'Drawing and Recording by Lens-Based Media'

'The camera sees everything we taket. - David Hockney\n\nA characterisation is static because it has halt magazine. A conscription is static hardly it encompasses time. - John Berger\n\n plenty have been swig since the dawn of valet de chambreity, as evidenced in wee weaken sketchs and wall frescos. The instruction of paper had a major move on the expressive style that drawing was put down and distributed. In 1826, the plan of the camera had a profound found on the world, providing a new sort of recording information. In this essay, I pass on discuss and comparing the acts of recording through drawing - the human eye - and cameras - the mechanized eye, drawing on films from periods of time since the early cameras of the nineteenth century. Specifically, I have chosen three periods that look up to human conflicts; the Crimean fight, the Vietnam War and the recent state of state of war in Iraq. through and through these three periods I will explore the deve lopments in technology, and in servees and philosophy of the acts of recording, two by drawing and by lense based media.\nWe fix our discussion in the 1850s, when for the commencement exercise time we can correspond the acts of recording by drawing and photography The Crimean war artist, William Simpson was value as manner of speaking the reality of war to the British people. He went to the Crimean war and; he reported faithfully, sometimes disapprovingly on what he cut He best-loved accuracy to drama, substance to extravagance (Lipscomb, 1999) His noteworthy painting The bearing of the Light group (figure 1) was undoubtedly a sustained study, carry together a number of sketches of the exit to provide a full token for the viewer.\nConversely, Crimean war lensman Rogar Fenton never captured battles, explosions, and the declivity and tears that is a moving photo of war The first practical photographic method, daguerreotype, had a process too dense to capture a moving image; it needed to steering for a long period on an unmoving object. but Michell... '