英国论文重复率要求：摄影
摄影作为一种具有投入权力关系的技术，其地位各不相同
所有的照片都是严重和具体扭曲的结果。这使其与以往任何涉及重大问题的现实的关系，并使人们对决心的程度产生怀疑。这决定了摄影发生的社会实践和物质工具(Becker, 2015)。任何照片的本质都是指数性的。这就意味着符号与照相前所指物之间存在着因果关系，具有高度的不可逆性和复杂性。这些倾向于除了意义的程度之外，什么也不能保证。
关系:关键的讨论
所建立的联系是一个历史、文化、技术和歧视的过程，其中有具体的化学和光学装置的设置。这些对于与欲望和经验的组织一起工作，以及产生一个独特的现实是至关重要的。这个程序似乎很熟悉。对于Tagg来说，任何照片的价值和意义完全取决于它与其他照片的关系，更多的社会和强大的实践(Tagg, 2003)。有一个单眼的反射光的收集，静态镜头专门构造。它设置在被查看对象之外的特定空间。由于其结构的原因，物体在相机上被矩形平面投射出扭曲、裁剪和聚焦的图像。这并不是针对眼睛的模型，而是针对两个不同维度空间表征的具体理论问题(Becker, 2015)。在这个特殊的过程中，多色光作为一种化学的颗粒状变色固定在半透明的支架上。通过比较的方法，最终得到的是一张正面印刷的纸。
英国论文重复率要求：摄影
对摄影的解读
过去50年的经验表明，真理的守护者是客观性的消亡。虽然人们对摄影的理解是，它有助于展示眼前的事物，但有必要认识到，每一张图像都是有构造的。如今，客观性似乎不再是摄影的保障。为了把一个模糊的现实无限地转变为一种固定的商品，需要进行几次调解。此外，这些形象的构建有助于事件的构建(Barthes, 1982)。一个事件不仅可以看作是发生了什么，还可以看作是整体的叙述，在这种情况下，图像作为主要的叙述工具。然而，如果摄影不能被认为是客观的，它最终也不能与一对一的现实相对应，那么就应该对真相承担一定的责任。
英国论文重复率要求：摄影
Photography’s Varying Status as a Technology with Invested Power Relations
All photographs are the outcome of significant and specific distortions. This renders its relation with any previous reality that involved major issues, and raised doubt on the level of determination. This determines the social practices and material apparatus in which there is occurrence of photography (Becker, 2015). The nature of any photograph is indexical. This means there is a causative link among the sign and the pre- photographic referent, being highly irreversible and complex. These tend to be guaranteeing nothing apart from the degree of meaning.
Relationship: Critical Discussion
The link made is a historical, cultural, technical and discriminatory process within which there is setting of specific chemical and optical devices. These are crucial for working with the organization of desire and experience, and producing a unique reality. The procedure appears to be sufficiently familiar. For Tagg, the values and meaning of any photograph is determined completely by its relation with the others, more social and powerful practices (Tagg, 2003). There is collection of reflected light by a monocular, static lens constructed specifically. This is set at a specific space out of the objects being viewed. The image of the objects projected in distorted, cropped and focused by the rectangle flat place across the camera owing its structure. This is not specific with the model of the eye, but for specifically theorizing issues in representation of space across two different dimensions (Becker, 2015). Across this particular process, there is then fixing of the multi-coloured light as a chemical, granular discolouration over a translucent support. By the method of comparison, this ends up yielding a positively printed paper.
英国论文重复率要求：摄影
Interpretations of Photography
The past 50 years have provided that the guardian of truth is the demise of objectivity. While the perception of photography is that it helps in showing what is present, there is a need for awareness regarding the fact that there is construction of every image. No longer, objectivity appears to be securing the sense of photography. There is an involvement of several moments of mediation in order to transform an ambiguous reality infinitely as a fixed commodity. In addition, the construction of these image help in the construction of events (Barthes, 1982). An event can not only be considered as what took place, but instead the overall narration, and in such scenarios, images act as main instruments for narrating. However, if photography cannot be considered objective, and it does not end up corresponding with one- on- one reality, there should be some responsibility towards truth.
