Theoretical Framework Of Photography

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CHAPTER TWO
LITERATURE REVIEW AND THEORETICAL FRAMEWORK
2.1 Introduction:
This chapter would analysis photography under conceptual review as the main concept of this study, it would look at the history of photography, types of photography, and types of cameras available till date, followed by empirical review and lastly the theoretical framework would come at the end of this chapter.

2.2.1 History of photography
The concept of photography was coined out of a Greek words “photo” meaning light and “graphy” meaning writing and when merged together the word means writing with light. Although different scholars proffered different definitions of photography, the concept, however still remains the same. According to Alex (2009) the word photography
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A so called “scientific focusing” technique was promoted, which imitated the way the eye perceives a scene: sharply focused on the main subject, with the foreground and the background slightly out of focus. Although as Alex described Emerson later became convinced that photography was not an art form at all but only “a handmaiden to science and art”, his earlier ideas had already influenced a new generation of photographers who no longer felt the need to imitate painting but began to explore photography as an art form of its own…show more content…
This is why, many creative photographers have complained of not receiving the needed attention and recognition as is given to artists and architects. But the good news is that, as stated above, things have changed in this direction. Apart from its collection of photographs, the National Gallery of Art is now including photography in its major exhibitions, and bringing photographers together to exhibit their products as well. And according to Fiofiori, efforts have been made by private galleries and cultural institutions like Mydrim, Nimbus, Alliance Française and Goethe Institut to attract collectors by mounting photography exhibitions. Individual photographers have also done the same. In addition to these, Nigeria’s biggest photography exhibitions by the Photographers Association of Nigeria (PAN) featuring over 30 and 40 photographers were held in 1995 and 1996. Nigerian photographers have also exhibited successfully in Britain, France, Belgium, Netherlands, Spain, Italy, Japan and USA within the last decade Fiofori (2009:3). This is a positive development.
Nigerian creative photographers have through the association made themselves and their works popular. This has given confidence to other organizations and institutions to show and acquire their works into their art collections. It should, thus be noted

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