Create a 7 pages page paper that discusses geographical imaginations of fantasy and nature. The interlocking amalgamation of camera angles, distance, and resolution among others provides a blueprint to what is called “geography of an imaginary world” (Cameron, 2012). This coinage is more than only accurate in that the images that crop up from capturing objects through a camera create a new dispensation about our own world view: something that is rather fantasy-looking, magical, enchanting, and slightly fairy tales like.  .Geographical imagination has taken a different dimension where it is now used as part of storytelling about the development of various landscapes. Visual media play a pivotal role in creating a fantasy as well as portraying different landscapes in the real-world as well as the world of make-belief. It can be seen that many industries in which cameras are being used are heavily reliant on the technicalities involved in photography.
Photography has significantly contributed to the study of geography through the portrayal of different images of different landscapes (Sidaway 2002). In recent years, there have been intense and extensive discussions in geography concerning the “representation and meaning and the reading/writing ‘landscape’, film and literature’” (Sidaway 2002). Of late, there has been a proliferation of literary studies investigating the function of photography in geography especially in regards to imperial and neo-imperial geography, modern developments on landscape and identity, motion pictures, science fiction, theater, multimedia entertainment, and the place of photography in providing relics to symbolize social and cultural characteristics of tourism (Ryan 1997. Kinsman 1995). The geographies of the imaginary world, its fantasies, imagination, and storytelling have largely been shaped by photography for the last couple of decades and added to how humanity views geographical landscapes. .
The contemporary works on photography and geography have mainly concentrated on the significance and gist of the things being photographed (Rose 2000). . .
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