Visual Arts and Photography Tips

In the late ‘90 were used Worldwide 630 million traditional or analog cameras and exposed approximately 2.8 billion films a year, where only a small part, 1% to 2% range were used instrictly professional field. About 17% of the cameras were used within segment dedicated to photograpy enthusiasts, “Advanced phototoamateur” and fun. Not infrequently, were good quality machines purchased by individuals with moderate economic possibilities and willing to invest a certain amount of money for their own hobbies. The largest group of traditional cameras was represented by consumer camera. They were about 63% of all those in the world and allowed people to take their own souvenir photos, easily and quickly. They featured good lenses, autofocus, zoom, fast loading and automatic feed of film and then everything you could ask for in a camera to take photos. A few years ago they made their appearance in the so-called “films with lens” in other words the disposable cameras, born

The art of painting accepted the new role played by photography in scope for the expression and communication through pictures, such as the cinema has had to revise its ways of “story telling” by establishing new originality than television. Similarly, we might say, the “traditional photography” had to accept the advent of the new digital dimension, gaining technologically and aesthetically as the limits of expressive possibilities of photography have moved forward and not a little in the context of communication. At the same time as the advent of digital technology, in the universe of photographic representation, developed a lively debate between the proponents of “new” and the defenders of tradition. Some professionals considered digital photography as a simple fashion, borrowed from other industries and destined to run out quickly. Others refused or ignored it, fearing that it may intervene negatively on “purity” of the photographic image. Digital technology ha

The age in which we live is characterized by the presence of a huge number of images that have invaded, essentially every area of information and communication. In the late 19th century many painters demonized photography stating that it threatened what until then was a domain of the ancient arts of drawing, painting, engraving Indeed, in “Visual representation of the world”, the painting could not compete at the level of realism with the photographic medium although early, that took on the challenge of this by stating a new realist intent . An example of this trend is evidenced by the personal exhibition of 1855, called Courbet Pavillon du Réalisme, as was the title of the magazine about new trends, Réalisme, appeared in 1856. For painting, that of realism, it was a losing battle but, there is no doubt about the extent of the benefits that derived from the development of photography. The latter broke free of the old canons of representation, by finding new ideas

Regarding the activity of the photo labs, every year were exposed about 1.2 billion square meters of photographic paper. The 12% is professional photo labs, the  Treaty 42% 46% in minilab and industrial plants in photofinishing. Minilabs had opened new perspectives on work and earning. With an investment of approximately fifty thousand dollars, back in the 90′, you could buy a piece of equipment that can operate with good effectiveness in the field of digital photography. For example, you could retouch photographs or print these out of unusual materials as the custom shirts. It is possible to affirm that chemical photography, almost necessarily, were accompanied by the digital according with the demands of a constantly evolving market that claimed better quality and a significant reduction in costs. The versatility of the new media,  allowed everyone to overcome those who have represented the limits of analog photography Limitations that arose from the difficultie