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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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Cooper, Elena Sophia Christina. „Art, photography, copyright : a history of photographic copyright, 1850-1911“. Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283882.
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Belknap, Geoffrey David. „'From a photograph' : photography and the periodical print press 1870-1890“. Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609850.
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Gmuender, Christopher. „On black-and-white paper image-stability enhancement effectiveness of toning treatments on silver gelatin prints determined by the hydrogen peroxide fuming test /“. Online version of thesis, 1992. http://hdl.handle.net/1850/10950.
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Shirley, Anne. „What a photograph and cannot do exegesis submitted in partial fulfilment of requirements for the degree Master of Art and Design, to Auckland University of Technology, 2008“. Click here to access this resource online, 2008. http://hdl.handle.net/10292/455.
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Mthethwa, Zwelethu. „"Personal" constructs /“. Online version of thesis, 1988. http://hdl.handle.net/1850/11638.
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Curtin, Tansy. „Contemporary German photography and American realism : is colour the only link? /“. Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmc9782.pdf.
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Lenon, Melyssa Ann. „The chemistry of photography“. Diss., Connect to online resource - MSU authorized users, 2006.
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Thesis (M.S.)--Michigan State University. Interdepartmental Physical Science, 2006.Title from PDF t.p. (viewed on June 19, 2009) Includes bibliographical references (p. 115-118). Also issued in print.
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Smyrnova, Anna. „Fashion photography“. Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13164.
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Makotrenko, D. S. „Femto photography“. Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/33731.
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Harold Edgerton created amazing photo in 1964. He made a picture of the bullet that pierces to an apple with an exposure of just a million of a second. But now, fifteen years later, we can go in a million time faster and see the world not in a million or even a billion, but in a trillion frames per second.
When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/33731
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Miller, Larry S., und Norman Marin. „Police Photography“. Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1455777633.
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Quality photographs of evidence can communicate details about crime scenes that otherwise may go unnoticed, making skilled forensic photographers invaluable assets to modern police departments. For those seeking a current and concise guide to the skills necessary in forensic photography, Police Photography , Seventh Edition, provides both introductory and more advanced information about the techniques of police documentation. Completely updated to include information about the latest equipment and techniques recommended for high-quality digital forensic photography, this new edition thoroughly describes the techniques necessary for documenting a range of crime scenes and types of evidence, including homicides, arson, and vehicle incidents. With additional coverage of topics beyond crime scenes, such as surveillance and identification photography, Police Photography , Seventh Edition is an important resource for students and professionals alike.https://dc.etsu.edu/etsu_books/1060/thumbnail.jpg
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Sénéchal, Gilles. „Essai de recontextualisation de la photographie /“. Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1993. http://theses.uqac.ca.
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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1993.Cette communication a été réalisée à l'UQAC dans le cadre du programme de maîtrise en Arts plastiques de l'UQAM extensionné à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
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Grayson, Louise. „Streets apart genres of editorial photographs and patterns of photographic practice“. Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50796/1/Louise_Grayson_Thesis.pdf.
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My doctoral research contributes to visual scholarship by investigating and defining representational strategies of three photographic genres – press photography, photojournalism, and documentary photography – using an ‘action genre’ approach (Lemke, 1995: 32). That is, rather than taking final photographic forms as being definitive of genre, I identify patterns of ‘activity types’ involved in the production of editorial photography to define genre (1995: 32). While much has been written on editorial photography, there is no organised body of scholarship that distinguishes between these three very different modes of photographic practice. I use a major documentary project to exemplify and analyse the impact of these genres on my own photographic practice, and to explore the production of meaning within the framework of these professional genres. I triangulate the theoretical framework through the use of interviews with established Australian professionals.
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Hudson, Giles. „The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer“. Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.
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Forrest, Eve. „On photography and movement : bodies, habits and worlds in everyday photographic practice“. Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/3304/.
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This study is an exploration of everyday photographic practice and of the places that photographers visit and inhabit offline and online. It discusses the role of movement, the senses and repetition in taking photographs. Ultimately it is about photographers and their photographic routines and habits. Since the advent of photography, numerous texts on the subject have typically focused on photographs as objects. This trend has continued into the digital age, with academic writing firmly focusing on image culture rather than considering new issues relating to online practice. Although various technological innovations have given the photographer flexibility as to how and what they do with their images, the contention of this thesis is that analogue routines have been mostly transposed into the digital age. Nevertheless, there remains a lack of empirical enquiry into what photographers actually do within online spaces. This study is one of the first to address this knowledge gap. Taking a unique approach to the study of photography, it draws upon work in various fields, including phenomenology, social anthropology, human geography and sensory ethnography, to produce an innovative conceptual and methodological approach. This approach is applied in the field to gain an in-depth understanding of what ‘doing’ photography actually entails. An in-depth analysis of interviews with and observations of North East photographers reveals how they engage with everyday life in a distinctive way. Habitually carrying a camera allows them to notice details that most would ignore. Online and offline movements often become entangled, and when photographers explore Flickr there is a clear synergy with the way in which they explore their local city space. This research is a call to others to give serious consideration to online and offline photography practices, and an attempt to stimulate new discussions about what it means to be a photographer in the world.
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Ruminski, Jarret. „“A Terrible Fascination:” Civil War Photography and the Advent of Photographic Realism“. Youngstown State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1194962162.
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Fitzgerald, Shane. „Abstraction, Space and Photography“. Thesis, Griffith University, 2020. http://hdl.handle.net/10072/391080.
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Much of the published writing about my practice, has focused specifically on the technical approach I employ when constructing the visual image, with very little detailed analysis of the underlying influences, visual language references and historical and contemporary methodologies embedded in the work. This exegesis titled “Abstraction, Space and Photography” identifies some of the fundamental aspects of the abstract visual language I create as a regional artist situated in far north Queensland and attempting to capture its ethos as location and conceptual construct.
Consequently, at the outset I provide some context towards the development of the photographic process that I employ. Although I avoid singular focus on the technical aspects of my image making I am aware that both the technical and conceptual aspects of photography merge in an elemental, and even indexical way, when the artistic intent involves constructing abstract images.
Concept and process are intrinsically linked and cannot be separated, as one informs the other. Anne Marsh describes this relationship:
Unlike conventional photographs Fitzgerald’s large landscapes are constructed without referent in the outside world. Fitzgerald recreates his experience of actual landscapes in these unique works by shining light directly into the camera’s aperture – literally painting with light onto the sensitive surface. The result sits between landscape and abstraction, and challenges assumptions about photography’s identity as a medium.
The series of works developed throughout the Masters (produced 2014-2017) demonstrate an increasing maturity and progression in my practice towards a form of visual language which I would conceive as a kind of photographic abstract expressionism. Heavily influenced by, and in many ways attracted to the more traditional arts — their freedom of expression, additive capacity and representational qualities — this body of work explores photographic images which are imbued with a sense of the painterly and gestural, establishing pluralistic aesthetic connections and strategies of abstraction which stimulate the known — through visualising forms of the unknown.
In contrast to my previous works, these images are visually complex, being characterised by a sense of movement and spatial intrigue. In these works I aim to establish a resolved vernacular that moves beyond the experimental, thereby challenge preconceived notions and expectations for the photograph and going some way towards destabilising the accepted narrative of traditional photography as an indexical medium. The exegesis highlights a number of innovative elements I deploy in creating a contemporary visual language in this body of work which I contend offers unique insights into and perspectives on the environment and landscape of central and far north Queensland and northern Australia. I also present contrasting antecedent pictorial traditions and positivist attitudes which have typified the landscape genre that I evoke.
The following exegesis has been separated into two distinct sections allowing an opportunity to explore my dual interest in abstraction as a device across the mediums of painting and photography and as a vehicle through which to represent spatial subjectivity. Section One: Abstracting Forms explores key texts which I have found most relevant in the development of my practice drawing parallels to the theories and precedents established by critics such as Susan Sontag, Helmut Gernsheim, Aaron Scharf, Lyle Rexer, John Berger, to name a few. Section Two: Representing Space, Time and the Landscape investigates the primary subject which underpins my work discussing the philosophical notions of spatial construction alongside the shifting ideological influences which have underpinned the representation of landscape as it applies in the Australian context.
Throughout the exegesis I have integrated discussion alongside works of key contemporary and historical artists and that of my own to emphasise the resonances between contemporary practice and theory. Artists such as Paul Strand, Man Ray, James Welling, Wolfgang Tillmans, Sigmar Polke, Susan Derges, to name a few, have not only inspired and motivated form and direction within my work but also share similarities in the pursuit of exploration within the medium of photography, seeking to both challenge the preconceived notions of what a photograph is, whilst simultaneously investigating new and progressive developments in the process of image making.Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
Full Text
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Hacking, Juliet Louise. „Photography personified : art and identity in British photography 1857-1869“. Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266787.
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Davey, Gerald John. „Understanding Photographic Representation : Method and Meaning in the Interpretation of Photographs“. Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/5372.
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The "linguistic turn" in early twentieth-century philosophy established that through language we not only live in a world but create it as well. Language, in this sense, incorporates the entire range of media and cultural artifacts through which we create and share meaning. In contemporary post-industrial societies, photographic images play a central role in communicating and creating the world in which we live. In part, this increasingly visually oriented culture is possible because we tend to equate what we see in photographs with what is real. Photographs, however, bring to light a vision of the world, not the world itself. From the inception of photography, traditions of aesthetic interpretation have challenged this dominant view. Here, the created image becomes a vehicle for the artist's unique expression. Proponents of social scientific and critique of ideology perspectives, however, reject the aesthetic view and typically see art objects as social constructs, instruments which enhance and maintain a certain social order. Each of these perspectives ultimately holds that the meaning of photographs can be determined objectively. At the same time, each presents a world view which tends to exclude the insights of the others. Any attempt to preserve the apparent insights of these views must, then, transcend the basic contradictions and incompatibilities between them. Philosophical hermeneutics holds that the presumption of an absolute, objective grounding represents a failure to grasp the nature of the path toward understanding, a path which can never arrive at its destination because it always exists in history. It argues that (1) the photograph cannot be transparent to the world for the world is constituted in our representations of it; (2) art is a creation whose origin and meaning always exceeds the artist's own understanding of it; (3) critique is not the application of universal reason but a reading from a particular vantage point and is always grounded in a tradition of its own. Most importantly, however, it calls us to recognize the participatory nature of all understanding, the universality of language and provides a criterion for assessing the relative value of our interpretations across the entire language world.
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Mikuriya, Junko Theresa. „Imitations of photography“. Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518923.
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Yu, Kit-yee Flora, und 余潔儀. „Postmodernism and photography“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950152.
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譚美兒 und Mei-yee Eve Tam. „Orientalism and photography“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B4413938X.
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Collingham, Maria. „Photography : locus suspectus“. Thesis, De Montfort University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391990.
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Larsen, Jonas. „Performing tourist photography /“. Roskilde : Department of Geography and International Development Studies, Roskilde University, 2004. http://hdl.handle.net/1800/788.
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Tam, Mei-yee Eve. „Orientalism and photography“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262099.
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Lin, Chiawen. „Photography and Poetry“. Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-172935.
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Jak se mohou navzájem ovlivnit dvě naprosto odlišná média, jako jsou fotografie a psaní? Tato práce si klade za cíl odpovědět na tuto otázku. Hlavní myšlenkou této práce je určit vztah mezi poezií a fotografií. Pár vybraných fotografií poslouží jako příklady a budou podrobeny rozboru. Práce je rozdělena do pěti kapitol, přičemž první část tvoří Úvod, druhá kapitola podává základní shrnutí obou médií. Třetí kapitola se zabývá rozborem prací japonského fotografa Masaa Yamamota. Čtvrtá kapitola rozebírá několik vybraných příkladů fotografií, které jsou nahlíženy metaforicky. Poslední, pátá kapitola přináší výsledek zkoumání této práce a shrnutí, jak se navzájem ovlivňují poezie a fotografie v dějinách a v tvorbě.
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DiFrancesco, A. Gary. „An investigation of the competition between surface/internal latent-image formation in AgBr core-shell emulsions /“. Online version of thesis, 1985. http://hdl.handle.net/1850/8753.
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Scarsella, Thomas M. „An investigation of the potential mobility of gold ions in core/shell silver bromide emulsions /“. Online version of thesis, 1991. http://hdl.handle.net/1850/11293.
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Schwab, Michael. „Image automation : post-conceptual post photography and the deconstruction of the photographic image“. Thesis, Royal College of Art, 2008. http://researchonline.rca.ac.uk/309/.
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This PhD thesis delivers an artistic research practice based on a deconstruction of the photographic image. Photography in post-photographic, digital culture has, due to changes in technology, become a matter of style while neglecting its own traditional process base. This thesis claims that similar automated processes can be found within information technology, which in the artistic realm has a strong relation to Conceptual art. A post-conceptual critique of the notion of ‘information’ in Conceptual practice allows for a repositioning of the image. Focusing on visual, transformative reflection, the thesis resists the temptation to present generalising philosophical speculation in favour of an artistic research practice that focuses on the inner, transformative workings of artworks, or the work’s ‘figuration’ as I call it, following Jean-François Lyotard and Georges Didi-Huberman. This research project offers an artistic interrogation into the potential of post-photographic practices under post-conceptual conditions. Apart from photography, the practice employs drawing, installation art, painting and printmaking to produce work that is often conceptually developed on the computer. Much of the work consists of abstract, blob- like ‘figures’ appropriated from digital-image material, while other work is measurement- based. Figuration is advanced in each of these through constructive processes that remain visible. A developed understanding of process-oriented practices within the digital realm, which this PhD offers, allows present-day photography to connect to its traditional diversity. The necessary re-thinking of the image, which is a key result of the research, may affect artistic practices beyond photography, giving an extended contemporary photographic practice increased artistic relevance. The research is supported by art-historical discussions concerning the history of photography, the history of Conceptual art, and what Svetlana Alpers calls ‘the northern mode’ of painting. Technical discussions of post-photography and the notion of ‘information’ help clarify underlying processes, while philosophical considerations are used to give meaning to a changed concept of the image. Finally, a methodological discussion contextualises the research within current notions of practice-led research.
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Orain, Hélène. „Pure Photography : la photographie pure en Grande-Bretagne, matière à discours (1860-1917)“. Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H058.
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Cette étude est une analyse de l’évolution de la notion de photographie pure, dans les discours en Grande-Bretagne, entre 1860 et 1917. Définie comme une image non retouchée ni manipulée, la photographie pure est envisagée en miroir de la retouche et des interventions sur les négatifs et positifs. Une exploration des journaux britanniques a mis en lumière cette préoccupation constante pour la définition et la légitimité des moyens de la photographie. Premièrement, la question des combination printings, de la notion de vérité comme essence de la photographie ainsi que l’aspect des images photographiques sont source de débats. Les discours d’acceptation et de rejet des pratiques de ciels rapportés, de coloriage et de la retouche apportent un éclairage sur la genèse de la retouche. Ces points, corrélés à la présence de la photographie pure dans les expositions, soulignent l’émergence d’une volonté puriste dès les années 1860. Enfin, les discours sur la photographie pure de Peter Henry Emerson et de Frederick H. Evans sont mis en parallèle et contextualisés au sein du pictorialisme, pour mieux en dessiner la définition. Ainsi se relient, dans ces débats sur la pureté, les limites de l’expérimentation et les aspects de la photographie, les figures d'Alfred H. Wall, Oscar Gustav Rejlander, Julia Margaret Cameron, Robert Demachy, Alvin Langdon Coburn et Alfred Stieglitz. Leurs discours et leurs recherches éclairent un idéal à atteindre, difficilement applicable, un mythe plus qu’une réalitéThis study is an analysis of the evolution of the notion of pure photography, in discourses happening in Great Britain between 1860 and 1917. Defined as a photograph that is neither retouched nor manipulated, pure photography is envisaged in regard to retouching and negative and positive interventions. An exploration of British periodicals has brought to light the constant preoccupation for the definition and legitimacy of the photographic tools. First, the question of combination printings, the notion of truth as the essence of photography and the aspect of photographic images are a source of debate. The discourses of acceptance and rejection of practices such as printing-in clouds, colouring and retouching shine light on the genesis of retouching. These aspects, paralleled with the presence of pure photography in exhibitions, highlight the emergence of a purist aspiration as early as 1860. Finally, the discourses of Peter Henry Emerson and Frederick H. Evans on pure photography are confronted and contextualized within pictorialism, to further its definition. Thus, through these debates on purity, the limits of experimentation and the aspects of photography, the figures of Alfred H. Wall, Oscar Gustav Rejlander, Julia Margaret Cameron, Robert Demachy, Alvin Langdon Coburn and Alfred Stieglitz are connecting. Their discourses and research put forth an ideal, out of reach, impractical, a myth more than a reality
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Kirkpatrick, Erika Marie. „Photography, the State, and War: Mapping the Contemporary War Photography Landscape“. Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/35723.
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This dissertation explores the ways in which media, visuality, and politics intersect through an analysis of contemporary war photography. In so doing, it seeks to uncover how war photography as a social practice works to produce, perform and construct the State. Furthermore, it argues that this productive and performative power works to constrain the conditions of possibility for geopolitics. The central argument of this project is that contemporary war photography reifies a view of the international in which the liberal, democratic West is pitted against the barbaric Islamic world in a ‘civilizational’ struggle. This project’s key contribution to knowledge rests in its unique and rigorous research methodology (Visual Discourse Analysis) – mixing as it does inspiration from both quantitative and qualitative approaches to scholarship. Empirically, the dissertation rests on the detailed analysis of over 1900 war images collected from 30 different media sources published between the years 2000-2013.
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Shtonda, A. O. „Great Contemporary Photographers“. Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8399.
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Blomgren, Constance, und University of Lethbridge Faculty of Education. „Family photos : an exploration of significant exposures“. Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 1999, 1999. http://hdl.handle.net/10133/93.
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This hermeneutic inquiry into the significance of family photographs in our personal and public lives explores the relationship between the subject, the photographer and the viewer. The discussion uses the photgraphic oeuvres of the author's paternal grandfather and maternal grandmother as the basis of the exploration. Themes which appear include the following: the represented and projected images of a family within family photos; the significance of gender in the making of snapshots; and, the influence of history and religion upon families.
The discussion also includes the relationship between art and photography, art photography and the snapshot genre, the role of women within photography and snapshot photography as a method of visual narrative. The author delves into hermeneutics as an interpretative framework when viewing family photos. Semiotics, and Roland Barthes' Camera Lucida (1981) inform the discussion in addition to Jung's matriarchal consciousness as two alternative frameworks for interpreting family photographs. The study indicates that family photographs are visual artifacts which document and authenticate the lived experiences of the photographer and that they serve as a visual form of life writing. Data from the photographic industry indicates the heavy
involvment of women in family photographs which the study links to the marginalised role of the genre. To interpret the significance of the ubiquitous family snapshot involves the hermeneutic circle as the "text" of the photograph involves the inter-textuality of other previously encountered texts.xvii, 199 leaves : ill. ; 28 cm.
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O'Toole, Sean W. P. „The effect of environment on latent image formation and stability /“. Online version of thesis, 1995. http://hdl.handle.net/1850/12173.
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JIASHEN, HAN, und JING NING. „Study on wedding photography and Strategic business plan for wedding photography Studi“. Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20170.
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This thesis is aiming to reveal different characters of wedding photographic market in Sweden, China and Pakistan and give an overview, including history and trends on the three distinctive markets. Through the comprehensive comparison, an entire business plan is presented to enter into the Swedish market by mixing with unique Asian visual characters.Program: Magisterutbildning i fashion management med inriktning modemarknadsföring
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Godeau, Vincent. „La photographie africaine contemporaine : vers une photographie panafricaine“. Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040097.
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La photographie africaine contemporaine est ici celle que pratique les Africains vivant en Afrique. Durant notre période (1989-2009), le constat de l’absence de spécificité de la photographie africaine fait place au constat du regard photographique erroné que porte les Occidentaux sur l’Afrique. « Quelle est la vraie photographie africaine ? » est une des questions les plus souvent posées. En parallèle, le genre du portrait s’impose, en lutte contre un afropessimisme ambiant, tandis que les photographies documentaire et du réel montrent l’Afrique vécue par les Africains. Plus militante, la photographie citoyenne se développe et s’accompagne d’une hégémonie discursive. Mais la vraie photographie engagée est donnée par des pays anglophones qui contribuent à la marche collective vers la reconnaissance. Dans ce processus de reconnaissance, la France et les Etats-Unis jouent un rôle essentiel. L’intérêt porté par ces deux pays du Nord à la photographie africaine s’explique par l’existence d’une diaspora de photographes africains dont les travaux alimentent nombre de manifestations, palliant ainsi un déficit relatif en photographes locaux pratiquant une « photo d’art ». Dans ce contexte fragile, la pépinière de photographes sud-africains évoluant dans une économie de marché à l’occidentale prend à contre-pied les pays d’Afrique francophone où les fonctionnaires français répartissent des aides d’origine étatique et européenne. Cette Afrique du Sud, avec d’autres pays anglophones et le Mozambique, est le véritable porte-étendard d’une photographie africaine en gestationContemporary African photography is here photography practiced by Africans living in Africa. In our period (1989-2009), the acknowledgement of the absence of specificity of African photography takes the place of the photographic gaze brought by Westerners to Africa: “What is the real african photography?” is a question that characterizes this photography. In parallel, the portrait genre imposes itself, searching to end up outside of the consciences of an ambient afropsessimism, while documentary photographs show the Africa lived by Africans. Even more militant, citizen photography develops and is accompanied by a discursive hegemony. But the true photography engaged has been given by some of the Anglophone countries that therefore contribute to the collective march to recognition, France and the United States playing an essential role, since 1990, in this process. The interest in those two northern countries may also be explained by a diaspora of African photographers whose work feeds a number of manifestations that highlight a relative deficit of local photographers that practice “art photography”. In this fragile context, the nursery of South African photographers evolving in an economic market similar to that of the occident takes a counter-point to French speaking countries where French civil servants distribute state assistance of European origin. It is this South Africa, alongside other English speaking countries and Mozambique, that demonstrates the path of a clearly gestating African photography
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Gheorghiu, Rares Cosmin. „Dark Humour in Photography“. Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
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With the invention of photography and the camera, people have been given the possibility to immortalize moments in time that evoke incongruities in everyday life and document photographic jokes laughing in the face of death or ridiculing a certain class of people or race. Therefore, the camera has served as a means for different types of laughter not always with the subject as the humourist but the photographer himself. The aim of this work is to analyse how photographic humour works and its diachronic development throughout the years with particular focus on dark humour and how the latter is processed cognitively. Furthermore, this paper seeks to answer the questions of why some pictures make us laugh more than others and how has humour shifted according to the society and times we live in.
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Dal, Pezzo Rolando. „Photography, sociology & anthropology“. FIU Digital Commons, 1999. http://digitalcommons.fiu.edu/etd/2708.
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An analysis of the social research done to date using photographs shows that photography, although used both in anthropology and sociology for data collection, as visual evidence and illustration, in photoelicitation or in time-studies, has not been fully exploited as an aid to see further and deeper in the social arena. Most social researchers still perceive photography as being simultaneously too complicated as a research aid and too creative and therefore unscientific to use as a research method.
This project is exploratory and argumentative and not directed towards the formulation of a model. I propose that the camera is the proper tool to obtain more precise, detailed, and complete date, to uncover and clarify meaning, to investigate and clarify the research question, and to help in the presentation of the results of social investigation. Therefore the camera should become more accepted as a tool for the modern social researcher notwithstanding its creative component and even because of it. Indeed, as any individual in a culture oversaturated with images, although trained to observe precisely and record objectively, the social scientist has learned to see only a few v things while editing and blocking out the rest. The camera, because of its ability to record the world with richness of detail, is the proper tool to obtain a more precise and more complete visual documentation, which is essential for an accurate reconstruction of meaning.
Lastly, I propose that the sociologist-anthropologist who accepts the challenge of integrating photography in his work should become also a skilled photographer, cultivating with practice the ability to intuitively perceive potential opportunities that may escape direct observation and developing a visual and emotional acuity that bridges the gap between intuition and the physical limitations of human perception. This new skill seems to be the result of an inner propensity to visual investigation combined with photographic practice and systematic studying of the history of photography and represents a jump of sophistication in the use of photography in more creative ways in social research, both conceptually and technically.
In looking at the body of work produced in visual social research as well as in photographic social analysis, it seems that the most successful and compelling outcomes have been produced by authors who explored the unique opportunities of in depth analysis offered by the synergy of images and text to conduct a social, autoethnographic or psychological discourse. This appears to me a most promising area of development for the immediate future of visual social research.
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Raina, Priyanka. „Architectures for computational photography“. Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82393.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2013.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 93-94).
Computational photography refers to a wide range of image capture and processing techniques that extend the capabilities of digital photography and allow users to take photographs that could not have been taken by a traditional camera. Since its inception less than a decade ago, the field today encompasses a wide range of techniques including high dynamic range (HDR) imaging, low light enhancement, panorama stitching, image deblurring and light field photography. These techniques have so far been software based, which leads to high energy consumption and typically no support for real-time processing. This work focuses on hardware architectures for two algorithms - (a) bilateral filtering which is commonly used in computational photography applications such as HDR imaging, low light enhancement and glare reduction and (b) image deblurring. In the first part of this work, digital circuits for three components of a multi-application bilateral filtering processor are implemented - the grid interpolation block, the HDR image creation and contrast adjustment blocks, and the shadow correction block. An on-chip implementation of the complete processor, designed with other team members, performs HDR imaging, low light enhancement and glare reduction. The 40 nm CMOS test chip operates from 98 MHz at 0.9 V to 25 MHz at 0.9 V and processes 13 megapixels/s while consuming 17.8 mW at 98 MHz and 0.9 V, achieving significant energy reduction compared to previous CPU/GPU implementations. In the second part of this work, a complete system architecture for blind image deblurring is proposed. Digital circuits for the component modules are implemented using Bluespec SystemVerilog and verified to be bit accurate with a reference software implementation. Techniques to reduce power and area cost are investigated and synthesis results in 40nm CMOS technology are presented
by Priyanka Raina.
S.M.
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Coombes, Justin. „Photography, memory and ekphrasis“. Thesis, Royal College of Art, 2012. http://researchonline.rca.ac.uk/1280/.
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Recollected Places: Photography, Memory and Ekphrasis. The practice component of my PhD, ‘Recollected Places’, consists of exhibitions combining my work as an artist in still photography, video and installation and books that combine text and the photographic image. My written thesis, ‘Photography, Memory and Ekphrasis’ looks at a number of artworks from the 1950s to the present day which employ the photography-ekphrasis relationship. ‘Ekphrasis’ is the verbal description of visual works of art, for example, Homer's imaginary evocation of Achilles' shield in The Iliad. It became the object of intense academic scrutiny during the 1980s, as part of cultural theory’s emergent ‘visual turn’ and its attendant concentration upon image-text relations. The Iliad’s extended description of the shield, and the world of peace that it describes, are noticeably different from the ‘real’ events of the Trojan wars described throughout the rest of the poem. However, the ekphrastic scenes, whilst being distinctly different in tone, are arguably as ‘lifelike’ as the rest of the action described. So, from this very earliest recorded instance of ekphrasis, we can see how the mode opens up fundamental ontological questions about art and its place in the world that would be highlighted by conceptual art almost three millennia later. What holds more presence? The physical work itself, or the idea of the work? In a similar fashion, the invention of photography raised questions that were not methodically articulated until the 1980s. Thus a body of research from the early 1990s onwards has addressed the relationship between ekphrasis and photography. However, the vast majority focuses on ekphrastic writing about photography: ‘poems for photographs’, in James Heffernan’s phrase. The small extant literature that focuses on photography’s relationship to ekphrasis tends to emphasise the technical aspects of the medium. My research is both the first book-length study that I am aware of to examine ekphrasis’s relationship to photography and the first such study that I know of to be written by a practising visual artist. I consider recent writing on ekphrasis through the prism of various psychoanalytic theories, particularly those from recent debates on photography and melancholia. I examine the absence of the ‘lost object’ that is both the very condition for ekphrasis and melancholia and a precondition of all photographs: simultaneously trace of the object and reminder of its absence.
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Balaba, M. A. „The invention of photography“. Thesis, Сумський державний університет, 2014. http://essuir.sumdu.edu.ua/handle/123456789/34848.
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Photography was invented in the first half of the XIX century. The word "photography" comes from the Greek words " Fotos "
( light) and "The Count " ( write ) and means “light painting ."
When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/34848