Per Ramamurthy, one of the key characteristics of advertising photography is parasitism. It uses and improves the actual photographic styles of the dull stuff.
In 1930’s advertising photography, the glamour and naturalism is one of the key qualities of it. The advertisement has the presence of the captivating beauties of women that relates to the life of the ordinary people is their way to encourage customers.
The image of sensual desire of the provocative model is transferred in the Omega Watch ad. It promotes yearning for the watch as if it is a person who has an intimate relation with you which is worth keeping for.
The juxtaposition of text and image, and the construction of the photograph, transmutes our desire for human relationships into a relationship between a person and a thing. The human emotions and relations is their capital here to win the interest of the crowd.
Per Williamson, Advertising work is the viewer’s role in producing meaning. This is the involvement of the viewer’s to critic and improves the advertisement.
Per Freud, the two impulses of day dreams are conscious phantasy and preconscious – conscious system. The first one is as created setting as a realization to one’s dream and the latter is showing of the thing and identifies it through words.
Per LeClaire, the first element is the memory of a gesture engraved like an image or motor representation. The formula is the second one or describe as the word or phrases of a patient.
Per Burgin, the two elements in the ad where an association is occurring are the intimate and significance. Intimate is the good mood of the picture while significance is the linked to the phantasy of seduction of the ad.
The relationship of the female bust to the radio is that when somebody see bust of a female, he would remember the radio. It means the advertisement will be effective because of its connection to a human.
The role of the camera is like the history of fetishism. This is related to primal phantasies.
Per Horowitz, visual elements undergo translation of the images into other forms of representation. The determinations of meaning in the art photographs are achieved even where actual writing is absent.
Per Johnston, the 1920’s – 30’s was a period characterized by the blurring of both fine arts and commercial spheres, this happen because of the modernity. There is a clean precisionist style with iconography and there are simplified shape and designs.
Commercial photography can be seen as an alternative pathway to modernism. This is the combination of precisionism, cubism and art deco.
A modernist advertising style was sold exclusively to the United States because it sends a special commission made up of trade association members, architects and designers to support and view the exhibition.
When European modernism entered the American corporate world, they lost their originality because of the formal influences of the United States but not only in modernism but it had an impact in commercial arts as well.
The role of Clarence White School in the development of American commercial modernism is that when it had both commercial and fine art roots. They were trained properly up to the point that their work had won an award and recognized.
The fetishistic dimensions of Outerbridge’s Ide Shirt Collar are the close – up examination of the product, simplified abstracted form, geometrically constructed compositional design, and oblique perspective. Because of these, elegance is present.
Artistic compositions are the other influence aside from modernism, moved American commercial photography away from pictorialism. This documentary style had worked its way to the editorial and advertising pages of magazines where goods were described without hard – sell pressure.
Liz Wells, E. Commodity Spectacles in Advertising Photography. 168 – 190