Realism, and with reference to Socialist Realism, but also a label Richter wasn't too satisfied about. Richter was interested in current affairs, consumer society, new media and popular culture. He incorporated these elements into his painterly practice, depicting for instance televisions, design magazines, advertisements or political figures and events. This was the genesis of Richter's professional oeuvre, and photography was the starting point, something which used to be impossible with his academic background. He combined photography with his characteristic blurred effect, and immediately started to examine the relationship between both media, photography and painting, a true pillar within his artistic practice. The German artist was interested and fascinated by the dialectic relation between the objectivity and the subjectivity when painting photographs. For Richter, the photograph was the most perfect picture. He could eliminate conscious thinking, as the picture does not change, it is absolute, autonomous, unconditional and not linked to any style. With his blurred effect, he made everything equal, equally important and simultaneously equally unimportant. He was strongly drawn to depicting certain subjects from found photographic material. Think of military subjects, family portraits, images from newspapers or magazines. These selected images all have their very own narrative and motive to be painted, most often combining death or suffering, and its exploitation of death and suffering in media. From 1963 until 1964, Richter had his first exhibitions and commercial successes, collaborating with several galleries, and also collectors were starting to get really interested in his work and career. A landmark year for Gerhard Richter was 1966, for many reasons. The first, the birth of his daughter, Betty, whom he iconically painted in 1988. He also painted his wife

subjectivity in there, that's your voice with "I" and it sounds like you're confident enough

He was substituting for their illusion of objectivity a conscious subjectivity, a 20th century art that would draw its validity essentially from the painter's own visual and emotional responses.

"I think", you don't have to use your own subjectivity. So you could say something like:

And yet this is a moment of subjectivity, as if the camera itself had to think for a second before turning right.

But then we slip right back into her spirit again, her subjectivity, in clauses like "a good-humored, well-meaning, respectable young man." In Emma especially, Austen uses free indirect speech with extraordinary finesse, dipping in and out of several minds without ever interrupting the flow of narration, representing subjectivities, as Gunn says, with great immediacy while still providing a frame within which that subjectivity can be understood.

Subjectivity in my journalism?

And since all this meticulous face swapping takes place after filming is wrapped, there's a huge amount of subjectivity and kind of filtering in between what the actor does and what ends up on the screen.

Um, in the days when news businesses were fully competitive, subjectivity was how it went.

"As I have discussed," then "however" sentence with "I" or, you know, using your subjectivity, basically.