The Transition Of Photograph In Modern And Contemporary From A Constructive View

In 1852,Louis De Comenan said publicly: "the quill pen is unable to capture the truth of those historical sites and landscapes.The pencil is too willful and often capricious,distorting the purity of the text.Photography is the most reliable.There is no imagination or deception in(Photography)" In fact,not only Louis De Comenan,but also for a long time since photography was born,people are willing to believe that photography is real.The main reason for this situation is that it ignores the subjective art of the individual photographer and the existence of the camera as a tool of rights.Early photography is often a one-way process,initiated by the photographer’s active gaze and watching,and completed by shooting the passive subject.Relying on the camera’s indistinguishable "authenticity",photographers construct their own landscape from their subjective perspective.It can be said that the camera’s ability in construction has been ignored intentionally or unintentionally.In the middle of the20 th century,the emergence of television has led to a new mode of information dissemination,and the documentary function of photography has been threatened.At the same time,with the patterning and homogenization of traditional documentary photography,photography undoubtedly needs to explore a new way.After the 1970 s,the emergence of "new documentary photography" is essentially a rebellion against the single and fixed perspective of traditional documentary photography.At the same time,as an ideology,"constructiveness" has been noticed by more and more artists,who show and criticize it through photography.