companionship of photography and graphic in …

Companionship of photography and graphic in

photographisme with the approach of social issues

Doctor Mohsen Hassanpour: Corresponding Author Assistant professor of Visual Communication Department, Shahid

Rajaee Teacher Training University, Faculty of Architecture and

Urban Development of graphic group, Tehran, Iran

Katrin Maleki Nazari Master of Visual Communication, Shahid Rajaee Teacher Training University,

Tehran, Iran

Abstract: Photographisme is the origin of contemporary society. A society which expects more

from a photo than just expression of truth. Defamiliaraization, creation of mental symbols and

giving meaning to objects are among the applications of photographisme. Language is capable of

creating a format suitable for observation of sensory and intellectual experiences of human and is

more effective than any other mean of communication in this sense. The task of photo is

participating the viewer in a process of organizing. Hence, photo is considered as an important

element in graphic works. Use of photography techniques in contemporary graphic works using

digital tools greatly helps in transferring of message to the audience. The emergence of

photography in graphic and its great capability in editing of photos which its result was assembly

of photos, Ideation, creativity and speed in tasks took the place of imaging and paintings.

Visually units form the graphic work using data out of photo and measures of the designer. Thus,

the presence of photo in graphic works has the capability of a hyper-textual understanding.

Combination of photos and text completes the contemporary graphic and organizes complex

social understandings. The process of relation between these two mediums in photographisme

and its implications have been discussed in this article by evaluation of photomontage posters

given the importance of relation between these two mediums and its social, political and

economic effects.

Keywords: photographisme, photography, graphic, photomontage, social attitudes

1. Introduction

Photography is similar to the permanent child of Fine Arts and after passing its history of

aesthetics with many ups and downs, it is currently similar to an extremely flexible technological

intermediary and plays are key and critical role in the context of contemporary arts. Aesthetic

photographic traditions are considered in two directions: straight photography, manipulate

photography (Moghim nezhad, 202: 2005). Straight photography and all of its different branches

(from documentary photography and origin photojournalism to different form of formal

approaches) considered photographer in the position of observer who was trying to shape his/her

own private world without manipulation of reality and just using a selective perspective.

Photography also changed its aesthetic stances with the advent of the postmodern approach in

arts since the 80s. Tendency has led to product differentiation and wining in economic equations

since then. Also, designer do not just pay attention to the effect of words and photos in

postmodern era and they rather pay attention to mutual relations between the audience and

content of communication and graphic as a result. The works related to this era are closely

associated with tools for advanced photography and are affected by empowerment and

advancement of this industry. Works in this era consist of numerous photos used in graphic

posters in form of photo montage (Rahbar Nia, Hosseini Zadeh, 2010: 80). Crafted photography

Companionship of photography and graphic in photographisme with …

Hassanpour and Maleki Nazari / Argos Special Issue 2017/pp.122-134

123

entered the scene as marginalized flow of photography history and tend to create renovated and

staged photos, photomontages and mixed photos and so on became a priority. This can be

considered due to extremely critical use of photography in culture of West (Rahbar Nia, Hosseini

Zadeh, 2010: 203). Transformations in modern society required a close relation of graphic

designers and establishment of visual communication because photos have been a major factor in

the transmission of information and ideas. Hence, talent and ingenuity used in works of Graphics

Photography artists were used in formation of virtual reality in modern era as a document due to

their unbroken relations with reality and due to combination with other media, it took the role of

communication channel and binder of different arts (Rahbar Nia, Hosseini Zadeh, 2010: 203).

2. Research Methodology

This research has been carried out using library method and by focusing on analysis of

photomontage works of artists around the world. The method of companionship of photography

and graphics in photographisme and social approaches toward the effect of photo have been

visually studied in this article. The objective of this research is identification of application and

visual features of using photo in graphic works which has been qualitatively evaluated.

3. Graphic and social attitudes

The aim of artists since the beginning of using photo in graphic has been provision of meaning

and hypertextual effect for the audience. They created photomontage based on direct and simple

relation of photo and the audience and by understanding that elements in photo can evoke a

specific topic in their random and spontaneous relation with each other. In this method, a new

will be sent to the audience by placing homogeneous or heterogeneous elements of photo next to

each other. Photographic was considered as a type of image engineering which organizes a

mental structure and makes the final product understandable for the audience. Photomontage

was used in abundance after the First World War due to political applications. In fact, using this

method was more important than its technical process. Combination of text, images and graphic

elements formed a real-imaginary image with the aim of showing the mystery world of missing

daily lies (Rahimi, 2014: 44 -49).

4. Description of photo

Description exactly means adding an intermediate stage or a second message to a clear message,

a message which has been derived from a code. Thus, description does not mean an inaccurate

and incomplete understanding and it rather also means restructuring and proving something

different compared to what is shown. Photo is not just understood and it is also read and joins

the conventional savings of symptoms in a more or less conscious way by the society using it but

each sign requires the existence of a code and as a results the efforts must be on creation of that

code and connotation (Bart, 2009). Thus, photo is created by mutualism of two messages, one is a

message without code (photographic similarity) and the other is a message with code ("Art" or

craft or "writing" or miracle of photo). Connotation also consists of an expression level and a

content level (Bart, 2009: 17).

5. Companionship

Several photos next to each other form a set. So in this case, evidence for another connotation

cannot be found in any other level of components (each one photo) in set and it has to be rather

searched for in sequence and continuity in the whole set (Bart, 2009: 23).

6. Role of text in photo

In traditional imaging methods, image which acted as reference and provided a clear

understanding of the original message (text) was understood as implication because there was a



124

need for visual explanation in order to understand the text but image does not make text clear in

these days or does not make it real and rather text exalts image and provides Emotional or

intellectual aspects for it. Text adds something to image and enriches it with a mix of culture,

morality and imagination. Before all of this, we faced a type of reduction in passage from text to

image and now we face a type of intensification in this case. It can be said that we are currently

facing a process which its obvious characteristic is naturalization of matters related to culture.

Title and image in a text are more effective in formation of implicit content compared to the text

under images one due to being larger than other words and its distance with images and the

other due to its distance from the text but unlike two cases cited above, text under images

duplicates the effect of image due to its position and relative readability which means it has a

role in its explicit meaning (Bart, 2009: 24-25). There is a linguistic message in each image in

form of titles, subtitles, press articles, movie dialogues or in form of dialogues of heroes in comic

stories in bubbles above their heads. We understand that speaking about visual civilization is not

so accurate. We are still facing writing civilization more than ever because speech and writing

are still the complete components of data structure (Bart, 2009: 24-25).

Figure 1 : Collection of photos related to Duane Michals, 1932-1969, reference: HTTP //:

www.pinterest.com

7. Photomontage, start of a process for integration of photography and graphic

The term of photomontage from the French verb of Monter meaning assembly is used for

description of a wide range of creative measures which grew in the early twentieth century. This

term not only includes photography but also includes works by writers such as Alfred Dublin and

John Dos Passos, Filmmakers such as Sergei Eisen Stein, Dada and Surrealism artists such as

Max Ernst George Grosz and others (Moura, 2014: 193).

Berliner Dadaist, Raoul Hausmann was against use of the term artist for this type of artistic

creation. He believed that this work is a kind of image engineering. This is not a created image

and it is rather an engineering work because it is formed by combination of a set of images which

are not considered separately and are completely united (tak, Khoubdel: 2013: 3).

European avant-garde movements especially in Germany and the Soviet Union used

Photomontage as an art form. Berliner Dadaists, John Hrtfield and Hnna Hoch worked in

Cologne following artists such as Max Ernst and used this technique after World War I and

brought it to fame and created some works using this method. They were fascinated by the

suitability of photomontage for social and political criticism. Especially since it had the ability to

be published in large numbers in the form of posters in magazines or newspapers and this

feature made it distinctive compared to single version collages of Cubists and Kurt Schwitters.

Hartfield who was not even a photographer used this media to create harsh images condemning

Nazism. In Soviet Union during the 1920s artists such Gustav Klutsis, October group, Alexander

Rodchenko, Stenberg brothers and El Lissitzky used photomontage used to promote support for

http://www.pinterest.com/



125

the new Soviet state. Photomontage took root in the late 1920s in Bauhaus as a language in form

of visualization and geometric in a way that it can be observed in works of Herbert Bayer, El

Lissitzky and Laszlo Moholy-Nagy as well as the works of Paul Citroen (1923). Photomontage

was most often combined with new forms for preparation of posters and images in illustrated

publications which were reminiscent of the modern world (Moura, 2014: 196).

Figure 2 : Paul Citroen, Metropolis, 1923, reference: Moura

Photomontage became separated from straight photography and placed collected images instead

of it. This new collection changed the idea of accepted truth and caused the audience to revisit

earlier ideas and make a fresh decision (Khoobdel, Hassan, 2013: 12). Photography became a

force of change in graphic art through photomontage. Images which were used for commercial

advertising in which typography is an integral part of image grew as a result photomontage

(Khoobdel, Hassan, 2013: 14). Photomontage with the help of digital imagery has been the latest

form of photography in the past two decades which is a form of creating photographic images and

is not real based on the real world and is in the realm of simulations. In fact, this process has

placed the process of creating image instead of the process of taking photos and as a result it is

separated from fundamental concepts of photography. Features of modern imaging are liberation

of taking photo in a certain time and place, using creation of photographic image and

combination of different times and places within a single frame with false and fictitious nature.

Photomontage and digital imaging have reciprocal relation with each other. Digital imaging has

taken its legitimacy from photomontage because Photomontage has been accepted throughout

the history of photography as type and trend in this media and today's digital imaging has been

able to extend the borders of photography creations toward creative creativity by relying on the

same existence and acceptability. Other side of this relation is the border between photomontage

and digital imaging which has been interwoven and it’s not separable and photomontage

approach is extremely close to digital imaging inn terms of convergence nature and it can be said

that photomontage is foreground of an accelerated mutation in post-photography era. Thus,

photography transformed from its concept and has moved from a media which records the truth

to a media which creates new truth with new form. This new paradigm has provided

circumstances and requirements for transformation of contemporary human and future world

based on our imaginations and desires. There are two groups in the field of portrait and its

deformation and metamorphosis: 1) morphing, this process is related to creation of and

aggregated and deformed portrait, such as creating digital assembled portraits. 2) Avatar which

is the process of computer simulation and creating portrait and human identities (it is virtual). It

is a view of humans which has no real example and is raised with a human and post-human

pseudo as a virtual character in a virtual space. Image creation process has separated itself from

the traditional form and has made the relation between photography and reality to enter a new

stage. “Images create reality more than being a copy of reality”. “Each image can be separated



126

from its main text and can be used differently”, this approach is known as takeover or

acquisition. This was initially used in creation of collages and photomontages using images which

existed before. Pop artists began to use media images (photojournalism, advertising, etc.) in their

work in the 1960s. Takeover or acquisition took a new form for cultural critique with the advent

of postmodernism. Barbara Kruger unraveled the creation of code in implications of media

images (Moura, 2014: 91).

Unexpected companionships of photos related to places and objects such as the works of Mexican

photographer Manuel Alvarez Bravo creates a surreal atmosphere.

Figure 3 : Manuel Alvarez Bravo, 1940, reference: http//:www.adanvc.tumbler.com

Next method is use of manipulation such as all Photograms of Man Ray

Figure 4 : Man Ray, 1925, reference: www.http//art_works/man-ray-clock-wheels

Other methods such as multiple exposure, burned negatives and in general manipulated

photography were used as a new language for new understanding of reality. New Photography

was a measure to reform the extremely simple relation between us and reality and its rules.

Different branches are modern graphic are: Typography, imaging, press, advertising and

publicity, posters, sign, logo, environmental graphics, photographic, graphic of audio and video

media and packaging. Modern graphic has been affected by different art movements in 19th and

20th centuries as a branch of the visual arts, especially the twentieth century which is the field of

innovations in the field of tools and techniques and procedures and artistic styles. Even though

photography was considered as an independent art was became along with graphic innovations

from the twentieth century. These two fields are related to each other. Graphic art was able to

find place for its activities in all fields and its artistic and social applications expanded (Hosseini,

206: 2007).

http://www.http/art_works/man-ray-clock-wheels



127

Graphic designer places elements such as words and image and other elements next to each other

in order to achieve a visual structure. What matters is creation of a form and message arising

from it for its transfer to the audience. The Graphic designer provides meaning for an obscure

image by comparison and contrast and cropping of images and words and helps in transfer of

idea (Hosseini, 207: 2007). The meaning of reality has changed in today’s photography, many

artists invite the viewer into a world of collected pieces of photos taken from people and objects,

nature and events. These images have the role of leading symbol which direct the viewer to a

higher reality which is impossible in the visual world (Dinarvand, 121: 2014). Photography has

been focused on by Graphic Designers not only because of its objectivity but also due to its fast

effectiveness on the viewer. The development of digital cameras and use of computer editing have

broken past limits and have extended the application of this art in graphic (Khakshaie, 187:

2011).

The focuses were turned on offset device and methods used by film making devices in the mid-

1970s. Images and words were placed on each other in form of sandwich and photography was

becoming positive. Back then collage was selected as the media for transfer of visual messages

(Bimagz, 520: 2009). The most important part of graphic language was from since the early 1970s

which was derived from mass culture of Punk related peoples of street style in London which

included drugs, pop music, rebelliousness and desire to create shock. In this era, the SP band led

by Malcom Maclaren and the works of Vivianne Westwood became famous. The visual identity

sign of group which was observed on the cover of tape, poster and t-shirt was designed under the

supervision of Jamie Reid. Punk magazine which was named Fanzines was created using torn

papers, images of popular newspapers, handwritten and typed texts and prepared elements

which were all glued together on a page and lithography or photocopy were used for making

copies. Dadaism was against art and punk was against design (Dindarvand, 74: 2014, quoted

from Hollis, 268: 2014).

Figure 5: Music album, Punk Style, 1977, reference: http//:www.theguardian.com

In 1980, magazines such as (I-D) Magazine were published with different designs by emerging

talents. These magazines had powerful expressions and new methods of creation such as extreme

enlarging of photocopy images and deforming their appropriateness by flicking of photographic

paper, use of snapshots and use of high and low light and scratches and paint on it. Terry Jones

says: “we used computer as an entertaining and new tool to add effects to the set of graphic

effects” (Hollis, 272: 2004).



128

Figure 6 : Terry Jones, 1980, Reference: http://www.pinterest.com

Photomontage is the result of intervention and manipulation of the real matter in photo frames

and integration of objects and phenomena rescored in it. Searching in photomontage works for

finding visual signs of it for between understandings of these type of works and reasons for is

formation from creation of image to transferring of concepts is important in contemporary

graphic design as a necessity. When there is a discussion about photomontage, it means

accepting this matter that this technique carried a culture in itself which is worthy of attention

and encoding. Understanding of concepts in imaging technique is only possible by being involved

in symptoms in it and each of these works will be a measure for artistic validation due to having

concepts and signs in themselves (Dinarvand, 3: 2014).

“Characteristics of movement, diagonal lines and space with its unique excitement and in

coordination with the industrial era are observed in photomontage photographic methods while

these methods have been along with the innovation in transferring of message in method of

graphic design since the first decades of the twentieth century.” (Rahbarnia and Hossein Zadeh,

79: 2010).

Figure 7 : Andy Warhol, Marilyn Monroe, (silk screen), 1962, Reference Rahimi, 132: 2014

The integration of photography and graphic made photographic images to be used in propagation

of graphic products with the help of printing techniques. Laszlo Moholy-Nagy who was

mentioned earlier found out that extremely interesting visual images can be obtained by printing

of negative or placing on each other or deforming. The tendency to use abstract and postmodern

photography made the field for use of photography in graphic arts richer. Methods which lead to

new results from a normal image are as follows:

1. Creating shaded photos without the use of camera by placing objects on light-sensitive

paper and exposure

2. Use of mirrors and reflecting crystals to create deformations

3. Combining several images to create a new united image

http://www.pinterest.com/



129

4. Creating a deformed shape of objects and people using special lenses

5. Manipulation of the image processing to achieve special effects or interesting motifs

Other cases are: shadowing, contrast between black and white, gaining or enlarging pixels in

image, manipulation of photographic gelatin all of which are used in graphic and are called

photographic which make graphic designs richer. Photography is so effective in the work of

graphic artists that designers prefer to develop their topics through photography. Hence,

photography gradually took the places of painting and drawing in posters and advertising

(Hosseini, 2007, 283-284).

Use of high-contrast images, use of expressionist photomontages and use of adjacent images in

order to create new and shocking concepts is among other characteristics of his work (Bimagz,

2009: 476). Correlation of applied graphic and concept-orientation in modern and post-modern

arts has always been after unique effects of manifesting ideas and perception in new and

conceptual form. Graphic has replaced symbolism and use of symbols and symbolic meanings in

the production of its applied works with conceptualism. Clever use of concept in applied graphic

provides a proper opportunity for creativity. Integration of concepts with graphic mechanism and

creation of combinations using conceptual photography leads to creation of new works which are

the result of evolving process of graphic art.

Figure 8 : Roman Cieslewicz, 1974-1975, reference: Mags, 2009

The field of conceptual graphical was a creative tool in creative tool in the 1960s for creation of

exquisite images which were used for transferring of emotions and ideas of artist. Image was

superior in works of these artists and was responsible for transferring the main concept of work.

These artists misrepresented time and words, made objects integrated and floating and cut and

separated images. The main feature of their work was creation of imaginative works full of

mystery, sign and innuendo using montage, collage and photography techniques to transfer

emotions and ideas (Bimagz, 2009: 490-491). “In graphic design of rambow group, photography

was turned from a normal work into a fascinating work by manipulation, rubbing and

assembling and was then documented in form of black and white and was printed with

metaphysic meditative and poetic atmosphere” (Bimagz, 2009: 492).



130

Figure 9 : Gunther rambow Poster Collection, 1976-1990, reference: http //: www.gunter-

rambow.com

Holger Matthies is another designer in this method who has used photography in his works.

Photography has been used in his works in form of design before hitting the shutter. What give

life to designs of Matthies are selection of volumes, models, paintings and taken photos and their

combination with each other which have been combined with texts after printing (Shakibafar,

116: 2016).

Figure 10 : Holger Matthies Poster Collection, reference: http//:www.holgermatthies.com

Some conceptual artists such as Victor Brejin, John Baldsary and Barbara Kruger found out that

making images symbolic especially familiar images taken from the field of advertising and the

media provides a stronger territory of conceptual works. This broke the sanction of image by

conceptual artist and emergence of a new genre of art which was later named Photo Art. Photo

Art is the realm of photographic images which appear with a conceptual nature unlike common

understanding of artistic photography which insists more on aesthetic aspect of photo. Many of

these artists have used words to create a background fusing which the conventional images or

symbols are turned into iconic signs. In this word-image process, the photographic images have

turned into a symbol and the entire art work has become a machine to create meaning and

concept (Sami Azar, 67: 2012). Barbara Kruger combined visual and verbal cues to form an

engaging and highly influential form of conceptual art for designing of non-artistic themes in

1970s. Her works are important due to provision of short and unequivocal phrases in

unconventional places and use of images with text to create meaning. She merely manipulates

signs and creates conceptual work using implication. Thus, she invites her audience to face

thought and criticism action against it instead of observation of sensory and aesthetic aspects of

work. Kruger has taken effect from semiotics of Roland Barthes about text and the author and

interprets art as a social field of symptoms involved with other systems of symptoms (Sami Azar,

95: 2012).

http://www.gunter-rambow.com/

http://www.gunter-rambow.com/



131

Figure 11 : Posters of Barbara Kruger, since 70s, silk printing, reference:

http//:www.postermuseum.com

Even though the works of Kruger are similar to classic political photomontages in 1920s and

1930s especially the work of John Hartfield but her works are affected by a more recent trading

style. Her works are affected by the graphic of fashion magazines and consist of two powerful

economic and political contexts and male and female relationships from the perspective of

feminists (Grandbrg, 166: 2010-167). Re-use of social media and social prototypes in the work of

Barbara Kruger are basically due to reflation of their fakeness. Kruger uses linguistic strategies

and promotional graphics for creation of ironic deconstruct in her photomontages (Moura, 2014:

84). “We refer to transferring of message in both text and image which has been encoded during

creation and has be decoded while reading. The absence of author removes the author for

determination of meaning in work in dialogues between text and image. Reading makes these

two system very significant” (Abdullah Abadi, 51: 2014).

8. Beginning of using image in Iranian graphic

Photography started in Iran during the Mohammad Shah era and was extended with the support

of notables and dignitaries of Qajar royal court. Nasereddin Shah is among the first individuals

who affected photographic industry in Iran. The signs of photomontage and manipulation of

images can be observed in history of Iranian photography in works of Nasereddin Shah in photo

collage and he might be considered as the first primer of this method. He performed the first step

in the field of photo collage by trimming photos and cutting the image of individuals from

background. He has experienced the exquisite compounds of the first photo collage in photos he

took from his wives by trimming photos and sticking them in albums (Tavaki, 2016: 22).

Figure 12 : Nasereddin Shah, 1931, Reference: Journal of Photography 2016: 11

Use of image in Iranian graphic dates back to advertisings in the 40s. Before that images

consisted of fine points and hatches (Parsi Kia, 22: 2013). Direct use of image was not possible in

first advertisements and image had to be converted into a message in from of hatches or dots or

similar black and white methods in order to be printable (Hosseini, 64: 2002, quoted by Afshar

Mohajer, 2000: 199). Fakopa Agency takes huge steps in marketing and attracting customers in s

true sense with advertisements. Other advertisement agencies such as Caspian, Avazeh and Ziba

play a huge role in raising the sale rate of products. Kamran Katouzian creates a new approach



132

in the world of advertising by founding avant-garde agency. It can be said that a wide range of

activities are displayed and exerted in all fields of graphic design (Hosseini, 64: 2002, quoted by

Afshar Mohajer, 2000: 199).

Figure 13 : Avant-garde Agency, Kayhan newspaper, 1973, Reference: ParsiKia, 2013: 32

Fakopa Agency, Ettela’at, 1966, Reference: ParsiKia, 2013: 64

Designers who only worked on promotional graphic such as Farhad Mehrban and Majid Baloch

caused photography to grow as one of the factors in graphic. Photo studios were created for this

purpose. Masoud Ma’soumi and Reza Bourbakhtiar were among the first promotional

photographers. Promotional graphic became an extensive field in its own. Calligraphy found its

own place in relation to graphic. Akhavin, Ahsaie and Mafi are among celebrities in the field of

calligraphy for advertising and publishing and press in this era (Hosseini, 91: 1953). Design of

posters tended toward posters of resistance after the Islamic Revolution and the outbreak of war.

Photography was also directed toward showing values of resistance and recording events in order

to stimulate and guide people to defend the country. The photography in this era was considered

due to being rich and its effect on the viewer. Many different images can be found in posters and

advertisements in that time which have had effective role in formation of culture in their era.

Graphic moved toward design of sings and advertising after the war. Movement from analog to

digital photography started and it found a unique and undeniable presence with advent of

computer software applications as a new tool for graphic.

The field of graphic design was formed in the Faculty of Fine Arts with the efforts of Morteza

Momayez. We observe leap in the use of techniques and technology in the 30s. Morteza Momayez

uses high- Morteza Momayez image in graphic for the first time. (Hosseini, 62: 2012).

Figure 14 : Set of designs related to Morteza Momayez, 1936-2005, reference:

http//www.Pinterest.com



133

Deep political developments occurred in Iran in 1978 and posters and in general graphic art took

a significant role in advertising of all political groups all political groups. The art of posters

became the art of revolution and that is why political groups considered creating exhibits with

their own line of thought. People face graphic in another form in final months of 1978. Most

forms express goals and aspirations of all groups and a new way is formed in the Iranian graphic

history (Hosseini, 64: 2012, quated from momayez, 2003, 85). Today’s graphic depends on

movements a long time before the Revolution. Thus, the evolution of graphic works in the past of

this country must be understood for the analysis of new works and new artists in order to be able

to determine their effects on each other and judge about it. Works in this ear provided a type of

freshness for Iranian visual arts due to new approach and perspective of its artist and still

contains valuable points for graphic designers in Iran. This effect has certainly changed many

perspectives in its time and after it and its trace can be search for even in the present time.

Visual dreams and ideas affected by the global approach of creation are carried out in today’s

Iranian graphic without executive concerns and image has a significant role in it. “Nowadays,

there are different trends in the field of responsibility and performance of photography in graphic

design which consider Iran's industrial and Iran's industrial due to artistic photography but

social and cultural photography can undoubtedly be the better solutions for better understanding

of designers in case of raising anthropology and ethnography issues” (Rahbarnia and Hossein

Zadeh, 83: 2010).

9. Conclusion

This article discusses about this subject that the emergence of photography was able to form a

relation between reality and emotions of the artist. Hence, objectivity of the meaning of graphic

expanded. The integration of photography and graphic is the relation between artistic sensibility

and a strong sense of designing. Use of image has increased the awareness and the process of

visual communication and leads to more diverse approaches as a result. One of these approaches

is the social approach of Phototgraphisme which creates a new way for transfer of concepts and

excitation of the audience. The collapse of common norms which expresses criticisms beyond

visual forms sometimes publicly and sometimes just irony and enigmatic became possible using

graphic. The importance of image in graphic is due to discussing about content, message and its

effect on the audience and social life. Photography and graphic media interact with each other

establish a new relation for the audience with provision of meaning, creation of mental symbols

and defamiliarization of phenomena and creation of new images using different techniques such

as photomontage which help the audience to understand images and concepts. The process of

discovery of ideas creates a new relation using the body of social ideas and recreation of image

using it and transferring it to the audience. Thoughts and beliefs of each society helps in

formation of social phototgraphisme. Photo composition technique and its combination with text

challenges the concept meant by author because image in this media in not just an image.

Thoughts such as description and analysis come to the mind of the viewer along with each other

which shows the depth of multifaceted works of contemporary conceptual graphic. Contemporary

graphic uses images to attract the audience and lead to social reactions. Photography work as

intermediary compatible with objective graphic and expands the graphic of graphic design. Thus,

the design based on social needs was formed from the beginning of the formation of

phototgraphisme for example poster is considered as productive and driving force in wars and

revolutions. The combination and selection of images was for advertising and attracting

customers in consumer society and images were used to advertise and attract customers. Thus,

type and selection of composition of images in phototgraphisme depends on a society in which art

is being used.

References:

1. AfsharMohajer, K. (2009). Knowledge of graphic arts, Tehran, Fatemi.



134

2. Bart, Roland (2009). Picture message, Translator secret golestani person, Tehran,

publisher center.

3. Bart, Roland (2011). Bright rooms, Translator Lily admitted, Tehran, publishing

fountain.

4. Bimagz, Philip (2009). History of graphic design, Translator Venus A. Frost, Tehran, art

publishing.

5. Parsi Kia, F. (2013), Sadeghie Press, Tehran, creative ideas.

6. Tavakoli, Saman (2016). Dreams, reality Vftvmvntazh the mind of the photographer in

the process of photography, photography Quarterly, No. 2, p. 22.

7. Hosseini, Seyed Reza (2007). Knowledge of graphic arts, Second Edition, Tehran, Marlik.

8. Hosseini, Shoaib (1985). Graphic pre-revolutionary Iran from 1956 to 1978, magazine art

book, No. 169, Ss58-65

9. Khakshaie, S. (2006). The impact of digital photography on messaging notification

master's thesis, University of Al-Zahra.

10. Dinarvand, N. (2014). Photomontage poster with post-modern approach of 1970 so far,

thesis, University of Al-Zahra.

11. Rahimi, A. (2009). Dada Surrealism, photography, art magazine, No. 80 Ss105-131.

12. Rahimi, A. (2014). Photomontage fields in the second half of the nineteenth century, the

history of photography magazine, No. 321, Ss67-71.

13. Rahimi, A. (2014). Photomontage fields, Tehran, publish thoughts.

14. Rahbarnia, Z, Hosseinizadeh, A (2010). Industrial design graphic design in Iran Vepsa

industrial culture, the fine arts magazine, No. 42 Ss75-85.

15. Sami Azar, AR (2012). Conceptual revolution, Tehran, print and publish your comments.

16. Shakibafar, A (2016). Victonium Stadium in photomontage, Journal of Photography, No.

2, Ss115-121.

17. Abdallah Ebadi, E. (2014). Examine the role and position functions as the expressive

photo, fine art paper, No. 1, Ss51-54.

18. Grandbrg, Andy (2010). Crisis realities of contemporary photography, translator Ebrahim

Moghadam, Tehran, print and publish Shadrang and Farhandgestan.

19. Lagernich, Ashley (2014). Introduction to Theories of photography, interpreter Hasan

khoobdel, Fourth Edition, Tehran, Shourafarin.

20. Moghim Nezhad, SM (2005). Introduction to Multimedia Arts, Arts Magazine, No. 65,

Ss194-221.

21. Moura, Gilles (2013). Photography words (FAQ thoughts, movement, photography

techniques interpreter Hasan khoobdel, Third Edition, Tehran, writing profession.

22. Niazi, R. (2013). Photomontage in the age of digital media, professional artist, No. 48,

Ss18-34.

23. Hollis, Richard (2011). History of Graphic Design, translator Sima enthusiastic, Fifth

Edition, Tehran, organizations and publications printing.

24. Www. http//art_works/man-ray-clock-wheels

25. Http//: www. theguardian.com

26. http://www. pinterest.com

27. Http//: www. gunter-rambow.com

28. Http//: www. postermuseum.com

companionship of photography and graphic in …

Documents