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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing
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Shamriz, Lior. „Photography of indenture“. Journal of New Zealand & Pacific Studies 12, Nr. 1 (01.06.2024): 55–72. http://dx.doi.org/10.1386/nzps_00187_1.
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The 1882 photography book by British photographer Colonel Henry Stuart Wortley, Tahiti: A Series of Photographs, features an image of a family of service workers. Wortley, who only briefly passed through the island, refers to the couple in the photograph as his ‘servants’. This article traces the margins of the journey of Wortley, as well as that of Lady Annie Brassey, an ultra-wealthy traveller and photography enthusiast who visited Tahiti in 1876 and who contributed the letterpress to Wortley’s book. By analysing the text and images of the book and looking at the historical context of Tahiti at that time, and the place European military personnel, travellers, entrepreneurs, royals and local workers had in the island’s economy and society, this article argues for the incentives and implications of trivializing and invisiblizing Tahitian labour. Looking at our engagement with a photograph as a transtemporal performance, beginning in the photograph’s commission, through the moment of encounter and until its printing and viewing years later, this article considers as a beginning of an entanglement the encounter between Wortley and the Tahitian family. I discuss how, by travelling in 2022 to Tahiti and revisiting Wortley’s photographs in different locations around the island, I aimed to influence those entanglements.
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Geurts, Merlijn. „The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'“. Aesthetic Investigations 1, Nr. 1 (16.07.2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.
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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's photograph, the articles shows how such a 'social' focus on photography, easily reaffirms the social inequalities that lies within the practices of atrocity photography.
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Tomaszczuk, Zbigniew. „Fotografia jako przedłużenie ciała“. DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, Nr. 26 (01.09.2019): 134–49. http://dx.doi.org/10.5604/01.3001.0012.9869.
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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Tomaszczuk, Zbigniew. „PHOTOGRAPHY AS THE EXTENSION OF A BODY“. DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, Nr. 26 (01.09.2019): 134–47. http://dx.doi.org/10.5604/01.3001.0012.9927.
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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Kanicki, Witold, und Geoffrey Batchen. „Magical Thinking: Conversation with Geoffrey Batchen“. Magic, Vol. 5, no. 1 (2020): 4–9. http://dx.doi.org/10.47659/m8.004.int.
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His long-standing interest in the history of early photography makes Geoffrey Batchen the appropriate speaker to discuss the question of photographic magic. Therefore, our conversation oscillates between magic and realism, but also other antonyms within the medium: negative and positive, analogue and digital. Taking in consideration all these oppositional notions, Batchen suggests that theoreticians “need to acknowledge and embrace photography’s abstractions and contradictions”. Different contradictions within photography’s theory and history became pivotal in our conversation. We also discussed the indexicality of digital images. According to Batchen, the negative/positive system of traditional photography can be compared with the binary code of digital images, which “is therefore based on the same oppositional logic, the same interplay of one and its other, that generated the analogue photograph.” Moreover, digitality does not eliminate the magic character of the contemporary photographs; in this context, Batchen mentions the capacity of instant transmission of snapshots from one place of Earth to another. In conclusion, Batchen reveals some details of his upcoming book Negative/Positive: A History of Photography. Keywords: magic, indexicality, negative, digital, Barthes
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Qasmiyeh, Yousif M., und Saiful Huq Omi. „Photography as Archive“. Migration and Society 4, Nr. 1 (01.06.2021): 195–202. http://dx.doi.org/10.3167/arms.2021.040118.
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In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, finally, how to envision an equitable future between the photographer and the photographed.In the form of poetic fragments, “The Human that is Lacking” offers a response to Saiful Huq Omi’s photograph reproduced in these pages, in an attempt to “co-see” the image with the photographer. The image and its response sit alongside Yousif M. Qasmiyeh’s interview with the award-winning photographer and film-maker himself (also in this issue).
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Dondero, Maria Giulia. „Photography as a Witness of Theatre“. Recherches sémiotiques 28, Nr. 1-2 (07.10.2010): 43–57. http://dx.doi.org/10.7202/044587ar.
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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.
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Kleimenova, S. N., und O. I. Yablokova. „Photography as an object of copyright“. Uzhhorod National University Herald. Series: Law 1, Nr. 78 (28.08.2023): 177–80. http://dx.doi.org/10.24144/2307-3322.2023.78.1.28.
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Copyright, the norms of which regulate relations that arise in connection with the creation and use of works of science and art. Copyright is an important component of the universal system of human rights, copyright is one of the essential guarantors of intellectual creativity, self-affirmation and dignity of every person. From whatever side copyright is analyzed, its purpose is to protect the interests of the creator of works and the interests of society. A photo can be created not only by a professional photographer, but also by any other individual. This is where the opportunity enshrined in the law to realize their creative abilities of each member of society is manifested.This article deals with issues related to a special object of copyright - photography. With the adoption of the new Law of Ukraine «On Copyright and Related Rights», the approach to understanding photography has changed. This is connected with the legal definition of the concept of a work and its features. Signs of originality and objective form are highlighted. Moreover, the legislator clearly defines which photographs should be attributed to objects of copyright, and which photographs are not subject to legal protection. This approach will greatly facilitate the resolution of issues related to the establishment of which photographs are subject to copyright. The Law of Ukraine «On Copyright and Related Rights» clearly states that photographic works are subject to legal protection. Based on the legislative definition of a work as an object of copyright, we can conclude that only original photographs are subject to legal protection. Moreover, paragraph 8 of Art. 8 of the Law of Ukraine «On Copyright and Related Rights» clearly defines that photographs that do not have a sign of originality are not photographic works. An analysis of some foreign judgments regarding the legal nature of photography makes it possible to conclude that a photograph is considered as an object of copyright if there are signs inherent in the work. he study conducted in this article confirms the correctness of the legislative understanding of photography as an object of copyright.
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Markiewicz, Małgorzata. „„Takie jak w rzeczywistości”. Obraz fotograficzny - obiektywne odwzorowanie czy subiektywna kreacja? Fotografia w badaniach archeologicznych“. Folia Praehistorica Posnaniensia 28 (27.12.2023): 207–30. http://dx.doi.org/10.14746/fpp.2023.28.09.
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The article reviews the current state of knowledge on photography and the use of photographs in archaeological research. The discovery of photography was a breakthrough in the history of archaeology. The mechanical method of image registration, considered to be devoid of subjective human intervention, was supposed to guarantee the neutrality and objectivity of the visual representation. Belief in realism of photography has led to it becoming the primary form of documentation in archaeology, for both the research process and the relics themselves. This article will attempt to answer the question of whether we can trust the reality captured by the photographer? The reading of a photograph is done through culturally shaped codes. The ability to decipher those codes depends on the knowledge and experience of the recipient. The photographic image relies on the photographer’s subjective view of the subject, as well as the medium used, which influences the nature of the representation.
De, Lorenzo Nicholas. „Photography Post-Photography: Materiality of the Photograph“. Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16303.
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This exegesis examines the theoretical framework and artistic context of my studio practice. The primary focus of the work is on the materiality of the photograph. Through alchemical experimentations and abstractions, the work contemplates the question what is photography? in the complex context of a post-photographic world. While not attempting to answer such an elusive question, this paper seeks to investigate some of the relevant ideas and evaluate how they manifest in contemporary practice. I will use this exegesis as a means of recording an exploration of the mediums recent history, as the context and general area of thought from which my own practice has emerged. As such, Chapter One looks into the discourse around the notion of ‘post-photography’, where it has come from, what it involves and why it could be considered significant. Chapter Two looks at how these ideas are manifested in contemporary photography, with a particular focus on the materiality of photographs, as well as on the roll of abstraction and experimentation in photography. Chapter Three then introduces my own practice in relation to these ideas. While my work and this paper broadly revolve around the position of photography in its current context, the intent of this exegesis is to further inform and ground my studio practice. By establishing and exploring this theoretical context, I hope to identify my work's position in –and possible contribution to–the field.
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Oscar, Sara. „Into this wild abyss learning through fabricated photographs /“. Connect to full text, 2007. http://hdl.handle.net/2123/3965.
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Thesis (Ph. D.)--University of Sydney, 2007. "Photomedia"--T.p. Title from title screen (viewed February 18, 2007) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Visual Arts) to the Sydney College of the Arts. Includes bibliography. Also available in print form.
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Jolly, Martyn. „Fake photographs : making truths in photography“. Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4046.
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Jolly, Martyn. „Fake photographs making truths in photography /“. Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
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Teichmann, Esther. „Falling into photography : on loss, desire and the photographic“. Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/1173/.
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Falling into Photography examines the relationship between loss, desire and the imaginary. Across writing, photographic works and film pieces, we move from real to imagined spaces, exploring the boundaries between autobiography and fiction within the alternate orphic worlds evoked. Within staged fantastical images, the subjects are turned-away figures of loss, desired but always already beyond reach. The photographic medium is worked upon with painting, collage and montage, narrative voice over juxtaposed with moving image. Here, the photographic is loosened from its referent, slipping in and out of darkness, cloaked in dripping inks and bathed in subtle hues of tinted light. The spaces inhabited within the films and images are womb-like liquid spaces of night, moving from beds to swamps and caves, from the mother to the lover in search of a primordial return. Central to the work lies an exploration of the origins of fantasy and desire and how these are bound to experiences of loss and representation. The following essays explore these themes, interweaving psychoanalysis, philosophy and fiction with the artist's own prose and visual works. This story of falling, into the image and into love, asks what it is to make a work of art and how this process is necessarily bound to the maternal. The relationship between mourning and the creative process is explored throughout the writing, with emphasis on the photographic object, process and encounter.
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Kanar, Ege. „Photography as artificial memory: Construction of the Photographic Self“. Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78095.
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Stotzer, Talhy. „Photography and the medium : a photographic dialogue in China“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/598.
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Using documentary photography with an ethnographic approach, this practice-ledbresearch project focuses on a case study of a Han-Chinese woman called Zai yu who practices mediumship in urban China. It aims to explore the relationships between herbmediumship practice and the medium of photography.
During a mediumship session, a spirit is represented as temporarily displacing the agency of the medium by entering his/her body and causing a change of identity. For the duration of the episode, the spirit can potentially provide access to divine powers and knowledge in order to counsel and to heal. In China the use of mediumship appears since the Shang dynasty (1600-1046 B.C.E.) and despite modernization, rationalization, and the severe persecutions of the Cultural Revolution (1966-76), mediumship and other divinatory practices have remained prevalent.
Over two field trips to China in 2009 and 2010, I witnessed many of these mediumship sessions when Zai yu was embodied by various spirit entities. I became interested in Zai yu’s mediumship practice as a form of meta-communication and representation because this practice raises some interesting parallels and differences with the medium of photography. Inspired by both contemporary and ancient ideologies, Zai yu’s practice provides a link between the past, present and future, the material and the spiritual, the living and the dead – concepts that have been explored in relation to photographic theory by cultural critics such as Benjamin (1931), Sontag (1978) Barthes (1981) and Cadava (1997). Zai yu’s mediumship practice provides a visually rich avenue to further explore these concepts, among others. I argue that analysing some of the parallels between divination (in particular mediumship) and photography can facilitate a re-engagement with photography’s intrinsic qualities. This is especially valuable in a digital age when the medium is being radically redefined and some of these qualities, which Benjamin already declared were in decline after photography became mechanically reproducible in the 1850s, are further anesthetized.
This research project includes a book of photographs of Zai yu and her daily life entitled Medium and a written component contextualizing the images and explicating the theoretical imperatives that motivated the project. As well as contributing to photographic theory by exploring concepts related to time, death and absent-presence, this research also aims to add to the knowledge of divination practices such as mediumship in urban China, a neglected field of inquiry. By using an ethnographic approach, the research project also aims to add to the development of using documentary photography ethically as a research tool and as a form of expression and representation.
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Napier, Ellen Bethany. „Thomas Struth's Museum Photographs and the Textual Experience of Photography“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.
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Abdullah, Ismail Bin. „Documentary photography : a study of nineteenth century documentary photography with special reference to West Malaysian historical photographs 1874-1910“. Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344016.
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Ashworth, Brad. „Architecture Lucida : photography and design--a center for photographic studies“. Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23780.
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Physicist Gabriel Lippmann’s (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann’s death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography’s ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.
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Auktionen, Villa Grisebach. Photographie: Photography. Berlin: Villa Grisebach Auktionen, 2002.
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Early Photography in Vietnam is a fascinating and outstanding pictorial record of photography in Vietnam during the century of French rule. In more than 500 photographs, many published here for the first time, the volume records Vietnam’s capture and occupation by the French, the wide-ranging ethnicities and cultures of Vietnam, the country’s fierce resistance to foreign rule, leading to the reassertion of its own identity and subsequent independence. This benchmark volume also includes a chronology of photography (1845–1954), an index of more than 240 photographers and studios in the same period, appendixes focusing on postcards, royal photographic portraits, Cartes de Visite and Cabinet Cards, as well as a select bibliography and list of illustrations.
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Wildi, Ernst. Creating world-class photography: How any photographer can create technically flawless photographs. Buffalo, NY: Amherst Media, 2001.
Cottenceau, Geoffrey, und Romain Rousset. „Photographie Fotografie Photography“. In Bourses fédérales de design Eidgenössische Förderpreise für Design Swiss Federal Design Grants 2007, 63–80. Basel: Birkhäuser Basel, 2008. http://dx.doi.org/10.1007/978-3-7643-8450-0_5.
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Druker, Elina. „Chapter 8. In and out of focus“. In Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.
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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.
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Hood, Stephanie L. „Science, Photography, and Objectivity? Exploring Nineteenth-Century Visual Cultures through the HMS Challenger Expedition (1872–1876)“. In Scientific Visual Representations in History, 251–86. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11317-8_9.
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AbstractPreparing to set off from England in 1872 on an oceanographic expedition around the globe, the officers and crew of HMS Challenger gathered on board the ship for a photographic portrait. It was one of the first photographs of crew on a scientific voyage of exploration ever taken. Over eight hundred photographs were taken or acquired on the Challenger in addition to drawings and paintings. This chapter uses these photographs to reexamine Daston and Galison’s theory that photography was successful in nineteenth-century science on account of its perceived “objectivity” as an epistemic ideal. The chapter first outlines the history and historiography of photography and of the Challenger expedition, proceeding to outline photographic practices on the voyage, and evaluating the photographs’ place within longer aesthetic traditions. It then examines the Challenger photographs’ circulation and use in its official scientific report, and in wider scientific contexts. The chapter finally analyzes the photographs’ personal, and then broader public, economic, and political circulation and uses. It concludes by arguing that drawing and painting were the preferred scientific visual strategies on the Challenger, indicating that photography was not preferred on account of its perceived “objectivity” for science. Instead, photographs afforded other benefits such as speed of capture, replicability, and adaptability—for economic, social, and political use as well as scientific. Photography was therefore an effective visual strategy not on account of its perceived scientific “objectivity” but due to its flexibility, which corresponded to the expedition’s scientific aims as well as its broader economic, social, and political context.
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Griffiths, Martin. „Photography and Photographic Equipment“. In The Patrick Moore Practical Astronomy Series, 59–84. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32884-3_5.
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Campagnaro, Marnie. „Chapter 6. “A successful photograph is worth as much as a story”“. In Children’s Literature, Culture, and Cognition, 144–67. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.06cam.
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Bruno Munari was an Italian artist, graphic designer, and illustrator who combined art and design to great effect in his visual art and books. During his long, interdisciplinary career, Munari experimented with many artistic possibilities: painting, illustration, sculpture, design, graphics, teaching, poetry, and writing. He also cultivated a peculiar relationship with photography. This chapter investigates photography’s influence on Munari’s poetics, from Futurism and other Avant-garde movements to the Bauhaus and László Moholy-Nagy’s work, graphic design experimentation, and collaborations with photographers. His multifaceted approach can be investigated through two editorial project typologies: photocollage and photographic picturebooks. What is discussed is how historic, artistic, and cultural photography influenced his children’s works and to what extent photographic experimentation affected Munari’s creativity and aesthetics in his original books.
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Weasner, Mike. „Photography“. In Using the Meade ETX, 89–108. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0195-6_5.
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Gordon, Alan G., und B. Victor Lewis. „Photography“. In Gynaecological Endoscopy, 177–80. Boston, MA: Springer US, 1988. http://dx.doi.org/10.1007/978-1-4899-3240-2_15.
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Barker, Norman J. „Photography“. In Surgical Pathology Dissection, 22–27. New York, NY: Springer New York, 1996. http://dx.doi.org/10.1007/978-1-4757-2548-3_3.
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Konferenzberichte zum Thema "Photography":
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Hill, Rodrigo. „Memories and Reveries: photography, memory and diaspora“. In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.200.
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This presentation aims to explore the intersection of photography with notions of memory and diaspora as catalysers for the development of a lens-based model of representation connected to affect, cultural perception and nostalgia. I will discuss and present my recent creative practice research project titled Desacoplado: Memórias e Devaneios (Displacement: Memories and Reveries) exhibited at the Auckland Museum as part of Toró: é tudo tanto group exhibition from March to October 2023. The project compiles personal archival imagery produced throughout the last twenty years, marking temporal points that preceded or at times ran in parallel with migration experiences to and in Aotearoa. Drawing on Stuart Hall’s notions on diaspora and Svetlana Boym’s take on nostalgia I constructed a theoretical model to support and inform my creative practice developments. Hall asserted that diaspora is surrounded by a sense of loss and connection while Boym discusses nostalgia as a feeling of loss and displacement. These distinctive concepts and views were useful to understand my own condition as an immigrant in Aotearoa, displaced from my home environment and yet part of an ongoing process of becoming. To address these concepts I started a process of reviewing my photographic archive, looking for imagery that could fit a family album of some kind, ranging from snap-shots, family photographs and archival imagery re-worked through montage, cropping, printing and picture framing strategies. This process covered multiple iterative stages and ways of selecting, compiling, curating and presenting the photographs. These methodological stages were useful to shape a model to address the ways notions of nostalgia and diaspora can be discussed and represented through lens-based and curatorial approaches, positioning photography at core as both practice and research methodology. This led to the compilation of 18 photographs, covering various personal moments and responses to diasporic experiences both in Aotearoa and my home country Brasil. My presentation at the 2023 LINK conference will aim to unpack some of the creative decisions, ideas and processes connected to Desacoplado: Memórias e Devaneios, highlighting the value of photography and creative practice as means to address complex research concepts.
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Mohd Muslim Tan, Ellyana, Mastura Mohd Jarit, Azlina Wati Nikmat, Ruslan Rahim und Mohd Nagib Mohd Padil. „Therapeutic Photography: Photograph Preferences in Stress Reduction“. In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315271.
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„Photography in Indonesian Archaeology of the 19th to the Early 20th Century | Fotografi dalam Arkeologi Indonesia pada Abad ke-19 sampai Awal Abad ke-20 Masehi“. In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-28.
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Annotation:
In Dutch East India, photographic documentation for antiquities was as up-to-date as in Europe that was developed in the last half of the 19th century. Photography became a tool for archaeological surveys which resulted in thousands of enormous resources. In this paper, the historical background regarding how these old photographs were collected and how the material circulated within archaeological activities will be elaborated. The timeline studied is limited to pre-independence Indonesia with the subject mostly focused on Hindu-Buddhist remains. The method used is literature review of both relevant new publications as well as significant old publications. Its turns out that photographic surveys of archaeology in Indonesia during the colonial period developed from early archaeological activities into systematic institutional programs. The qualities of photography were appreciated in miscellaneous application and offered substantial benefits. Photography became a documentation medium, publication complementary, archive, and object representation and substitution. This historical background of photography in the context of Indonesian archaeology marks the significant value of these photographs so that it can be the foundation of preservation for the future. Di Hindia Belanda, dokumentasi fotografis pada tinggalan purbakala sangat mutakhir sebagaimana di Eropa yang dikembangkan sejak paruh terakhir abad ke-19 M. Fotografi menjadi perangkat untuk survei arkeologi yang menghasilkan ribuan sumber daya. Dalam tulisan ini, latar belakang sejarah terkait pengumpulan foto lama tersebut serta penggunaannya dalam berbagai aktifitas arkeologi akan dijabarkan. Lini masa yang dikaji dibatasi pada Indonesia pra-kemerdekaan dengan subjek yang berfokus pada tinggalan Hindu-Buddhis. Metode yang digunakan adalah kajian pustaka, baik terbitan terbaru yang relevan maupun terbitan lama yang penting. Ternyata survei fotografi pada arkeologi Indonesia selama periode kolonial berkembang sejak aktifitas arkeologis yang masih dini hingga menjadi program institusi yang sistematis. Kualitas fotografi juga diapresiasi dalam beragam penerapan serta menawarkan manfaat yang substansial, Fotografi menjadi media dokumentasi, pelengkap publikasi, arsip, serta representasi dan substitusi objek. Latar belakang sejarah fotografi dalam konteks arkeologi Indonesia semacam ini menjadikan nilai penting dari foto-foto tersebut sehingga dapat dijadikan fondasi dalam pelestarian untuk masa depan.
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Niu, Xue. „Discussion on Pictorial Photography and Pure Photography in the Development of Photographic Art“. In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.131.
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Perciun, Andrei. „The Nonhuman Character of Technology And Nature Revealed Through Photography“. In 11th International Conference on “Electronics, Communications and Computing". Technical University of Moldova, 2022. http://dx.doi.org/10.52326/ic-ecco.2021/ks.05.
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Tools, like photography, are helping the man fighting nature. However, inside the essential structures of photography there is no signification function. Therefore, the objects represented in the photograph appear as they are in nature, meaningless and without human presence. The photograph, like other technical devices, does not retain the meaning of things. And so, photography is equivalent to nature, which equivantly has nothing to do with human meanings and values. Only in the field of subjectivity and human intersubjectivity the meanings given to world objects are able to survive. In addition, free of sense objects from photography or film, under the guidance of consciousness can combine in unexpected ways and, as a result, produce alternative meanings. Hereafter, the photograph circumscribes an element that corresponds to the basic function of art in general, namely the opportunity to readjust the daily life in which we live in by giving possible meanings and opening up alternative perspectives. In this context, the man is no longer formalized by abstract rationality, but returns to the rethinking of the living environment in which he cohabitates with others.
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Li, Zinuo, Xuhang Chen, Shuqiang Wang und Chi-Man Pun. „A Large-Scale Film Style Dataset for Learning Multi-frequency Driven Film Enhancement“. In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/129.
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Film, a classic image style, is culturally significant to the whole photographic industry since it marks the birth of photography. However, film photography is time-consuming and expensive, necessitating a more efficient method for collecting film-style photographs. Numerous datasets that have emerged in the field of image enhancement so far are not film-specific. In order to facilitate film-based image stylization research, we construct FilmSet, a large-scale and high-quality film style dataset. Our dataset includes three different film types and more than 5000 in-the-wild high resolution images. Inspired by the features of FilmSet images, we propose a novel framework called FilmNet based on Laplacian Pyramid for stylizing images across frequency bands and achieving film style outcomes. Experiments reveal that the performance of our model is superior than state-of-the-art techniques. The link of our dataset and code is https://github.com/CXH-Research/FilmNet.
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Yavuz, Ozan. „Novel Paradigm of Cameraless Photography: Methodology of AI-generated photographs“. In Proceedings of EVA London 2021. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/eva2021.35.
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Frey, Aline. „Waving Spaces Together: The use of photography to produce narratives of proximity“. In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2023.v4i1.206.
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This presentation aims to explore the intersection between migration and photography, tackling two essential questions: How do migrants grapple with their emotions of displacement and settlement through photography? And, how are these coping strategies visually constructed in contemporary photographic projects? Through an analysis of diverse photographic projects, including "Belonging" (Frey, 2022) and "Traces of Brazil" (Frey, 2023), this presentation unravels the intricate ways in which migrant photography weaves together spaces and people across the globe. By closely examining these projects, the goal is to comprehend the visual narratives that emerge and the insights they provide into the migrant experience. Furthermore, this presentation seeks to explore the role of photography in the process of homemaking among migrants. Migrant photography, exemplified in projects like "Belonging" and "Traces of Brazil," congregates in both close and remote spaces, forming a non-physical and internalised territory. This intermediary space, situated between dislocation and settlement and facilitated by photography, becomes a potent mechanism for fostering a sense of belonging. Interestingly, this sense of belonging is not confined to a specific geographic space. Instead, photography, as a medium, offers a means to stand in an interim space of settlement and familiarity, enabling individuals to establish a connection with a sense of place that transcends physical boundaries. In exploring into these dynamics, this presentation aspires to contribute to on-going debates regarding the use of contemporary photography as a tool for producing and disseminating migrant narratives. The aim is to explore the potential of migrant media within interdisciplinary contexts, particularly in terms of dislocation and displacement. Through this exploration, I seek to better understand Pierre Bourdieu's notion of habitus clivé [cleft habitus] as an internal contradiction and subjective division acquired as individuals move from one social context to another. In conclusion, this presentation aims to shed light on the ways in which photography can display the complex experiences of migrants, offering a different perspective on the intersection of identity, belonging, memory and settlement.
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Debevec, Paul, Ramesh Raskar und Jack Tumblin. „Computational photography“. In ACM SIGGRAPH 2008 classes. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1401132.1401162.
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Georgiev, Todor, und Andrew Lumsdaine. „Lightfield photography“. In ACM SIGGRAPH ASIA 2010 Courses. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1900520.1900527.
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Berichte der Organisationen zum Thema "Photography":
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Greene, G. J., G. Cutsogeorge und M. Ono. Boxcar photography. Office of Scientific and Technical Information (OSTI), Juli 1987. http://dx.doi.org/10.2172/6169434.
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Mende, Stephen B. Auroral Photography Experiment. Fort Belvoir, VA: Defense Technical Information Center, Februar 1988. http://dx.doi.org/10.21236/ada203623.
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Ardévol Abreu, Alberto. Immigration in Canarian Press Photography. Revista Latina de Comunicación Social, 2008. http://dx.doi.org/10.4185/rlcs-63-2008-791-409-417-en.
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Editors, Intersections. On Religion: Photography in Collaboration. Intersections, Social Science Research Council, April 2024. http://dx.doi.org/10.35650/int.4061.d.2024.
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This article showcases photographic essays produced by collaborations between visual artists, journalists, and religious scholars through a partnership between New York University and the Magnum Foundation.
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Mallik, Vishnuu, Mark Flage und Connor Chapman. Infrared Photography, Atmospheric Spectroscopy, and Solar Corona Photography using a High-Altitude Ballooning Platform. Ames (Iowa): Iowa State University. Library. Digital Press, Januar 2011. http://dx.doi.org/10.31274/ahac.8140.
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Amos, C. L. Bottom photography and sediment analyses on CESAR. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1985. http://dx.doi.org/10.4095/120323.
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Robertson, C. Oscilloscope photography at NTS (Nevada Test Site). Office of Scientific and Technical Information (OSTI), Juni 1990. http://dx.doi.org/10.2172/6731423.
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Kinney, John W., und Warren P. Clary. Time-lapse photography to monitor riparian meadow use. Ft. Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station, 1998. http://dx.doi.org/10.2737/rmrs-rn-5.
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LEBARON, G. J. Using 360 degree photography as a decommissioning tool. Office of Scientific and Technical Information (OSTI), Mai 2003. http://dx.doi.org/10.2172/815069.
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Rich, P. A manual for analysis of hemispherical canopy photography. Office of Scientific and Technical Information (OSTI), Dezember 1989. http://dx.doi.org/10.2172/7064866.
