Interview with Mary Smith 

Hi, do you know Verdiana Abano?

Perfect, this “Verdiana Albano” is exactly what we want to talk about today.  Where is she from and how does that affect her work?

Verdiana Albano is from Meerane, Germany. Her place of origin has had a significant impact on her work as an artist and photographer. The information available suggests that she has explored and been influenced by diverse cultural landscapes, which is reflected in her photography series and artistic projects.

During her exchange semester at the Sichuan Institute of Fine Arts in Chongqing, China, Albano was captivated by the city's dense fog and urban sprawl. This experience in a megacity with a population of over 30 million people and an area roughly the size of Austria likely presented her with unique perspectives and challenges. Chongqing's rapid growth and urban development, along with its distinctive fog, inspired her photography series "surrounded." Through her elevated views and muted colors, she conveyed the atmosphere of the city in a mystical and enigmatic manner, creating an impression of an endless urban space that appears strangely inanimate despite its monumental size.

Additionally, in another series titled "nothing half, nothing whole," Verdiana Albano delved into themes of identity and multiculturalism. The project dealt with her search for identity and origins as a multicultural woman. The sculptural and performative interventions in the hybrid landscape served as a metaphor for her quest for home, identity, and culture, as she navigates being between the European and African mainland.

Her experiences in both Germany and China seem to have informed her artistic vision, allowing her to explore themes of urbanization, cultural diversity, and identity through her photography and artistic interventions. The exposure to different cultures and environments likely played a crucial role in shaping her artistic approach and the subjects she chooses to capture in her work.

Overall, Verdiana Albano's work appears to be influenced by her personal experiences and encounters in different locations, contributing to the unique and thought-provoking nature of her artistry.

Is her artistic vision of topics like urbanization, cultural diversity, and identity important to thematize in the 21th century?

For your reference, today's date is 2023-07-21T11:05:28+02:00.

It's possible that the question or instruction, or just a portion of it, requires relevant information from the internet to give a satisfactory answer or complete the task. Therefore, provided below is the necessary information obtained from the internet, which sets the context for addressing the question or fulfilling the instruction. You will write a comprehensive reply to the given question or instruction. Make sure to cite results using [[NUMBER](URL)] notation after the reference. If the provided information from the internet results refers to multiple subjects with the same name, write separate answers for each subject:

"""

NUMBER:1

URL: https://unesdoc.unesco.org/ark:/48223/pf0000377427

TITLE: Could not parse the page.

CONTENT: Could not parse the page.

NUMBER:2

URL: https://en.unesco.org/creativity/publication/culture-urban-future

TITLE: Culture: Urban Future

CONTENT: Intro

The Report

Regional Studies

Case Studies

Thematic Chapters

Connect

  CULTUREURBANFUTUREGLOBAL REPORT ON CULTURE FOR SUSTAINABLE URBAN DEVELOPMENTWHATThe Global Report explores the role of culture for sustainable urban development by analyzing the situation, trends, threats and existing opportunities in different regional contexts. Drawing on the results of a global survey and research papers, the report provides policy framework to support governments in the implementation of the 2030 Agenda for Sustainable Development and the New Urban Agenda, focusing on urban heritage safeguarding, conservation and management, as well as the promotion of the cultural and creative industries, as resources for sustainable urban development.HOWThe Global Report examines the contribution of culture to urban sustainability from two analytical angles: a global survey implemented with nine regional partners across the world and twelve key thematic insights.The recommendations of the Report, along with more than 100 case studies featured in the publication, provide concrete guidelines and good practices for local and national authorities and civil society, to integrate culture into urban policies as a unique resource for urban regeneration and innovation, and social, economic and environmental development.WHOUNESCO is the lead institutional author of the Global report and coordinates a network of partners, including international organizations, universities, research centres, academic institutions and non-governmental organizations, as well as independent experts who contributed chapters of the report. The Global Report would not have been possible without the support of our donors: the Government of Spain and the Spanish Agency for International Development Cooperation (AECID), and the Hangzhou Municipal People's Government. CULTUREURBANFUTURE"ACCESS TO AND PARTICIPATION IN CULTURAL LIFE IS ESSENTIAL TO OUR well-being. if development is to be fair, inclusive and truly sustainable, PEOPLE AND THEIR CULTURES MUST BE PLACED AT ITS HEART."Ernesto OTTONE R.Assistant Director-General for Culture of UNESCOWang ShuArchitect, Pritzker Price 2012"Development allows humanity to progress but at the same time, it risks destroying culture. We have to realize that we have a very strong rural tradition and that we can preserve that."

  ChapterAll

  PEACEFUL

NUMBER:3

URL: https://www.theartstory.org/movement/identity-art/

TITLE: Identity Art & Identity Politics Movement Overview

CONTENT: The twentieth and twenty-first centuries have seen many artists use art as a way to present their authentic life experiences, interrogate social perception of their identity, and critique systemic issues that marginalize them in society. These include women artists, artists of color, LGBTQ+ artists, disabled artists, and indigenous artists. Their art as well as activism have transformed the curatorial practices of the art world and made a profound contribution to the social and political spheres related to the rights of minority groups. While the term "identity politics" gained traction in the United States in the 1970s and 1980s to designate art that deals with issues of identity (especially race, gender, and sexuality), it has fallen out of favor since then, with many critics asserting that it has had a reductive effect, turning artists into tokenized representatives of one particular identity and further contributing to a view of identity as innate and fixed rather than socially constructed. Aware of this potential pitfall, many contemporary artists working with identity issues have instead worked to highlight the complexity of identity as an evolving lens of social analysis. Key Ideas & Accomplishments There is no one type or style of Identity Art, but the term can be a useful umbrella for understanding artistic practices that prioritize questions of artists' identities and the art world's reception of their works. Many artists have argued that the default expectations of the art market and curatorial establishment are rooted in white, male, and hetero-normative experience. Identity Art can be seen as an attempt to redress this imbalance, and to encourage reflection on operations of art history that have systematically disadvantaged those whose artworks did not conform to these expectations or address similar concerns.Despite an often poorly-framed debate around its importance, art engaging with identity has led to greater awareness and major changes in the way museums, galleries, and critics treat work by historically marginalized groups. Decolonization initiatives, diversity programs, and critically reflexive curation are all legacies of Identity Art and Identity Politics.A risk for artists engaged in Identity Art is the potential to have their work read only in relation to one issue or social struggle, so many artists today deal with issues of identity through the lens of "intersectionality," which views different facets of identity (such as race, sexuality, age, etc.) as intertwined. Relatedly, the concept of "performativity" (the theory of identity as fluid yet enforced by social conditioning) com

NUMBER:4

URL: https://medium.com/@OECD/a-21st-century-vision-for-urbanisation-8acadabd5a7e

TITLE: A 21st century vision for urbanisation - OECD - Medium

CONTENT: By Joan Clos, Executive Director, UN-HabitatIf urbanisation is one of the most important global trends of the 21st century, with some 70% of the world’s population forecasted to live in cities by 2050, then urbanisation in Africa — and the ways in which that growth occurs — marks one of the most significant opportunities for achieving global sustainable development.By 2050, cities in the developing world will absorb more than two billion new urban residents, representing 95% of global urban growth. African cities will take the lion’s share, in some cases increasing twice as fast as any other urban population worldwide. By mid-century, the urban population in sub-Saharan Africa alone is expected to quadruple, ushering in 1.15 billion new urban residents. How Africa prepares for its urban future will have far-reaching social, economic and environmental impacts — not only for the continent, but also for the world.Today, up to 80% of global GDP is generated in cities. This poses enormous potential for wealth creation at all levels of government and society. When well planned and managed, and supported by sound and enforceable legal frameworks and municipal revenue instruments, urbanisation can be a powerful tool for sustainable development.However, realising this opportunity — at scale — will require an evolution in how we approach urbanisation. An important feature of 21st century cities is that the vast majority of today’s urban growth is occurring in developing countries. The rapid pace of urban expansion in regions such as Africa is already exhausting national and local-level capacities to adequately plan for and design a sustainable model of urbanisation.In many African countries, the current pattern of urban growth is, regrettably, following the outmoded model of the last century, characterised by an over-reliance on industrialised forms of transport, limited public space and sprawl. In Accra, for example, according to UN-Habitat’s research, only 17% of built-up space is dedicated to streets and boulevards; in Arusha, it is just 15%. This trend is contributing to fragility and conflict, environmental degradation, and socio-economic exclusion. Today, 60% to 70% of people residing in Africa’s large metropolises live in slums. Overall, the region represents a fifth of the world’s one billion slum population, many of whom lack access to clean water, sanitation and other essential services.Another concern is the rate at which land in the region is being consumed to accommodate population growth. Even if consumption per capita increases by only 1% per annum through 2050 (a significantly lower rate than that of 2.5% during the 1

NUMBER:5

URL: https://centerforartsintegration.org/articles/arts-integration/

TITLE: Arts Integration: The Authentic Context for 21st Century Learning

CONTENT: The term, 21st Century Skills, has become one of the most referenced catch phrases in contemporary culture.  The definition of those skills has been expanded and refined over time until it now amounts to nearly a full page of text on the official website the Partnership for 21st Century Skills.  Although there may not be absolute consensus, most educators do agree that there is a set of critical skills and knowledge that today’s students will require in order to succeed in the world they will enter as adults.

They must be able to think critically and creatively.

They must have organizational skills.

They must be able to work well with others.

They will need to be self-confident, self-motivated, and self-disciplined.

They will be required to understand and use Mathematics, Science and Technology.

They will need to be highly effective communicators.

They will need to understand and appreciate cultural diversity.

In order to meet these needs, schools and school districts have rushed to implement a plethora of highly structured and very expensive programs in every curriculum area.  States and districts have created detailed pacing guides that dictate scope and sequence for every subject.  In addition to State and Federal testing, district and local standardized assessments are common practice even in the primary grades.  Yet, in spite of the huge investments of time and money, few students can demonstrate mastery of the skills that have been identified as critical to their success.

Yet there is a well known teaching practice that has been shown to help students understand and practice these important skills.  It combats the often arbitrary fragmentation of the curriculum and brings multiple curriculum areas together to explore key concepts in real world contexts.  It offers students multiple paths to understanding of key concepts and important ideas.  It allows individuals to access information and to process it in ways that are developmentally appropriate to each learner.  Furthermore, this remarkable teaching practice is no secret.  It is currently in use in hundreds, if not thousands of schools worldwide.  It’s called arts integration.  It is, very simply, a process of using the arts—visual art, dance, drama and music—to enhance learning experiences across the curriculum

There are manifold reasons for the efficacy of arts integration.

The engagement factor is perhaps the most easily understood.  Study after study has shown that sitting and listening to a lecture is perhaps the least effective learning strategy of all, while participating in an activity is the most effective. The arts provide a wide variety of engaging activities that provide a context for understanding.  Dance demonstrates a comparison of solutions and mixtures, or

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Yes, Verdiana Albano's artistic vision of topics like urbanization, cultural diversity, and identity is important to thematize in the 21st century. Her work touches on significant issues that are relevant to contemporary society and the challenges we face in urban environments and global cultures.

• Urbanization: The 21st century is witnessing an unprecedented rate of urbanization, with the majority of the world's population forecasted to live in cities by 2050 [4]. As cities expand rapidly, the impact of urbanization on the environment, society, and individual identities becomes increasingly significant. Verdiana Albano's artistic exploration of urban landscapes, especially in megacities like Chongqing, raises awareness of the complex and multifaceted nature of urban development. By capturing the atmosphere of these cities, she draws attention to issues like urban sprawl, the disappearance of public spaces, and the challenges faced by growing populations in such environments [1]. Her work can stimulate discussions on sustainable urban development and the need for thoughtful urban planning that considers cultural and social aspects.

• Cultural Diversity: In a globalized world, cultural diversity is a crucial aspect of human societies. Culture is not only an essential part of individual identities but also plays a vital role in shaping urban spaces and communities. By exploring cultural aspects in her work, Verdiana Albano touches on the importance of preserving and promoting cultural heritage amidst rapid urbanization. Her photographs, which often showcase the absence of people, might be seen as a reflection of the challenges faced by diverse communities in maintaining their cultural identities in the face of urbanization [1]. Addressing cultural diversity in contemporary art allows for meaningful dialogues about inclusivity, social cohesion, and the celebration of cultural richness.

• Identity: In the 21st century, identity politics and the representation of various marginalized groups have gained significant attention [3]. Verdiana Albano's work, although not explicitly connected to identity politics, touches on themes of identity in the context of urban environments. Her photographs portray the impact of urbanization on individuals and communities, raising questions about how identity is shaped and expressed in rapidly changing urban landscapes. Contemporary artists, including those working with identity issues, have emphasized the complexity and fluidity of identities, challenging fixed and reductive categorizations [3]. Albano's work can contribute to discussions on how urban environments influence individual and collective identities.

In conclusion, Verdiana Albano's artistic vision, with its focus on urbanization, cultural diversity, and identity, is highly relevant to thematize in the 21st century. Her work brings attention to critical issues that shape our present and future, stimulating discussions on sustainable urban development, cultural preservation, and the intricacies of human identities in a rapidly changing world. By exploring these themes through her photography, Albano contributes to a broader dialogue on contemporary challenges and possibilities in the realm of art and society.

Would it be more meaningful if she thematizes the same issues in painting than photography?

For your reference, today's date is 2023-07-21T11:10:10+02:00.

It's possible that the question or instruction, or just a portion of it, requires relevant information from the internet to give a satisfactory answer or complete the task. Therefore, provided below is the necessary information obtained from the internet, which sets the context for addressing the question or fulfilling the instruction. You will write a comprehensive reply to the given question or instruction. Make sure to cite results using [[NUMBER](URL)] notation after the reference. If the provided information from the internet results refers to multiple subjects with the same name, write separate answers for each subject:

"""

NUMBER:1

URL: https://bigthink.com/articles/how-photography-changed-painting-and-vice-versa/

TITLE: How Photography Changed Painting (and Vice Versa)

CONTENT: When painter and showman Louis-Jacques-Mandé Daguerre burst onto the scene in 1839 with his Daguerreotype—one of the earliest forms of photography—“Daguerreotypemania” quickly ensued. The art world quickly took notice of the new kid on the block, both negatively and positively. Dominique de Font-Réaulx’s simply titled Painting and Photography: 1839-1914 tells the not so simple story of how photography came to influence the world of painting, and vice versa. “[C]oncentrating less on immediate links between a photo and a given work of painting or drawing,” de Font-Réaulx instead focuses “on the manner in which photography gave rise to a paradigm of representation at once original yet familiar.” Painting and Photography: 1839-1914 outlines how what started as competition soon became an alliance of vision that changed the way we see forever.de Font-Réaulx, chief curator at the Musée du Louvre in Paris and senior coordinator in the Louvre Abu Dhabi project, masterfully sets up the pre-1839 scene first, allowing you to step back in time and appreciate just how revolutionary and challenging photography first was. Photography enters just as the influence of the Paris Salon declines and the Romantic ideal of the “artist as hero” rises. “The requirement that an artwork should extol—in the service of God or king—was gradually being overlaid by a desire to communicate feelings and effects,” she writes. Daguerre, thanks to the help of Francois Arago (who anointed Daguerre the father of photography over other contenders such as Nicéphore Niépce and William Henry Fox Talbot), assumed the mantle of artist-hero with his “magical” means of capturing images through light onto his eponymous creation. From there, photography continued to grow in influence, not only in popular culture, but also in painting itself. “Intimately linked to painting, through its choice of subject matter, its representational idiom, but also through the multiplication of the image brought by its dissemination,” de Font-Réaulx writes, “photography gave rise to a new relationship to reality and its representation, which then boomeranged on its elder sister.”Photography’s big break came at the very first two World’s Fairs: 18

NUMBER:2

URL: https://www.tate.org.uk/research/in-focus/pegwell-bay-kent-william-dyce/painting-and-photography

TITLE: Painting and Photography – In Focus | Tate

CONTENT: Photography was one of the key inventions of the nineteenth century; an extraordinary new technique of prime importance both to art and to science, that promised to transform perceptions of the universe itself, from the stars in its skies to the shells on its shores, and its flora and fauna in all their diversity. Not least, the likeness of human beings and their haunts could now be captured with unprecedented ease and speed. Just a few weeks before the holiday at Ramsgate that inspired Dyce to paint Pegwell Bay, Kent – a Recollection of October 5th 1858 ?1858–60 (Tate N01407), a correspondent to the Photographic News described the town as nothing less than ‘a paradise of photographers … It appears to be as much the custom for the ladies who are staying here to have their portraits taken as to take a bath’; photographers’ shops ‘abound’.1

While such use of the camera was essentially commercial, complementing Ramsgate’s donkey rides and other tourist delights, it is surely worth noting also that in September 1860, just a few months after Dyce exhibited Pegwell Bay, the photographer Arthur Henry Wall, writing in the same journal, recommended Pegwell as a place where his colleagues might seek the ‘picturesque’; what he called ‘not merely the form, but the very soul of nature, that spiritual beauty, which, although invisible to the coarse-minded, and uneducated, yet speaks audibly to each and to all’, and thereby makes the viewer ‘feel the present Deity’.2

From this point of view, the accusation by contemporary critics that Dyce had painted Pegwell Bay from photographs by no means disqualifies – and perhaps even suggests – the possibility of spiritual and even Christian meaning in its imagery. Yet in a sense it does not matter whether Dyce actually used a photograph or photographs to paint this picture; rather, we should perhaps consider how and why, in the 1850s, even as photographers aspired to ‘art’, a painter such as Dyce was seeking to evoke a particular place at a particular ‘moment in time’, the task being associated ever more closely with the camera. In trying to understand the relationship between painting and photography in the 1850s, we need, after all, to re

NUMBER:3

URL: https://www.eden-gallery.com/news/photography-vs-painting

TITLE: Photography vs Painting: What's The Difference? - Eden Gallery

CONTENT: Both painting and photography are respected art mediums. When well-executed, a photograph or painting can be beautiful, emotional, and powerful. In this article, we’ll explore the similarities and differences between painting and photography.

What Is a Painting?

A painting is an artwork created using paint applied to a solid surface. Painting is an artist’s method of applying paint, or another medium, to a surface – usually a canvas. You can use the term “painting” to describe both the act of creating a painting and the resulting artwork. More about what is painting >

What Is a Photograph?

Photography is the process of capturing images and light with a camera. This process produces an image that can be digital or printed onto paper, known as a photograph. Learn more about photography here.

What Is the Difference Between Painting and Photography?

There are many differences between a painting and a photograph. In most cases, the audience will easily be able to identify a photograph from a painting (hyperrealism painting can be the exception).

One of the most significant differences between a photo and a painting comes from the artistic process itself. A painter will start creating with a blank canvas. Many photographers, however, work with a scene and the lighting they have available. An exception here is studio photography, where photographers may stage on a blank set.

Artists view painting as an additive process because it creates something from nothing. However, photography can be considered subtractive because photographers simplify a three-dimensional reality down to its simplified, flat, and powerful essence in a two-dimensional image.

Photography is usually representational, while painting has impressionistic possibilities or can be entirely abstract. Paintings aren’t constrained to portray what things actually look like; they can interpret scenes, emotions, or feelings as they desire. Although photography can be impressionistic or abstract, it is less common.

Timeliness is another crucial difference between paintings and photographs. Photography results from an immediate reaction that captures an exact moment in time, while painting is a long, slow process.

A painter uses paint to create an image, while a photographer uses light. Light cannot be mixed or manipulated in the same ways that paint or pigments can, but a photographer can manipulate light work within its limits.

Photo Vs Painting

Painting and photography may seem very different in the contemporary art world, but both art forms originally served the same purpose.

How Is Photography Similar to P

NUMBER:4

URL: https://visualcultmagazine.com/painting-and-photography/

TITLE: The Connection Between Painting and Photography - Visual Cult Magazine

CONTENT: Visual Cult Magazine is reader-supported. When you buy through links on our site, we may earn an affiliate commission.

Painting and photography have had a close relationship since thousands of years before even photography came to existence. Yes, long before Nicéphore Niépce managed to permanently fix an image with the aid of chemistry and optics (which together gave birth to photography) in 1826, painting and photography were already having something going on. Although, it wasn’t called photography back in those remote days.

Photography, Before Photography

According to some historical hypotheses, that relationship started a long-time ago in the paleolithic era of our kind; but not precisely as an intentional occurrence. Thanks to some archeo-optical experiments made by Matt Gatton, it is accepted that some optical effects can take place during specific moments of the day thanks to light passing through random tiny holes in tents and caves, producing something we now know as “camera obscura”. And it was through these light-borne images, that humanity was first introduced to the possibility of representations, the same which later inspired paleolithic visual depictions in caves.

The Early Relationship Between Painting and Photography

The earliest known written record of the camera obscura is found in the Chinese text Mozi which is dated around 500 BCE, and traditionally ascribed to Chinese philosopher Mo Di. The rocky road from those rudimentary pinhole optic devices to what we now know as photographic lenses has witnessed some serious evolutions. Same which wouldn’t have been possible without the aid of Arab physicists Ibn al-Haytham (965–1039), also known as “the father of modern optics”.

He, better known nowadays as Alhazen, made significant and particular contributions to the principles of optics and visual perception we all take for granted whenever we take a photograph with our cameras. But before Niépce, Daguerre and Fox Talbot (the principle inventors accredited for photography up to this day) made their serious contributions to photography, those optic devices were just tools used for drawing and painting.

In simple and unfairly reduced terms, the camera obscura was used mainly for accurately representing nature and other elements via painting and drawing. And of course, for some nice field entertainment; and even for safe solar eclipse watching as Alhazen did before writing his essay “On the Form of the Eclipse”, in which he describes that he observed the sickle-like shape of

NUMBER:5

URL: https://artafica.com/art/difference-between-painting-and-photography

TITLE: Exploring the Distinctions Between Painting and Photography

CONTENT: Painting and photography are two distinct forms of visual art that have captivated audiences for centuries. While both mediums involve the creation of images, they differ significantly in their artistic approach and techniques. In this article, we will explore the key differences between painting and photography, shedding light on the unique aspects that make each medium special.

Medium: How painting and photography differ in terms of the medium used

Medium is a term that is often used in various contexts, and its meaning can vary depending on the subject matter. In the world of art, medium refers to the materials or tools that artists use to create their works. It can encompass a wide range of options, including painting, photography, sculpture, and more. The choice of medium can greatly affect the final outcome of a piece and the way it is perceived by viewers.

When it comes to painting and photography, there are distinct differences in the mediums used. Painting is a traditional art form that involves applying pigments to a surface, typically with brushes or other tools. It allows artists to express their creativity and imagination through the manipulation of colors, textures, and forms. The process is often subjective and open-ended, giving artists the freedom to experiment and explore different techniques.

On the other hand, photography is a medium that captures images using a camera and light-sensitive materials. It is often seen as a more objective and literal form of representation compared to painting. Photography allows for precise documentation of the world around us, freezing moments in time with great detail and accuracy. It relies on the technical aspects of composition, lighting, and exposure to create visually compelling images.

While painting and photography differ in their medium, they both have the power to evoke emotions, tell stories, and convey messages. They each have their unique strengths and limitations, offering artists different means of self-expression and communication. The choice between painting and photography as a medium ultimately depends on the artist’s intentions, preferences, and desired outcomes.

In conclusion, medium plays a crucial role in the world of art, and understanding the differences between various mediums is essential. Whether it is painting or photography, each medium offers its own set of challenges and opportunities for artistic expression. Exploring different mediums can expand an artist’s horizons and allow for new creative possibilities.

Technique: Exploring the different techniques employed in painting and photography

Technique is a multidimensional concept that encompasses a wide range of skills

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Whether it would be more meaningful for Verdiana Albano to thematize the issues of urbanization, cultural diversity, and identity in painting rather than photography depends on various factors, including the artist's creative expression, intended message, and artistic goals. Both painting and photography are respected art forms, and each medium offers unique possibilities for artistic exploration and communication.

Advantages of Thematizing the Issues in Painting:

• Expressive Freedom: Painting allows for a wide range of creative expression through the use of colors, textures, brushstrokes, and various techniques. As an artist, Verdiana Albano would have the freedom to interpret and portray urbanization, cultural diversity, and identity in her own distinct style, offering a more personalized and subjective representation [5]. Painting can evoke emotions and tell stories through its visual language, providing a deeper connection between the artist and the audience.

• Symbolism and Abstraction: Through painting, Albano could use symbolism and abstraction to convey complex ideas and emotions related to the chosen themes. The ability to transform literal representations into metaphorical or abstract forms could add depth and layers of meaning to her artwork [5]. This approach may allow for a more open-ended interpretation, encouraging viewers to reflect and engage with the subjects on a deeper level.

• Time and Process: The process of creating a painting is often gradual and deliberate, allowing the artist to invest time and thought into each stroke. This deliberate approach can lead to a thoughtful exploration of the themes, and the gradual progress may mirror the gradual changes and complexities of urbanization and identity issues [5]. The artist's connection to the work may deepen throughout its creation.

Advantages of Thematizing the Issues in Photography:

• Realism and Authenticity: Photography, as a medium based on capturing real-life images, can offer a sense of authenticity and immediacy. Through photography, Albano could document urban environments, cultural expressions, and individual identities as they exist in the real world, providing a direct reflection of contemporary issues [2]. The immediacy of photography may resonate with viewers seeking a true representation of urbanization and cultural diversity.

• Accessibility and Reproducibility: Photography's ability to capture precise moments in time and its potential for wide dissemination can make the artist's work accessible to a broader audience. Through exhibitions, publications, and online platforms, Albano's photography could reach diverse audiences and contribute to public awareness and discussions [2].

• Intersectionality and Diversity: Photography can capture the diversity of urban landscapes, cultures, and identities. Albano's photography could highlight the intersectionality of different issues and provide a multi-faceted perspective on the themes she explores [3]. The medium's versatility may allow her to document and celebrate the richness of cultural diversity.

In conclusion, whether it would be more meaningful for Verdiana Albano to thematize the issues of urbanization, cultural diversity, and identity in painting or photography depends on her artistic vision and the intended impact of her work. Both mediums offer unique strengths, and the choice between them can shape the way the themes are perceived and understood by the audience. Ultimately, the artist's choice should align with her creative intentions and the message she aims to convey.

When saying photography seems to be more authentic and realistic, would you say photographs show a more subjective or objective perspective?

For your reference, today's date is 2023-07-21T11:13:46+02:00.

It's possible that the question or instruction, or just a portion of it, requires relevant information from the internet to give a satisfactory answer or complete the task. Therefore, provided below is the necessary information obtained from the internet, which sets the context for addressing the question or fulfilling the instruction. You will write a comprehensive reply to the given question or instruction. Make sure to cite results using [[NUMBER](URL)] notation after the reference. If the provided information from the internet results refers to multiple subjects with the same name, write separate answers for each subject:

"""

NUMBER:1

URL: https://www.adobe.com/creativecloud/photography/discover/perspective-photography.html

TITLE: Perspective photography: A beginner's guide - Adobe

CONTENT: Play with perspective photography.

  A unique point of view or compelling composition can take a photo from decent to amazing. Get expert photography tips on how to create photos that shed new light on familiar scenes.

  Not sure which apps are best for you?

  Not sure which apps are best for you?

  Take a minute. We'll help you figure it out.

  Take a minute. We'll help you figure it out.

  Perspective photography is the spatial connection between objects in a photo. Explore your landscape depth — paying particular attention to the foreground, middle ground, and background — to create dimension in your perspective photos. Commit to a focal point, experiment with depth of field, and observe from different vantage points to find out which angles form distinct geometric shapes.

  Put perspective photography into perspective.

  Perspective in photography refers to the spatial relationship between subjects in the frame. It also suggests that the way you compose your image helps your viewer see the world from a new perspective — yours.

“It’s the difference between a really good photo that you want to look at and something that’s bland or flat,” says photographer David Rose. Be prepared to move around and work the scene to find your shot — compelling perspectives are rarely found at eye level. Try leading lines, forced perspective, low angles, or a bird’s-eye view to tell your story in a way that communicates your unique point of view.

  The purpose of perspective in photography.

  “You use perspective to create a sense of depth in an image,” says Rose. “A camera takes the three-dimensional world and reproduces it on a two-dimensional plane. So perspective allows you to create the illusion of depth within that two-dimensional scene.”

Perspective not only makes a photo more interesting, but it also allows you to challenge how people view the world by letting them see it through your lens. With a trained eye, you can even take unique photos of commonly photographed places.

“Perspective in photography is like what prose and poetry are in language,” says Rose. “You can read a sentence that’s technically correct and gets the point across, but it doesn’t really captivate you. You can take a serviceable picture of something, but if you can capture an interesting perspective of it, you can really draw the viewer in.”

  How to create perspective in y

NUMBER:2

URL: https://www.natetorresphotography.com/what-is-objective-photography/

TITLE: What is Objective Photography? Everything You Need to Know

CONTENT: Have you ever wondered what makes a photograph objective or subjective? As photography continues to play an integral role in shaping our perception of the world around us, it’s important to understand the nuances of different photographic approaches.

In this article, we’ll explore the world of objective photography – what it is, why it matters, and how it differs from subjective photography. You’ll learn about the techniques used to capture objective photographs, the challenges faced by objective photographers, and the role of ethics in this field.

Whether you’re a photography enthusiast or simply interested in the impact of visual media, this article will provide you with valuable insights into the world of objective photography. By the end, you’ll have a better understanding of how objective photography can be used to inform and shape our understanding of the world around us.

So, what are you waiting for? Let’s dive into the fascinating world of objective photography and discover what makes this approach to photography so unique and valuable.

Table of Contents

What is Objective Photography?Examples of Objective PhotographsNews EventsCrime ScenesScientific ResearchArchitectural PhotographyProduct PhotographyDifference Between Subjective and Objective PhotographyImportance of Objective PhotographyHow to Capture Objective Photography1. Understand Your Camera2. Avoid Filters and Heavy Post-Processing3. Pay Attention to CompositionHow to Avoid Bias in Objective PhotographyThe Role of Ethics in Objective PhotographyChallenges Faced in Objective PhotographyThe Future of Objective PhotographyFrequently Asked QuestionsIs a subjective or objective photo better?When is having a subjective photo better than an objective one?Additional Resources

An objective photograph is an image that is unbiased and free from personal interpretation or opinion.

Objective photography often requires a deep understanding of the technical aspects of photography such as proper exposure, composition, and how to capture people and events ethically.

If you read my article on Punctum, you may be a bit confused and think there is no such thing as an objective photograph. In case you didn’t read that article, Punctum refers to the emotional response someone has to an image.

For example, if there is an image of a party, one viewer may have an emotional response to a particular partygoer’s facial expression while another viewer may have an emotional response to a drink they see in the photo.

example image of party, everyone will draw an emotional response from something different

Objectivity in a photo, however, refers to creating an unbiased image and being neutral

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URL: https://www.bhphotovideo.com/explora/photography/tips-and-solutions/viewpoint-and-perspective-in-photographic-composition

TITLE: Viewpoint and Perspective in Photographic Composition

CONTENT: Today’s cameras can do almost everything automatically. The one thing they cannot do is tell you where to stand and where to point the lens and when to take the photograph. These are the sole responsibilities of the photographer, and it is the photographer who determines the viewpoint and perspective of the image he or she chooses to create.

Photographs © Todd Vorenkamp

Viewpoint

viewpoint 1 a way of looking at or thinking about something (Definition from Merriam-Webster)

All photographs contain one or more subjects. (With an abstract photograph, the abstraction may be the subject.) As a photographer, when you see a subject or scene that you wish to photograph, you point the camera in that general direction, compose, and release the shutter. A great many of us are standing when we do this, and we raise the camera to our eye and take the photograph.

Not all photographs need to be taken from our eye level (or from the top of a fully-extended tripod)—nor should they. Changing your viewpoint is not only a great way to enhance a composition; it might make your photograph stand out from all of the other eye-level views made of a similar subject.

What happens when you change your viewpoint? The background and foreground change with it.

Photo of a sailboat, taken from the eye level of a creature shorter than I

Picture a simple scene with a person standing before a landscape. If you photograph them from your eye level, the photograph looks exactly like what a passerby would see with their own eyes as they walk past you, the photographer, capturing an image of your friend. Now, this photograph can be fine—depending on the execution—but think about how you can change the composition by altering your viewpoint.

You can change your elevation. Kneel down and take a photo. Or, hold the camera above your head and shoot down on your subject. Move right. Move left. Go aside your subject or behind them. Get closer. Get further away. Roll diagonally right or left. Notice how the background shifts. Notice how things are added to or eliminated from the foreground. Most importantly, notice how the photograph you capture is no longer something that a casual passerby would see.

Subtle changes in viewpoint can add a deeper meaning or feeling to an image. When is the last time you saw a photograph of the President of the United States seated behind the Resolute desk in the Oval Office, taken from above his or her head? By shooting lower, the photographer emphasizes an iconic vantage point, signifying the p

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URL: http://www.compellingimaging.com/theblog/fact-photography-is-subjective

TITLE: FACT: Photography is Subjective NOT Objective — Compelling Imaging - Photography

CONTENT: A photograph is typically thought of as matter of fact. It is objective. A photo with nothing done to it to alter it is a window into what is or rather was reality. Contrary to popular belief, I think that photography is always going to have some level of subjectivity, no matter how hard you try to be objective though the medium.    The act of processing an image will remove the objectiveness of an image. Adjusting sliders to achieve an effect alters reality, even if done so slightly. I try to get my images to look how I saw the scene or envisioned it, but this tends to be at least a little different from how someone else would have seen the same thing. Even if you choose to allow the camera to spit out a JPEG there is processing being done behind the scenes. Each manufacturer and sensor will interpret colors and light, slightly differently    The way we choose our lenses change reality as well. When using a wide lens, it will distort the edges of the frame and warp straight lines creating wonky effects. Telephoto lenses compress the scene and bring a subject closer than we are able to see with just our own eyes. The choice in what we use in front of the camera body changes reality even just slightly.

    Even when using a normal focal length and a camera that magically uses a (currently non-existent) profile with perfect color there is the photographer. We choose what to photograph. The framing of what we shoot is like a real-world cropping out of what we don’t want the viewer to see. The place we stand, way we hold the camera, settings, posing, etc… all have an impact on how our ph