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Fenton's pictures during the Crimean War were one of the first cases of war photography, with Valley of the Shadow of Death considered "the most eloquent metaphor of warfare" by The Oxford Companion to the Photograph. [13] [14] [s 3] Sergeant Dawson and his Daughter: 1855 Unknown; attributed to John Jabez Edwin Mayall [15] Unknown [e]
The modern use of the phrase is generally attributed to Fred R. Barnard. Barnard wrote this phrase in the advertising trade journal Printers' Ink, promoting the use of images in advertisements that appeared on the sides of streetcars. [6] The December 8, 1921, issue carries an ad entitled, "One Look is Worth A Thousand Words."
Satellite photograph of a mesa in the Cydonia region of Mars, often called the "Face on Mars" and cited as evidence of extraterrestrial habitation. Pareidolia (/ ˌ p ær ɪ ˈ d oʊ l i ə, ˌ p ɛər-/; [1] also US: / ˌ p ɛər aɪ-/) [2] is the tendency for perception to impose a meaningful interpretation on a nebulous stimulus, usually visual, so that one detects an object, pattern, or ...
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We can read his pictures without strenuous effort—the words, the images, the colors and the construction—but we cannot quite fathom the point they belabor. Keeping us in this state of half-knowing, of mystery-within-familiarity, had been the core technique of his brand of communication since his adolescent days as the graffiti poet SAMO.
Society (documenting images that captured moments that shifted public acquaintance with political, social, cultural and environmental issues); War (pivotal moments of conflict and associated violence); and; Science and Nature (capturing technological triumphs, defeats and horrors). The three subsections are:
Allan Paivio's dual-coding theory is a basis of picture superiority effect. Paivio claims that pictures have advantages over words with regards to coding and retrieval of stored memory because pictures are coded more easily and can be retrieved from symbolic mode, while the dual coding process using words is more difficult for both coding and retrieval.
Such images functioned as powerful relics as well as icons, and their images were naturally seen as especially authoritative as to the true appearance of the subject. Like other icon types believed to be painted from the live subject, such as the Hodegetria (thought to have been painted by Luke the Evangelist), they therefore acted as important references for other images in the tradition.