澳洲靠谱论文代写：摄影价值
澳洲靠谱论文代写：摄影价值
一个女人在一个广告上坐着一件长袍在她身上的照片并不是唯一的。然而，摄影师使用的超现实主义设置增加了其审美价值。其次，光线和色彩的曝光是一个重要的参数。在这种情况下，摄影已经根据这种美学进行了调整，故意对比的颜色被遗漏了，照片也有更温和的提示。曝光既不太亮也不太暗;它吸引了广告销售的内容。另一个流行的规则是三分法（Datta et al，2006）。该规则表明照片中的主要元素必须是0.618左右的黄金比例，并且应该位于四个交叉点之一。在上面的图像中，可以说在交叉点处绘制了重要元素，这在Vivian Sassen的图片中缺失，但是通过应用这个交叉点，可以说外套的尾端和顶部翻领实际上是出现在十字路口。比尔板，电视或互联网上有一个广告部落，它不时地传递给特定的观众。但总的趋势是粗略地看一眼广告并传递而不想知道广告或广告图像想要传达什么。他们雇佣的广告商和摄影师必须带来隐藏真相的超现实主义表现。这张照片变成了一片空间和时间（Sontag，1973），只能部分地根据背景来解释，换句话说，就是现实的名义观点。此外，这些图片也呈现出超现实主义的感觉，这显然支持了桑塔格的声明，即“相机对现实的渲染必须总是隐藏得比揭示更多”（Sontag，1973，第18页）。
澳洲靠谱论文代写：摄影价值
A picture of a woman in an advertisement sitting down with a robe on her is nothing unique. However the setting of surrealism that the photographer uses increases its aesthetic values. Secondly the exposure of light and colourfulness is an important parameter. In this the photography has been adjusted for such aesthetics, Intentional contrasting colours have been left out and the photograph has milder overtures. The light exposure is neither too bright nor too dark; it is appealing to what the advertisement sells. Yet another popular rule is that of the Rule of Thirds (Datta et al, 2006). The rule presents that the main element in the photograph must be at a golden ration which is around 0.618 and should lie in one of four intersections. In the above image it can be said that important elements are drawn at the intersection points, this is missing in the picture of Vivian Sassen, however by applying this intersection it can be said that the tail ends of the coat and the top lapels are actually present at the intersections. There has been a Horde of Advertisements right from Bill Boards, Television or in Internet which passes through specific audiences every now and then. But the general tendency is to give a cursory glance upon the advertisement and pass on without wanting to know what the advertisement or advertisement image wants to convey. Advertisers and photographers employed by them have to bring in a sense of surreal presentations where the truth is hidden. The photograph becomes a thin slice of space and time (Sontag, 1973) that could only be interpreted partially based on context, in other words a nominal view of reality is presented. In addition these pictures in also presenting a sense of surrealism obviously support Sontag’s statement that “The camera’s rendering of reality must always hide more than it discloses” (Sontag, 1973, p.18).
