the first place and understand the importance of the question in the photo period, and under what circumstances he was taken by whom and for what purpose is to question the withdrawal. Photographer has chosen a piece of how and why the views of the flow in this image is frozen and the date the goods. In other words, a series of picture freeze and immortalized the moment in which views should be investigated. Action selection is important here. Although the photo with the most realistic expression language that can be photographed, such as things to be arranged by the photographer, documentary photographs, taken without any editing or "moment" is selected. As a result, the basic question is this: Which moment was chosen, and how the chosen moment in a narrative or on its container was transferred to the string? (See Burke, 2003).
(Continued)
Information: Associate Professor at Gazi University Faculty of Communication. Dr. Yarar'ın Betul on 26 April 2008 from the "social meanings of photography seminar on".
