Thế này gọi là lừa đảo !!!

Quá thiếu khiêm tốn! Hình như bạn cũng đã xem được mốt số bộ phận của con voi nhưng như thế này thì bạn cũng mù như thày bói thôi. Hoặc giả bạn là người rất nổi tiếng (hoặc tự cho mình nổi tiếng ) mới phát ngôn như vậy. Nếu định tranh luận hãy bắt đầu bằng khái niệm cơ bản: Nhiếp ảnh là gì? Tốt nhất là vác từ điển ra mà tra khỏi cãi nhau.
Chứ còn tự mình nghĩ ra như thế này mới là nhiếp ảnh xong tự nhảy trong cái giếng của mình thì chắc bạn nhìn mọi người bé như con kiến.
Tội nghiệp cho một tài năng!!!

Tôi không biết nhiều về nhiếp ảnh, song tôi nghĩ có 2 cái mình phải để ý khi nói đến định nghĩa ở đây:
1. Nhiếp ảnh là gì ( + những chi tiết kỹ thuật về ánh sáng và những dụng cụ dùng để ghi chép lại những hình ảnh cách tốt nhất )
2. Ứng dụng của nhiếp ảnh ( để làm gì + những phong cách khác nhau ).
Có bạn nào có ý kiến thêm không ?
Về điểm 1, tôi có tìm được một bản tiếng Anh, chịu không đủ tiếng Việt để dịch ra, song nguồn là lấy từ bản "Britanica 2001" (Tiếng Việt gọi là gì nhỉ ?)
Photography]
method of recording the image of an object by the action of light, or related radiation, on a sensitive material. The word, derived from the Greek photos ("light") and graphein ("to draw"), was first used by the scientist Sir John F.W. Herschel in 1839.
The term photography usually refers to the formation of optical images projected by a lens in a camera onto a film or other material carrying a layer of light-sensitive silver salts and the duplication and reproduction of such images by light action (printing); in an extended sense it also includes the formation of images by certain invisible radiations (ultraviolet and infrared rays) and images recorded in other sensitive materials not containing silver by means of chemical or physical processes or both. Related processes include the recording of images by X rays, electron beams, and nuclear radiations (radiography) and the recording and transmission of light images in the form of electromagnetic signals (television and videotape).
This article treats the historical and aesthetic aspects of still photography. For a similar treatment of motion-picture photography, or cinematography, see motion picture.
As a means of visual communication and expression, photography has marked aesthetic capabilities. In order to understand them, the characteristics of the process itself must first be understood. Of these the first is immediacy. Usually, but not necessarily, the image that is recorded is formed by a lens in a camera. Upon exposure to the light forming the image, the sensitive material undergoes changes in its structure; a latent image is formed, which becomes visible by development and permanent by fixing. With modern materials, the processing may take place immediately or may be delayed for weeks or months. But, either way, the elements of the final image are determined at the time of exposure. This characteristic is unique to photography and sets it apart from other ways of picture making. Although the photographer can control the character of the original image he captured upon film by the way he develops the negative and prints it, he cannot alter it except by manual interference.
A second characteristic of the photograph is that it can contain more than the photographer intended it to. The first daguerreotypes, shown to an astounded public in Paris in the winter of 1838-39 by the inventor Louis-Jacques-Mandé Daguerre, were praised because of the amount of detail recorded by them; looking at one with a magnifying glass, it was said, was like looking at nature with a telescope. The rival inventor of photography, William Henry Fox Talbot, after noting this characteristic, commented:
It frequently happens, moreover--and this is one of the charms of photography--that the operator himself discovers on examination, perhaps long afterwards, that he has depicted many things he had no notion of at the time. Sometimes inscriptions and dates are found upon the buildings, or printed placards most irrelevant, are discovered upon their walls: sometimes a distant dial-plate is seen, and upon it--unconsciously recorded--the hour of the day at which the view was taken.
As technological advances have improved photographic equipment, materials, and techniques, the scope of photography has expanded enormously. High-speed photography has made visible certain aspects of motion never before seen; with material sensitive to invisible radiation, hidden aspects of nature can be revealed; and, by a combination of photographic, electronic, and space technology, even the planets can be observed in new ways. Photography pervades every sphere of activity in modern civilization. Its thousandfold applications have made it indispensable in daily life. Photography disseminates information about humanity and nature, records the visible world, and extends human knowledge into areas the eye cannot penetrate. Next to the printed word the image drawn by light is the most important means of communication, and for this reason photography has been aptly called the most important invention since the printing press.
The seemingly automatic recording of an image by photography has given the process a sense of authenticity shared by no other picture-making technique. The fact that the photograph can show more than the eye can see and that the image is not filtered through the brain of a man and put down by the skill of his hand has given it value as evidence. The photograph has become, in the popular mind, so much a substitute for reality and of such apparent accuracy that the adage "The camera does not lie" has become a cliché.
This intrinsic characteristic is of such strength that it has dominated the evaluation of photography's role in the arts. In the past photography was sometimes belittled as a mechanical art because of its dependence on technology. It has also been used over and over again as a foil by art critics to denounce paintings that rely heavily upon exact representation of subject matter. Indeed, after reviewing the daguerreotype process, the painter and art expert Paul Delaroche, who served on the committee that advised the French government to purchase the rights to the new process, declared: "From today painting is dead."
In truth, photography is not the automatic process that is implied by the use of a camera. A fully automatic camera can produce a correctly exposed and sharp negative, but it cannot distinguish between a banal snapshot and a well-composed picture. The ability to make such a distinction rests solely with the person behind the camera. The creative photographer perceives the essential qualities of the subject and interprets it according to his judgment, taste, and involvement. The mechanical photographer merely reproduces what he sees.
Although the camera does limit the photographer to depicting existing objects rather than imaginary or interpretive views, the skilled photographer has at his command a wide variety of controls that can be used to overcome the constraints of literalness and to introduce creativity into the mechanical reproduction process. The image can be modified by different lenses and filters. The type of sensitive material used to record the image is a further control, and the contrast between highlight and shadow can be changed by variations in development. In printing the negative, the photographer has a wide choice in the physical surface of the paper, the tonal contrast, and the image colour.
The most important control is, of course, the photographer's vision. He chooses the vantage point and the exact moment of exposure. Through experience he knows how the camera will record what he sees. He learns to pre-visualize the final print. If he has visual imagination and perception, he can make more than a passive record. He can express universal qualities. He can extend the vision of the viewer.
So facile a medium is photography that it is difficult to grasp its aesthetic capabilities and accomplishments. Of the billions of photographs that are taken every year, only a relatively small number can be considered art. Few camera users are deliberately concerned with the production of photographs to be judged as art. A far greater number look upon photography as a means of communication. While the aim of the commercial photographer, the photojournalist, and the scientist may not primarily be aesthetic, it is significant and remarkably characteristic of the medium that often in their work can be found memorable pictures that reach beyond the particular to the universal. Recognition plays an overwhelming role in photography: recognition by the creative photographer of the picture possibilities presented to him and recognition by the viewer of aesthetic qualities in photographs that he sees.
Copyright © 1994-2001 Encyclopædia Britannica, Inc.

Hoan hô chuột con ! Minh nghĩ chúng ta cần phải đưa ra phương pháp luận của mình rồi mới tranh cãi được. Xin xem trang web Columbia Encyclopedia
http://www.bartleby.com/65/ph/photogrph.html
để cùng tham khảo. Xin lưu ý phần cuối Digital Technology co mấy định nghĩa liên quan đến vấn đề chúng ta quan tâm

Trong này anh ko định bàn luận với các chú về định nghĩa, nhận thức về nhiếp ảnh nhé. Anh bảo các chú đi đọc, xem qua một lượt để có những cái cơ bản nhất, thế thì chúng ta mới ngồi nói tiếp được.
Thấy tinh thần học hỏi các chú cao thế này, anh mừng, nán ngồi lại tiếp chuyện với các chú thêm một lúc.
Các chú chú ý hộ anh thêm vào phần thể loại ảnh, đặc trưng của từng thể loại nữa nhé
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Cảm ơn "Vndrake" về cái link. Mình đọc và tìm thấy ở đoạn cuối có vẻ hợp với vấn đề của ông KH và bức "Mùa Xuân" .. trên bản Mường "Hà Nội" - Đúng là dân tộc Mông có khác .
Digital Technology
At the end of the 20th cent. digital imaging and processing and computer-based techniques have made it possible to manipulate images in many ways, creating revolutionary changes in photography. Digital technology allows for a fundamental change in the nature of photographic technique. Instead of light passing through a lens and striking emulsion on film, digital photography uses sensors to convert images into a series of numbers that are then translated back into tonal values and printed. Using computers, various numbers can easily be changed, thus altering colors, rearranging pictorial elements, or combining photographs with other kinds of images. Moreover, some digital cameras record directly onto computer disks or into a computer, where the images can be manipulated at will.
Trích ở bài báo mà mình gửi ở trên, có một đoạn khá hay:
"In truth, photography is not the automatic process that is implied by the use of a camera. A fully automatic camera can produce a correctly exposed and sharp negative, but it cannot distinguish between a banal snapshot and a well-composed picture. The ability to make such a distinction rests solely with the person behind the camera. The creative photographer perceives the essential qualities of the subject and interprets it according to his judgment, taste, and involvement. The mechanical photographer merely reproduces what he sees."
Được chuot_con sửa chữa / chuyển vào 19:09 ngày 18/03/2003

Xin lỗi anh nhưng chủi bậy là một điều ko cho phép trong diễn đàn, nếu cho phép chửi bậy thì một thảo thuận dễ bị biến thành một cuộc cái cọ. Mà có cái gì mà phải chửi mới diễn tả ra được đâu.
Còn gì vui thích bằng chúng ta cùng ăn kem sữa chua SUSU