I need a paper that I have drafted to be polished up and finalized for submission.

I have attached the paper as well as the rubrics with instructions. Below is the instructors feedback. I need to use only photography images no paintings, please.

There is a painting in here that needs to be swapped out for a real photograph.

Anthony — you did a really great job on this version of the final. I feel confident that your finished product will be top-notch! Just stick to photos and don’t include paintings! 

Anthony Chaves

SNHU

History of Photography

5-2 Final Project Milestone Two

Beauty is one of the themes depicted in fashion photography that has a long history. In 1911, when the golden age was at its height, beauty was highly focused on by famous photographers such as Edward Steichen. This was the time when models were photographed while wearing the beautiful dresses that had been designed by Paul Poiret. The photographs of these models were usually published in the art magazines. During the pre-photography period, there were fashion magazines that were crucial in spreading the theme of beauty in fashion photography. This includes magazines such as Journal des Dames and Le Costume. However, due to engraved illustrations, these magazines had limited readership. Technological advancements that took place later allowed for the printing of photos on the same page with text, which increased readership of fashion magazines.
Visual Analysis

Cecil Beaton, In the Manner of the Edwardians, Mary Taylor wears Channel, American Vogue, 1935. Museum no. PH.191-1977, © Victoria and Albert Museum, London

· In the above image, beauty in fashion photography is revealed through the wearing of long dresses.

· The model in this photograph has been used to highlight the level of beauty achieved when wearing a long dress.

· This is the image that reflects the roots of beauty in fashion photography.

· This photograph was taken when culture was represented in fashion photography.

· This portrait is taken from Victorian society portraiture.

Vermeer, Johannes: Girl with a Pearl EarringGirl with a Pearl Earring, oil on canvas by Johannes Vermeer, c. 1665; in the Mauritshuis, The Hague.

Title: Girl with a Pearl Earring

· This is a painting that was made by Johannes Vermeer.

· Its medium is oil painting on canvas.

· The movement is Dutch Realism.

· This painting is found in Mauritshuis Museum, The Hague.

· This painting illustrates the things women use to enhance their beauty. In this case, it is a pearl earring.

After World War II, a number of things changed in fashion photography. There were efforts to enhance beauty in fashion photography and make art more attractive. At this age, snapshots were considered great beauty photographs. As the feminist movement gathered momentum, fashion photography was used to spread the message of gender equality. In the 1950s, a new dynamism emerged that greatly influenced photographers and fashion magazines. In the 1970s, fashion photographers were interested in pushing the limits for representing beauty in fashion imagery. Through this new understanding, photographers engaged society with the changing attitudes to sexuality and feminism. Moreover, other themes such as religion and violence because evident. At this level, the notion of ideal beauty widened. The use of androgynous and black models increased. For instance, photographers such as Sarah Moon and Deborah Turbeville were models, and their engagement with female forms was different from that of their male photographers. Their contemplative images focused on a number of female perspectives on the themes of sexual objectification and beauty. In the 1980s, more focus was put on capturing real life. This led to the emergence of new style publications that were focused on perfection of photography to bring about enhanced representation of beauty. Articles featured in magazines were focused on culture and beauty. Alternative forms of beauty representation were evident in various magazines. In the late 1990s, there was a leading documentary approach to beauty in fashion photography.

The following are some of the photographs taken during this period. They all reveal the theme of beauty in fashion photography.

Erwin Blumenfeld, Model and Mannequin, American Vogue Cover, 1 November 1945, © Estate of Erwin Blumenfeld/Victoria and Albert Museum, London

Title: Model and Mannequin, American Vogue Cover

Date: 1 November 1945

Source: Victoria and Albert Museum, London

.

Ilse Bing, Salut de Schiaparelli, Perfume Advertisement, 1934, © Estate of Ilse Bing/Victoria and Albert Museum, London

Title: Salut de Schiaparelli Advert

Date: Jan, 1934.

Source: Victoria and Albert Museum, London

John French, Skater wears a Digby Morton fur trimmed velvet coat, city gentleman, Michael Bentley in the background, London. Daily Express, 1955, © Victoria and Albert Museum, London

Title: Skater wears velvet coat

Year: 1955

Source: Victoria and Albert Museum, London

Ronald Traeger, Twiggy wears Twiggy Dresses, Battersea Park, London. Unpublished Fashion Study for British Vogue, Young Idea, July 1967, © Estate of Ronald Traeger/Vogue The Condé Nast Publications Ltd/Victoria and Albert Museum, London
Title: Twiggy wears Twiggy Dresses

Year: 1967

Source: Victoria and Albert Museum, London

Works cited

Graydon, Shari. In your face: The culture of beauty and you. Toronto, Ontario, Canada: Annick Press, 2004.

Schweitzer, Marlis. ““The Mad Search for Beauty”: Actresses’ Testimonials, the Cosmetics Industry, and the “Democratization of Beauty”.” The Journal of the Gilded Age and Progressive Era 4.3 (2005): 255-292.

Svendsen, Lars. Fashion: A philosophy. Reaktion Books, 2006.

FAS 326 Final Project Guidelines and Rubric

Overview
Photography is by nature so enmeshed in daily life that one tends to take a photograph as a self-evident cultural artifact. Most of us unconsciously and
immediately absorb photographic images—looking through the medium to the subjects without stopping to ask, “How did this come into being?” In this course,
we ask ourselves that question by exploring how technology has influenced our perception of the subjects of photographs, and how the eye of the photographer
and the camera combine to change how we see the world. These phenomena are never more apparent than when one views an entire collection of images
organized and displayed so that each one contributes to an overarching message or meaning. Indeed, this is what occurs when photographs are properly curated
for an exhibition.

In this final project, you will select and curate at least six thematically connected images that support an identified thesis about a significant cultural issue. You
will have the opportunity to demonstrate your command of visual analysis and historical research, while at the same time expressing your own passions,
worldview, or personal interests. The product of your investigation and analyses will be documented in an exhibit prospectus.

The project is divided into two milestones, which will be submitted at different points throughout the course to scaffold learning and ensure a quality final
submission. These milestones will be submitted in Modules Three and Five. The final project will be submitted in Module Seven.

In this assignment, you will demonstrate your mastery of the following course outcomes:

 Analyze the debated history of photography as a distinctly modern art form driven by technological developments
 Classify photographic images according to period based on their expression of stylistic influences
 Assess the role of the individual and society in personally and communally constructing cultural significance for photographic images
 Analyze the subject matter of photographic images to determine thematic elements using appropriate terminology

Prompt
Your exhibit prospectus should be a polished proposal for an original collection of photographs that are each carefully analyzed and that clearly demonstrate
your overall thesis.

Specifically, the following critical elements must be addressed:

I. Introduction
A. Set the stage for your exhibit by providing an overview of the various photographers and periods that you plan to showcase. Be sure to

comment on the thematic ties that bind your works together, as well as provide examples of how your selected works may not “fit the
mold” of their time period or your audience’s expectations.

B. Identify a thesis for your exhibit that addresses a significant cultural issue. Make sure your thesis is specific enough to offer a unique
perspective while still being clear and concise.

II. Selection of Photographic Images: You should include quality digital reproductions of all the photographs you have selected for your exhibit. They
should be from an authoritative source (e.g., a museum, a gallery, or an academic institution) to ensure they have not been edited or manipulated
from the original.

A. Select a minimum of six images that all contribute to the identified thesis.
B. Your selected images should be sequenced chronologically according to period and should be purposefully organized to create flow and

continuity.
C. Additionally, they must reflect at least three photographic technologies discussed in the course.
D. Finally, at least three periods or styles discussed in the course should be represented.

III. Individual Image Commentaries: Underneath each of your selected images, include a detailed commentary.
A. Identify the factual information available for the image, including title, date, photographer, dimensions, location, and medium, using

appropriately formatted citations.
B. Situate the image within its historical context by explaining all the important and debated cultural and technological realities that are

relevant to understanding or appreciating the image, using specific details.
C. Describe the subject matter in detail and identify all reasonably discernible formal elements that are present.
D. Assess the image for its broader thematic elements or figurative meanings, based on your analysis of the subject matter and form.
E. Interpret the image in terms of its cultural significance in a way that supports your overall thesis.
F. Apply appropriate terminology for each of your individual image analyses.

Milestones
Milestone One: Choosing a Theme
In Module Three, you will submit a brief paper on your proposed final project theme. You will provide support for your choice and discuss its relevance to the
history of photography. This milestone will be graded with the Milestone One Rubric.

Milestone Two: Proposal
In Module Five, you will submit a short draft addressing the thesis and theme of your final project. The milestone will also include an analysis of at least two
images. This milestone will be graded with the Milestone Two Rubric.

Final Submission: Exhibit Prospectus
In Module Seven, you will submit your completed exhibit prospectus. It should be a complete, polished artifact containing all of the critical elements of the final
project. It should reflect the incorporation of feedback gained throughout the course. This submission will be graded with the Final Project Rubric.

Final Project Rubric

Guidelines for Submission: Your exhibit prospectus should include 200–250 words for the introduction and 150–200 words per image. Use 12-point Times New
Roman font, double spacing, and one-inch margins. Follow MLA style for citations.

Critical Elements Exemplary Proficient Needs Improvement Not Evident Value
Introduction:

Overview

Meets “Proficient” criteria and
demonstrates a sophisticated
ability to classify photographic
images based on their
expression of complex stylistic
influences (100%)

Provides an overview of the
various photographers and
periods that will be showcased,
commenting on the thematic
ties and examples of how the
works may not “fit the mold” or
audience’s expectations (

8

5%)

Provides an overview of the
various photographers and
periods that will be showcased
but fails to fully or reasonably
comment on the thematic ties
or examples of how the works
may not “fit the mold” or
audience’s expectations (55%)

Does not provide an overview
of the various photographers
and periods that will be
showcased (0%)

8

Introduction: Thesis

Meets “Proficient” criteria and
demonstrates keen insight into
the cultural significance of
photographic images (100%)

Identifies an appropriately
clear, concise, and unique thesis
for the exhibit that addresses a
significant cultural issue (85%)

Identifies a thesis for the exhibit
but fails to identify an
appropriately clear, concise, or
unique thesis that addresses a
significant cultural issue (55%)

Does not identify a thesis for
the exhibit (0%)

8

Selection of
Photographic Images:

Contribute to the
Identified Thesis

Meets “Proficient” criteria and
demonstrates keen insight into
the cultural significance of
photographic images (100%)

Selects a minimum of six images
that all reasonably contribute to
the identified thesis (85%)

Selects a minimum of six images
but fails to select at least six
images that all reasonably
contribute to the identified
thesis (55%)

Does not select a minimum of
six images (0%)

8
Selection of
Photographic Images:

Sequencing

Meets “Proficient” criteria and
demonstrates a sophisticated
ability to classify photographic
images based on their
expression of complex stylistic
influences (100%)

Images are accurately organized
by period and into a purposeful
sequence that creates flow and
continuity (85%)

Images are organized by period,
but there are inaccurate
classifications or missed
opportunities for creating flow
and continuity (55%)

Images are not discernibly
organized by period (0%)

8
Selection of
Photographic Images:

Technologies

Meets “Proficient” criteria and
demonstrates nuanced
understanding of the history of
photograph as a debated,
modern art form driven by
technology (100%)

Images are representative of at
least three technologies
discussed in the course (85%)

Images are representative of
fewer than three technologies
discussed in the course (55%)

Not all images are
representative of technologies
discussed in the course (0%)

8

Selection of
Photographic Images:

Periods or Styles

Meets “Proficient” criteria and
demonstrates sophisticated
ability to classify photographic
images based on their
expression of complex stylistic
influences (100%)

Images are representative of at
least three periods or styles
discussed in the course (85%)

Images are representative of
fewer than three periods or
styles discussed in the course
(55%)

Not all images are
representative of periods or
styles discussed in the course
(0%)

8

Individual Image
Commentaries:

Factual Information

Identifies factual information
for each image, including title,
date, photographer,
dimensions, location, and
medium, using appropriate
citations (100%)

Identifies factual information
for each image but fails to fully
detail all available information
or use appropriate citations
throughout (55%)

Does not identify factual
information for each image
(0%)

8
Individual Image
Commentaries:

Historical Context

Meets “Proficient” criteria and
demonstrates nuanced
understanding of the history of
photography as a debated,
modern art form driven by
technology (100%)

Situates each image within its
historical context by explaining
any important cultural or
technological realities that are
relevant to understanding or
appreciating the image, using
specific details (85%)

Situates each image within its
historical context but fails to
explain all important cultural or
technological realities that are
relevant to understanding or
appreciating the image (55%)

Does not situate each image
within its historical context (0%)

8

Individual Image
Commentaries:
Subject Matter

Meets “Proficient” criteria and
demonstrates a sophisticated
ability to conduct a visual
analysis of photographic images
using appropriate terminology
(100%)

Accurately describes the subject
matter of each image in detail
and correctly identifies all
reasonably discernible formal
elements (85%)

Describes the subject matter of
each image but fails to use
sufficient, accurate details or to
correctly identify all reasonably
discernible formal elements
(55%)

Does not describe the subject
matter of each image (0%)

8
Individual Image
Commentaries:

Thematic Elements

Meets “Proficient” criteria and
demonstrates sophisticated
ability to conduct a visual
analysis of photographic images
using appropriate terminology
(100%)

Reasonably assesses each
image for its broader thematic
elements or figurative meanings
based on the analysis of subject
matter and form (85%)

Assesses each image for its
broader thematic elements or
figurative meanings, but claims
are not fully reasonable or
based on the analysis of subject
matter and form (55%)

Does not assess each image for
its broader thematic elements
or figurative meanings (0%)

8
Individual Image
Commentaries:

Cultural Significance

Meets “Proficient” criteria and
demonstrates keen insight into
the cultural significance of
photographic images (100%)

Interprets each image for its
cultural significance in a way
that supports the overall thesis
(85%)

Interprets each image for its
cultural significance but fails to
make fully reasonable claims
that all support the overall
thesis (55%)

Does not interpret each image
for its cultural significance (0%)

8

Individual Image
Commentaries:

Appropriate
Terminology

Meets “Proficient” criteria and
demonstrates sophisticated
ability to conduct a visual
analysis of photographic images
using appropriate terminology
(100%)

Applies appropriate
terminology throughout each of
the individual image analyses
(85%)

Applies appropriate
terminology in places but does
not consistently use correct
vocabulary for each of the
individual image analyses (55%)

Consistently misuses
terminology throughout
individual image analyses,
reflecting fundamental
misunderstandings of critical
vocabulary (0%)

8

Articulation of
Response

Submission is free of errors
related to citations, grammar,
spelling, syntax, and
organization and is presented in
a professional and easy-to-read
format (100%)

Submission has no major errors
related to citations, grammar,
spelling, syntax, or organization
(85%)

Submission has major errors
related to citations, grammar,
spelling, syntax, or organization
that negatively impact
readability and articulation of
main ideas (55%)

Submission has critical errors
related to citations, grammar,
spelling, syntax, or organization
that prevent understanding of
ideas (0%)

4

Total 100%

• FAS326FinalProjectGuidelinesandRubric

Overview
Prompt
Milestones
FinalProjectRubric