1. What does Article 9 in France state? How does this affect photography? 2. Why might some people not want to be included in street photography?
3. What are some of the ways that photographers are doing street photography without upsetting people?
4. Should people have a right to not be photographed in public spaces? Why or why not?
5. Why do some photographers do street photography? What value or advantage does it have?
6. Do you think public or street photography should be limited? Why or why not?
7.In looking at the slideshow photographs, which of the photographs do you like the most? Why? What elements of the photograph do you like?
8.In looking at the slideshow photographs, which of the photographs do you like the least? Why? What elements of the photograph would you change?

That a hard question ill get back to u for it

Buddhist painting from india, nepal, and tibetthe production of buddhist manuscripts illustrated with images of various buddhist deities and/or scenes from the life of shakyamuni flourished in bihar and bengal (present-day eastern india and bangladesh) under the rule of the pala dynasty (ca. 8th - 12th century). the illustrations of the gods that appear in these manuscripts were based on descriptions found in indian texts intended to the practitioner mentally invoke the form of the deity. these texts provide the artist with the basic schema of the image, detailing what an image should look like, from the posture, gesture, and color of the deity, to the attributes (objects he or she holds that symbolize specific powers or knowledge).similarities among the buddhist paintings in this section, which are from india, nepal, and tibet, stem from a variety of reasons. they include the continuous trade and contact provided by trade route linkages and the tendency of artists working abroad to emulate indian models, but the main reason is due to the fact that the gods' depictions in the art of all three countries are ultimately dependent upon the meditation texts described above. in addition, during the pala period, pilgrims, monks, and students from all over asia, but particularly from nepal and tibet, flocked to the region's prominent religious centers; when they returned home, they took the pala style with them in the form of portable items such as manuscripts and small sculptures.

The theme of social protest remained a consistent focus for jacob lawrence throughout his career. in the 1960s lawrence was inspired by news reports and photographs, including images of segregated lunch counter sit-ins and stories of the   freedom riders in the civil rights movement. from the 1970s onward, lawrence's work focused less explicitly on contemporary social issues.