Publisher's Synopsis
Today, as an aesthetic, intellectual and artistic tool, photography has rapidly increased and therefore it has found a wide range of supporters and has become a favourite art material for collections, museums and fairs. Although the interest of the art lovers and the collectors and not yet sufficiently widespread, the interest of some museums in photography and especially in contemporary photography shows us that photography among plastic arts has started to be respected day by day.On the other hand, the artistic qualities of photography in the historical process cannot be understood very well, but unfortunately due to the increasing importance of a number of usage requirements, at the intersection of photography, art and life, it has often been transformed into a more relevant tool for life. The aesthetic language of the photography, the options of interpretation, its visuality, its authenticity and its true superior nature were not taken into consideration, but instead, the documentary dimensions that emphasised reality and which were aimed at more information and informing were revealed. In the process, the attempts of many great artists to disseminate photography as a free art has not been very successful, especially the magazines that use news and documentary photographs and the photographic monopolies that keep the amateur masses under their control have been a great obstacle to the development of the artistic front of the photograph. In the modern era, the art of information and communication strategies that make the existence of the indispensable even more indispensable to develop an objective attitude against the natural dynamism and not to exhibit a creative language to question the reality, news photographers blessed the in critical moment to be confined to the narrow media of a pure document, in a rough document. Indeed, rather than developing a language that responds to their own images, the obligation of a limited function, such as a timepiece, seems to be the greatest misfortune the photograph has suffered in the historical process. However, these developments do not reveal a purely spontaneous result. On the contrary, some of the deliberate orientations and the attitude of some non-art formations based on the break-up of the photograph from the creative process has been a major role in this.
