Journal articles on the topic 'Documentary photography'
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1
Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.
Abstract:
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
2
Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.
Abstract:
What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.
3
Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 43–57. http://dx.doi.org/10.7202/044587ar.
Abstract:
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.
4
Langendorf, Richard. "Documentary photography." Computers, Environment and Urban Systems 15, no. 1-2 (January 1991): 74. http://dx.doi.org/10.1016/0198-9715(91)90058-l.
5
Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.
Abstract:
Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research
6
Arsita, Adya. "JUKSTAPOSISI FOTOGRAFI DI NOVEL GRAFIS ‘THE PHOTOGRAPHER’." spectā: Journal of Photography, Arts, and Media 2, no. 2 (April 24, 2019): 135–44. http://dx.doi.org/10.24821/specta.v2i2.2554.
Abstract:
AbstrakPenelitian ini hendak mengkaji fungsi-fungsi dokumenter dalam karya fotografi yang divisualisasikan berdampingan dengan gambar-gambar komik dalam sebuah novel grafis berjudul ‘The Photographer: Into War-Torn Afghanistan with Doctors without Borders’. Tujuan dari penelitian ini adalah untuk mencari tahu apakah nilai dokumenter karya foto bisa tetap diapresiasi layaknya foto dokumenter ataukah ada peralihan fungsi ketika dua jenis piktorial disandingkan bersamaan. Metode penelitian yang digunakan untuk menganalisis adalah metode kualitatif yang menganggap bahwa setiap petunjuk adalah penting untuk dianalisis. Kemudian potongan-potongan informasi yang didapat dikaji dengan pendekatan fotografi dokumenter. Diharapkan hasil penelitian ini dapat memberikan kontribusi dalam ranah ilmu kajian fotografi sekaligus kajian komik (comic studies). Dalam ranah fotografi, fotografi dokumenter akan makin ‘berbicara’ dan memaksimalkan fungsinya ketika terbantu dengan teks piktorial lain. Untuk ranah kajian komik, hadirnya citraan fotografi justru akan memperjelas pesan yang hendak disampaikan kepada khalayak melalui gambar-gambarnya. Kata kunci: jukstaposisi, fotografi, novel grafis, dokumenter AbstractJuxtaposition of Photography in a Graphic Novel Titled ‘The Photographer’. This research studied the documentary function in photography works visualized side to side with the comic drawings in a graphic novel titled ‘The Photographer:Into War-Torn Afghanistan with Doctors without Borders’. The aim of this research was to find out whether the documentary photographs are still appreciated as they are, or there are any changes of function when those two pictorials are juxtaposed. The method employed in this research was qualitative method which considered that each clue was important to be analyzed. Then, each of them would be studied using approaches from the view point of documentary photography. The result of this research hopefully could give a contribution to the photography studies and comic studies. Photographs will ‘speak louder’ and will have their greatest value when supported by other kind of pictorials. While in comic studies, the photographs will be able to send messages better through their drawings when juxtaposed with photographs. Keywords: juxtaposition, photography, graphic novel, documentary
7
Нецић, Неда. "ДОКУМЕНТАРНОСТ И ФОТОЖУРНАЛИЗАМ У ПРОМЕНИ ГУТЕНБЕРГОВОГ ДРУШТВА." БАЛКАНСКЕ СИНТЕЗЕ 9, no. 1 (November 23, 2022): 31–44. http://dx.doi.org/10.46630/bs.1.2022.03.
Abstract:
The appearance of photography in 19. century had stopped the fluidity of time and enabled the future generations to have an insight into history. Photographs are a visual testimony of the past and in the period of their occurrence people believed that photographs could provide a true and objective account of reality. Documented war conflicts, people, places and events can enable us an insight into the past. Implementation of photographs into the press gave rise to photojournalism. The press had abundantly used the photography as an illustration to the texts, and the people craved for information and entertainment provided by the press. As the photographic technique evolved, the possibilities of manipulation by means of photography also advanced. With the advancement of media and the photography as a very powerful medium, the people became aware of the possibilities of manipulation by the media. Different examples from history give testimony of how interest groups used the photography with an aim to achieve their political and economic interests. The ethics of these photographs is thus being questioned, since the authentic documentary has often remained marginal. The subject of this study is to give a historical review of photography and its documentary character, and to point out the problems of objectivity, that is ethics of photography since its occurrence till present days.
8
Pevec, Iza, and Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.
Abstract:
The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program SewonArtSpace in Yogyakarta, Indonesia. The project Afghan Box Camera, which he developed with the ethnographer Sean Folley, focuses on the photographic praxis in Afghanistan, mainly on the type of a simple instant camera, which was traditionally used there but its use is now in decline. They investigated the origins, techniques and the many personal stories of the photographers using or having used this type of camera and also made instructional videos on how to build or use one. Attention to the overlooked photographic practices, history and contexts marks also his current project The Myanmar Photo Archive, a growing collection of Myanmar photographs that were created during and after the colonial period – the work of local photographers from that period has namely remained unknown until today. Keywords: local history, Myanmar photography, photographic backdrop, western view
9
Kuo, Li-Hsin. "Politicising Documentary Photography." Javnost - The Public 14, no. 3 (January 2007): 49–64. http://dx.doi.org/10.1080/13183222.2007.11008946.
10
Zakharova, Oleksandra. ""PHOTOTELLING" AS THE INNOVATION OF PHOTOJOURNAL "6 MOIS" BY CONNECTING PRESS AND BOOK MARKETS." Bulletin of Taras Shevchenko National University of Kyiv. Sociology 8 (2017): 29–33. http://dx.doi.org/10.17721/2413-7979/8.5.
Abstract:
he author analyses the French journal «6 MOIS», which was created in Paris in 2011, from the point of view of visual sociology. The notions of documentary photography (350 pages of journalistic photography) that represent social life in the 21st century are investigated. The goal of this article is to demonstrate that the journal is a unique and significant source for social science. The research connects the views of the editorial team with photographers from around the world by analysing and comparing interviews conducted in collaboration with the editorial team and photographers from China, The Netherlands, France, Russia. The interviews reveal the main criteria relevant in selecting documentary photographic material: the “concept-story”; their journalistic nature; visual quality; and the actuality of the topic. By analysing journal publications this author has discovered the way social problems in documentary photography are demonstrated: using age; gender; emotions of heroes; the location of story; and the main social issues. To answer the question of how the popular documentary journal «6 MOIS» constructs the image of the contemporary, the content analysis of photographs and the journal’s interviews and are presented and discussed.
11
Meron, Yaron. "Photographic (In)authenticity." Video Journal of Education and Pedagogy 4, no. 2 (December 27, 2019): 60–81. http://dx.doi.org/10.1163/23644583-00401018.
Abstract:
Debates around authenticity within photographic discourse are persistent. Some have revolved around documentary photography, while other discussions focus on the ethical validity of digitally edited news photographs and indeed the photographic medium itself. This article proposes that discussions around ‘authenticity’ should be focused instead towards contextualising photography more appropriately within the creative practice of ‘making strange’. It acknowledges existing debates around photography and authenticity, before locating the discussion within creative practice. It then moves to a discussion, using Robert Capa’s ‘Falling Soldier’ (Capa, 1936) as a starting point, before drawing on examples from the author’s own creative and professional practice. In the process, the article argues that visual researchers embrace the challenges of making the familiar strange within photographic creative practices.
12
Oreshina, Polina. "Documental photos." Век информации (сетевое издание) 5, no. 3 (August 31, 2021): 25–62. http://dx.doi.org/10.33941/age-info.com53(16)2.
Abstract:
This article is devoted to identifying and analyzing the mechanisms of traditional visual documentation of protests and the formation of images and symbols in Russian protest photography, as well as its functioning in the modern media space. In this article, we will dwell in detail both on photographs and series of specific documentary artists, and on the functioning of photographs directly in the media space, since political photography is inseparable from the fact of its use in the media. Nevertheless, we will explore visuality to a greater extent and will focus on visual images and symbols of political photography, on the individual practices of photographers in this genre.
13
CURRELL, SUE. "You Haven't Seen Their Faces: Eugenic National Housekeeping and Documentary Photography in 1930s America." Journal of American Studies 51, no. 2 (May 2017): 481–511. http://dx.doi.org/10.1017/s0021875817000366.
Abstract:
This essay explores the relationship between welfare, eugenics and documentary photography during the New Deal in order to explain how a set of government photographs taken by Arthur Rothstein in the Shenandoah became entwined in the rhetorical structure of eugenic ideology. The photographs discussed portray victims of forced sterilization before their incarceration, yet there is no evidence to show that the photographer was aware of, or complicit with, this fact. This essay responds to the questions this raises about the images: what historical and social contingencies were behind their production? What is the relationship between the photographer, the photographs, the New Deal and the subjects depicted? How did efforts to help America's poorest lead to their incarceration and sterilization? Why is the full picture impossible to see? And how do we read and understand them today?
14
Pfautsch, Anne. "Documentary Photography from the German Democratic Republic as a Substitute Public." Humanities 7, no. 3 (September 10, 2018): 88. http://dx.doi.org/10.3390/h7030088.
Abstract:
This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photography, despite having had a different status to literature in the GDR, adopted similar traits and also functioned as part of a substitute public sphere. These photographers aimed to expose the existing gap between the propagandised and actual life under socialism. They embedded a moral and critical position in their photographs to comment on society and to incite debate. However, it was necessary for these debates to occur in the private sphere, so that artists and their audience would avoid state persecution. In this paper, I review Harald Hauswald’s series Everyday Life (1976–1990) to demonstrate how photographs enabled substitute discourses in visual ways. Hauswald is a representative of artistic documentary photography and although he was never published in the official GDR media, he was the first East German photographer to publish in renowned West German and European media outlets, such as GEO magazine and ZEITmagazin, before the reunification. In 1990, he founded the ‘Ostkreuz–Agency of Photographers’ with six other East German documentary photographers.
15
Ciputra, Alfian Rizal Andre, Pitri Ermawati, and Syaifudin Syaifudin. "Pecinan Tambak Bayan Surabaya Dalam Fotografi Dokumenter." spectā: Journal of Photography, Arts, and Media 3, no. 1 (August 5, 2019): 50–60. http://dx.doi.org/10.24821/specta.v3i1.2837.
Abstract:
Documentary Photography of Chinatown in Tambak Bayan Surabaya. Chinese etchnic of Surabaya has been living in the settlement, called Tambak Bayan Surabaya, around Kalimas River. Most of the families living there are the third and fourth generation of the Chinese ethnic whom migrated to Surabaya several years ago. Those families occupied the buildings formerly were horse stables during colonial period. Their economic condition was classified as middle to lower class. Hence, they did not have other choices but those settlements. Documentary photography is a way to describe their everyday conditions in a 4x4 quadrangle house that is high. Chinese identities that surround their homes are each the size of each family inhabiting the house. The families residing in Chinatown Tambak Bayan Surabaya can be visualized into several documentary photographic works showing their condition and their dwelling places. Keywords: documentary photography, Chinatown’s Tambak Bayan Surabaya, Chinese New year
16
Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (January 2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.
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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evocative as well. Each of four pairs of photographs discussed reflects a significant period in the historical evolution of crime scene photography as well as an observable aesthetic influence: the earliest days of police photography and pictorialism; professionalization in the 1930s, documentary photography, and film noir; postwar photographic expansion to the suburban and middle class, advertising images of the family and home; and postwar elegiac landscape photography in the 1950s and compassion shown to infanticidal mothers. Crime scene photographs also demonstrate a remarkable shift in twentieth-century forensic technologies, and they reveal a collection of ordinary domestic and pastoral scenes at the moment when an act of violence made them extraordinary.
17
Chaudhary, Zahid R. "Desert Blooms." October 168 (May 2019): 92–109. http://dx.doi.org/10.1162/octo_a_00351.
Abstract:
This essay considers the place of abstraction in documentary photography, a genre whose primary aesthetic-political commitment is usually assumed to be on the side of figuration, denotation, and facticity. Taking up photographer Fazal Sheikh's photographic series Desert Bloom, which records natural and human-made disturbances in the Naqab/Negev desert, the essay considers artistic abstraction in relation to other forms of economic, juridical, and political abstraction critical to settler colonialism in particular and capitalism more generally. How might abstraction be the very condition of politics? What might this imply for our understandings of documentary aesthetics?
18
Olszański, Grzegorz. "Poetyki negatywów. Tadeusz Różewicz wobec fotografii." Wielogłos, no. 2 (52) (2022): 69–88. http://dx.doi.org/10.4467/2084395xwi.22.005.15878.
Abstract:
Poetics of the Negatives. Tadeusz Różewicz and the Photography The article Poetics of the Negatives poses a question about the position of photography in creation of the writers’images. Exemplified in the most substantial part by the pictures of Tadeusz Różewicz, taken by a prominent artist photographer Adam Hawałej of Wrocław, published in his two books (Różewicz, Śmietnik [Garbage]), the article aims to reconstruct Różewicz’s attitudes towards the photographic medium. The author of Niepokój [Faces of Anxiety] initially appears as an artist protecting his privacy, at the same time negating the creative measure of photography (in favor of its documentary role). However, as time passed and possibly because of his friendship with several outstanding photographers (A. Hawałej, J. Olek and J. Stankiewicz), his view on photography tended to evolve while the artist himself became not only the subject of numerous exquisite works, but eventually the author of many. The article concludes with an interpretation of the photographic happening captured by Adam Hawałej and published in the book Śmietnik.
19
Mitropoulos, Maria. "Demonic Curiosity and Documentary Photography." Alethia 5, no. 1 (July 15, 2002): 65–69. http://dx.doi.org/10.1558/aleth.v5i1.65.
20
Biarincová, Patricia. "Documentary photography in art education." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 10 (2015): 87–98. http://dx.doi.org/10.16926/ep.2015.10.06.
21
Brown, Elspeth H. "Welfare Capitalism and Documentary Photography:." History of Photography 32, no. 2 (April 18, 2008): 137–51. http://dx.doi.org/10.1080/03087290801895738.
22
Hunt, William Blaine. "Documentary photography and applied anthropology." Visual Anthropology 10, no. 1 (October 1997): 67–73. http://dx.doi.org/10.1080/08949468.1997.9966720.
23
Young, Stephanie L. "Social Documentary Photography: An Appreciation." Review of Communication 8, no. 3 (July 2008): 254–56. http://dx.doi.org/10.1080/15358590701851657.
24
Zhou, Dengyan. "REFRAMING DOCUMENTARY PHOTOGRAPHY IN CHINA." photographies 11, no. 2-3 (July 19, 2018): 339–52. http://dx.doi.org/10.1080/17540763.2018.1445012.
25
Baid, Anisha. "Wild Life." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 20–25. http://dx.doi.org/10.47659/m4.020.art.
Abstract:
Wild Life is a series of augmented photographs of animals and insects placed in vacant, overgrown spaces in suburban Bangalore. Taken through mobile AR apps like Holo and Augment, these photographs (or screenshots) situate virtual bodies within the frame of the mobile camera – creating something in between a document and fiction. The work investigates these processes of augmentation, which enable 3D representations of things in the real/physical world to be projected back into physical space that are then photographed. The larger phenomenon of AR photography also complicates traditional notions of “immersive” media – forcing one to interact with their environments. This essay reflects on the implications of mobile AR photography on the image and the referent. Through a phenomenological reading of and immersion into popular uses of mobile AR (like the game Pokémon Go), the essay is an observation of the convoluted relationships evoked between augmented bodies, their environments and the screens on which they manifest. Keywords: digital image, documentary, mobile AR, photography, Pokémon Go
26
Brujić, Marija. "Kratak uvod u istoriju antropologije fotografije." Issues in Ethnology and Anthropology 12, no. 1 (March 31, 2017): 129. http://dx.doi.org/10.21301/eap.v12i1.6.
Abstract:
The paper represents a short historical overview of key anthropological figures in Anglo-American and French anthropology of photography such are Boas, Malinowski, Evans-Pritchard, Mead and Bateson, Levi-Strauss and (John) Collier till the current visual anthropologists as Banks, Pink, Ruby, Pinney, and Edwards, among many. Furthermore, the major theoretical ideas such are: objectivity and subjectivity of photography, its material, and intangible aspects, its representative potential, ethical issues and reflexive approach are discussed. At the end, several anthropological projects which include photography are mentioned in order to suggest possible research pathways. I will mention few. Pink asserts the importance of ethnographic hypermedia which includes written text, images, video, photographs and sound in order to create interactive scholarly publications. During his ethnographic research of cultural aspect of wine producing in Burgundy, Coover’s work resulted in electronic ethnography and internet photo study of harvest in order to establish a better connection between the viewer-reader and his work. At the beginning unintentionally, Loescher collaborated with children during her visual research of contemporary urban childhood in Manchester by giving them her still camera. As a result, she was able to better understand their worldviews and their lifestyle. Another collaborative work was between Pink and documentary photographer, da Silva, who made a visual documentary project among two fishing communities in England and Portugal. Finally, the paper mentions Edwards’ research on archival research of museum photography which stresses the role of photography in creating and manipulating with the past.
27
Sarsby, Jacqueline. "Exmoor Village Revisited: Mass-Observation's ‘Anthropology of Ourselves’, the ‘Feel Good Factor’ in Wartime Colour Photography and the Photograph as Art or Social Document." Rural History 9, no. 1 (April 1998): 99–115. http://dx.doi.org/10.1017/s0956793300001461.
Abstract:
In 1988, HTV made a series of programmes about a Somerset village called Luccombe. Their starting point was the Mass-Observation survey carried out over forty years before and described in Exmoor Village. No mention was made of the larger project - the ‘wholesome’ British export, for which the survey and perhaps even more importantly, the photographs, were commissioned. The difficulties of producing and reproducing fine-quality colour photographs at that time, however, suggest that the social investigators and the photographer were pursuing widely differing goals. The different approaches of social documentary photography and pictorial photography may not be obvious in a beautiful print, embedded in an anthropological text, but the use of photographs, which were essentially reconstructions of idealised village life disguised as documents, indicates how much importance the Ministry of Information attached to exporting the image of the wholesome, ‘traditional', English rural community.
28
Sailor, Rachel. "Pictorialism in the American West." UW National Parks Service Research Station Annual Reports 36 (January 1, 2013): 150–52. http://dx.doi.org/10.13001/uwnpsrc.2013.4009.
Abstract:
Early twentieth century (1900-1945) photography of northwestern Wyoming (including the Teton and Yellowstone areas) fits into a paradigm of regional photographic production that either conforms to the documentary or pictorial aesthetics most common in the era. Pictorial photography, especially, links the region to larger trends in the nation and can be analyzed to uncover previously unexamined assumptions about the value of photographic aesthetics and regional production within the milieu of fine art photography in the United States prior to WWII.
29
Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
Abstract:
This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
30
Alves de Oliveira, Andreia, and Steve Edwards. "We Need More Documentary, and We Need More than Documentary: Interview with Art Historian Steve Edwards." Cabinet, Vol. 2, no. 2 (2017): 32–39. http://dx.doi.org/10.47659/m3.032.int.
Abstract:
Steve Edwards teaches history and theory of photography and is a fiery, self-described “radical from a working-class background”, “post-Trotskyist” and “socialist feminist”, who reads “Marx and more Marx”. We met in 2016 in Lisbon at an academic conference on Photography and the Left, where he was one of the keynote speakers. Edwards’ paper tracked the changes in relation to the Left and the documentary movement in Britain from the 1970s to the present day, his argument consisting in that documentary and social class are closely entwined. This interview, done at Birkbeck, University of London, which he joined as a Professor at the beginning of this academic year, revisits the main themes of what was, in many ways, an enlightening and inspiring talk. Using the two terms – Photography and the Left – to frame and anchor the discussion, our exchange covers Edwards’ political education, the 1970s emergence of a key period in visual theory and subsequent mutations in political visual practice, up to its present status in a neoliberal society and the forms and intellectual basis of contemporary resistance to it. Although the exchange is centred on the British context, it is done so, however, with total awareness of it being an instance among others of documentary photography’s many global manifestations. It is with these manifestations that this interview aims to enter into dialogue, through its publication in a magazine with a global audience such as Membrana’s.
31
Haran, Barnaby. "‘We Cover New York’: Protest, Neighborhood, and Street Photography in the (Workers Film and) Photo League." Arts 8, no. 2 (May 10, 2019): 61. http://dx.doi.org/10.3390/arts8020061.
Abstract:
This article considers photographs of New York by two American radical groups, the revolutionary Workers Film and Photo League (WFPL) (1931–1936) and the ensuing Photo League (PL) (1936–1951), a less explicitly political concern, in relation to the adjacent historiographical contexts of street photography and documentary. I contest a historiographical tendency to invoke street photography as a recuperative model from the political basis of the groups, because such accounts tend to reduce WFPL’s work to ideologically motivated propaganda and obscure continuities between the two leagues. Using extensive primary sources, in particular the PL’s magazine Photo Notes, I propose that greater commonalities exist than the literature suggests. I argue that WFPL photographs are a specific form of street photography that engages with urban protest, and accordingly I examine the formal attributes of photographs by its principle photographer Leo Seltzer. Conversely, the PL’s ‘document’ projects, which examined areas such as Chelsea, the Lower East Side, and Harlem in depth, involved collaboration with community organizations that resulted in a form of neighborhood protest. I conclude that a museological framing of ‘street photography’ as the work of an individual artist does not satisfactorily encompass the radicalism of the PL’s complex documents about city neighborhoods.
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Kobylińska, Weronika. "Carved by Light of Cities with a Chisel. Kraków Retable of the Dormition of the Blessed Virgin Mary Altar through Stanisław Kolowca 's Lens." Artium Quaestiones, no. 33 (December 30, 2022): 87–106. http://dx.doi.org/10.14746/aq.2022.33.4.
Abstract:
On two occasions (around 1932–1933 and after the war, between 1946 and 1950), Stanisław Kolowca (1904–1968) undertook the task of creating the photographic documentation of the reredos of the altar of the Dormition of the Blessed Virgin Mary in Kraków (Poland). The stature of Wit Stwosz’s work – widely recognized as one of the key late Gothic masterpieces in Europe – could be the only factor legitimizing the status of Kolowca’s photographs. Nevertheless, the photographs seem to deserve a thorough analysis for other reasons as well. It should be underlined that in his project Kolowca did not focus only on the most obvious shots illustrating the altarpiece. In addition to long shots and full shots showing the characteristic iconographic motifs and portrait-type close-ups, reflecting the mastery of key figures (such as Virgin Mary or John the Baptist), the photographer also created completely unexpected compositions that go beyond the codified frames of documentary photography. Consequently, his works fundamentally problematize the concept of photographic reproduction of an art piece.
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Johnson, James. "‘The Arithmetic of Compassion’: Rethinking the Politics of Photography." British Journal of Political Science 41, no. 3 (January 6, 2011): 621–43. http://dx.doi.org/10.1017/s0007123410000487.
Abstract:
Compassion, theorists from Arendt to Nussbaum suggest, carries an ineluctable pressure to identify with individual suffering. The very idea of a politics of compassion verges on incoherence. Politics typically demands attention to the aggregate and it is just there that compassion falters. This is a problem for critics addressing the politics of photography, who typically presume that the point of photographs must be to elicit compassion among viewers. But a proper understanding of compassion makes this presumption highly problematic. The role of compassion in exemplary writings on the politics of photography reflects a fixation with ‘emblematic’ individual subjects in ‘classic’ American documentary practice, which prevents critics from properly grasping the best of contemporary documentary. The conclusion is that promoting solidarity provides a more plausible, if elusive, aim for the politics of photography.
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Kim, Ji-Hoon. "Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’." Animation 6, no. 3 (September 21, 2011): 371–86. http://dx.doi.org/10.1177/1746847711417780.
Abstract:
This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls ‘digital moving pictures’, hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of Jim Campbell, Ken Jacobs, David Claerbout, Julie Meltzer and David Thorne, the author argues that the pictures’ blurring of the boundaries between the live action and the animated images, and between the recorded and the manipulated, is meant to satisfy documentary epistephilia (a ‘desire to know’) and stimulate the viewer’s ‘pensive’ and ‘investigative’ engagements with the photographic trace as possible spectatorial modes of the documentary. The pictures then ask us to envision the documentary’s ‘expanded field’ (Rosalind Krauss), in which a series of binaries defining the modernist conception of the documentary are problematized, including prioritizing the photochemical qualities of analogue film and photography as directly guaranteeing evidential claims about their representations over the animated or graphically rendered image.
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Jordan, Shirley. "Not Yet Fallen: Memory, Trace and Time in Stéphane Couturier's City Photography." Nottingham French Studies 53, no. 2 (July 2014): 169–85. http://dx.doi.org/10.3366/nfs.2014.0084.
Abstract:
Harnessing concepts related to memory, trace, time and the archive, this article examines in detail the highly distinctive city photography of French photographer Stéphane Couturier. It focuses on the ways in which two of Couturier's major series, Archéologie urbaine (1994–2010) and Melting Point (2005–13), investigate the fabric of urban environments in Europe and beyond, concentrating in the first case on heritage layers and pockets of demolition or reconstruction, and in the second on the pervasive modular architecture of urban and peri-urban blocks. The article analyses the tension in Couturier between the photograph as documentary and as art, and situates the photographer – an architect by training – with regard to key nineteenth- and early-twentieth-century predecessors whose studies of the city in photography and in painting appear to resurface in his work and whose engagement with urban change and technological evolution he shares and updates for our time.
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Schaefer, William. "Poor and Blank: History's Marks and the Photographies of Displacement." Representations 109, no. 1 (2010): 1–34. http://dx.doi.org/10.1525/rep.2010.109.1.1.
Abstract:
Observing a conjunction between massive rural-to-urban migration and the recent documentary turn in Chinese art, this essay suggests some of the ways documentary photography works as a medium of historical thinking in contemporary China. Through the work of the photographer Zhang Xinmin, it examines the cultural politics of blankness and marked surfaces as representational strategies for exploring the intersection of historical remains and mass migration.
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Purwaningsih, Rindha Mita, Pamungkas Wahyu Setiyanto, and Oscar Samaratungga. "EKSOTIKA SUKU MENTAWAI DALAM FOTOGRAFI DOKUMENTER." spectā: Journal of Photography, Arts, and Media 2, no. 2 (April 24, 2019): 91–104. http://dx.doi.org/10.24821/specta.v2i2.2550.
Abstract:
AbstrakObjek penciptaan karya fotografi membahas eksotika kegiatan sehari-hari suku pedalaman Mentawai, Siberut Selatan. Penciptaan karya didasari oleh minimya informasi tentang keseharian masyarakat pedalaman dusun Buttui dan diciptakan karya ini, diharapkan mampu memberi gambaran dan informasi tentang kehidupan para suku pedalaman di Mentawai melalui fotografi dokumenter. Penciptaan karya fotografi ini berorientasi dengan eksotika kegiatan sehari-hari suku Mentawai sebagai dasar acuan proses penciptaan dengan metode observasi,eksplorasi, pemotretan. Karya foto dibuat dalam fotografi dokumenter, dengan mengambil peristiwa-peristiwa yang menarik lewat bidang jurnalistik. Suatu cara pandang baru dan inspiratif bagi yang melihat dan merasakan dapat membuka mata kita seutuhnya tentang lingkungan budaya di sekitar kita yang mulai terkikis oleh kerasnya kemajuan dan ketatnya perkembangan zaman. Kata kunci: eksotika, suku Mentawai, fotografi dokumenter AbstractExotica of Mentawai Tribe in Documentary Photography. This abstract discusses the daily exotica of object creation in the heart of Mentawai, South Siberut. This work, with a lack of source information, is based on the daily lives of rural people in Buttui village. It is created with the hopes of capturing and giving information about the tribe lives in rural Mentawai through documentary photography. This abstract is oriented in Mentawai tribe as a basis creation process using observation, exploration, and experimental methods. The photographs are made with documentary photography that captures enticing events through journalism. A new perspective and inspirationwill completely open people’s eyes, for those who see and feel, on the nowadays cultural environment which slowly eroded by the rough progress and tight developmental era. Keywords: exotica, Mentawai tribe, documentary photography
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Jakab, Tibor. "A tények megjelenítése a fotográfia médiuma segítségével – megrendezett és manipulált képek." Symbolon 22, no. 2 (2021): 79–87. http://dx.doi.org/10.46522/s.2021.02.07.
Abstract:
"In the history of photography, we come across many staged and manipulated photographs. Most of these are press photos that would be intended to show as accurately as possible the recording of an event, for those who could not be there and only learn about everything that happened based on the image. The most important requirement of press ethics forums for press photos is to be as objective as possible in presenting the event. The photographer may not use any intentional image modification or manipulation to take the image. After it became clear that many of the images, we were dealing with are staged or manipulated photos, despite a lot of controversies, the reputation of the images was slightly tarnished, making the image incidental to questions about the documentary value. The photograph has become a symbol, the symbols have their own truth, believes Hans-Michael Koetzle. These cases prove that even in the case of many iconic works or photographs, the image becomes so symbolic that it adds to the background, background history and behind-the-scenes of the making of the images. They are unable to deduct anything in retrospect from the value of the work. I consider it important to examine the changes brought about by the digital revolution, both in the field of photography and in the way a press photographer works. The fundamental difference between analogue and digital images stems from the fact that although it is possible to manipulate analogue photos, we rarely encounter this, while in the case of digital images, image manipulation is the default."
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McFetridge, Alan, Antoinette Johnson, Emma Mcloughin, and Dan Devitt. "Songs for the Dead." Sophia Journal 7, no. 1 (December 15, 2022): 22. http://dx.doi.org/10.24840/2183-8976_2022-0007_0001_6.
Abstract:
The Last Man - photo by Alan McFetridge Songs of the Dead is a photographic exploration of the aftermath of a devastating fire that impacted the community of Fort McMurray in Alberta Canada on the 3rd of May 2016. Six months after the fire, stimulated by media coverage and reflecting on the discourse surrounding dispossession and the environment, the project commenced at ground level with support of a Royal Photographic Society Environmental Awareness Bursary in a region inhabited by Anishinaabe1 located within Treaty 8 Territory, the traditional lands of the Cree, Dene and unceded territory of the Métis. The visual essay presented here is centred in the wake of a major fire event, however, it is also about human law and ecosystems. By traversing discussions on ethics within documentary photography and briefly exploring the history Aftermath of this medium, we argue how photography can better address socio-ecological issues within climate change through poetics. We offer a way of resisting the norms of documentary photography, resulting from subject and process-driven methods.
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Hodson, Dermot. "The Politics of Documentary Photography: Three Theoretical Perspectives." Government and Opposition 56, no. 1 (March 21, 2019): 20–38. http://dx.doi.org/10.1017/gov.2019.3.
Abstract:
AbstractPhotographers are often inspired by politics but can they influence it? Drawing on the study of public policy and the history of photography, this article considers three ways in which documentary photographers enter the policy process. It considers the photographer as: a bureaucrat working within government networks to achieve individual and institutional aims; an advocate working with like-minded actors to advance shared political beliefs; an expert working within an epistemic community driven by a shared policy enterprise. These roles highlight the institutional channels through which photographers seek and sometimes secure political change and the contradictions and constraints they face in so doing. These contrasting perspectives are discussed with reference to the work of canonical and contemporary photographers engaged in national and international politics from 1890 to today.
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Hubbard, Janie. "Dorothea Lange." Social Studies Research and Practice 14, no. 3 (November 18, 2019): 281–89. http://dx.doi.org/10.1108/ssrp-01-2019-0004.
Abstract:
Purpose Dorothea Lange was one of the first US documentary photographers, and she was empowered by the belief that seeing the effects of injustice, in photographs, could elicit social and political reform. She famously documented the plight of Dust Bowl migrants during the US. Great Depression and harsh difficulties endured by incarcerated Japanese Americans during the Second World War. Lange’s photographs brought suppressed issues of class and race to the surface, depicting those impacted by national tragedies into recognizable, honorable, determined individuals. By showing Americans how suffering and injustice look in real life, she stimulated empathy and compassion. This inquiry is not particularly about the Great Depression or Japanese Internment, though disciplinary concept lessons would certainly support students’ prior knowledge. This lesson focuses students’ attention on broader ideas regarding social justice and how social and political documentary photography transform people’s views about distressing problems, even today. Supporting questions are: How can deep analysis of photographs affect our thoughts and emotions about social issues? What is empathy? How can social documentary photography affect people’s emotions? Supporting questions guide students to answer the greater compelling question, How can visuals, such as photographs, impact social change? The paper aims to discuss these issues. Design/methodology/approach This is an inquiry lesson plan based on a National Council for the Social Studies Notable Trade book for Young People award winner, Dorothea’s Eyes, written by Barb Rosenstock. Findings The paper is a lesson plan, which incorporates students’ analyses of primary sources and other research methods to engage the learner in understanding how Dorothea Lange helped change perspectives regarding the need for social and political reform. Though the story is historic, similar social justice topics still persist, worldwide, today. Originality/value Through inquiry and research, students begin to learn how social and political documentary photography began in the USA, and students create their own social documentaries. Though the US Great Depression and Japanese Internment are highly relevant within this lesson, the overall, greater message is about class, race, suffering and how to inspire empathy.
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Majewska, Martyna Ewa. "Composting the Monument: Pope.L, Police, and the Trouble With Representation." Visual Arts Research 48, no. 1 (June 1, 2022): 102–16. http://dx.doi.org/10.5406/21518009.48.1.09.
Abstract:
Abstract The ways in which we view, process, and respond to photographs of racialized policing and police brutality are conditioned by existing imagery. Yet the images we are most likely to encounter, and the ones we are therefore most accustomed to viewing, fail to account for the totality of racial injustices, violence, and oppression. Photography's ability to occlude inconvenient truths and reproduce certain power dynamics as opposed to others has been identified in numerous analyses of images documenting civil rights activism. Corroborating such findings, photographs capturing the street performances Pope.L began staging in the 1970s, particularly his numerous crawls through New York City's streets and gutters, intervene in the rehearsed, customary interpretations of civil rights photography and contemporary images of racialized policing. By regarding Pope.L's performance photographs not as mere documentary records but as a preconceived photographic project, this paper demonstrates that Pope.L's images offer an incisive commentary on representations of the civil rights struggle and the photographic construction of its icons. Together with his sculptures and mixed-media installations, such works challenge the post-racial discourse of successful completion inscribed in monuments to the leaders of the Civil Rights Movement, a discourse that has resurfaced and has been repurposed throughout recent U.S. history, up to and including the present day.
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Okpoko, Chinwe, and Mpho Chaka. "Exploratory view of the synergy between photojournalism and fine-art photography." IKENGA International Journal of Institute of African Studies 23, no. 2 (June 30, 2022): 1–23. http://dx.doi.org/10.53836/ijia/2022/23/2/003.
Abstract:
Photojournalism uses images to tell stories and report events, while fine-art photography aims to express creative ideas and messages also through images. Although both fields express socio-political and religious ideas and reflect the past through pictures, they differ in approach. Photojournalism portrays events as they are using pictorial representations, without imputing the opinion of the journalist; fine art projects such events also pictorially, but from the vision of the artist. Thus both photojournalism and fine-art photography use photographs as a medium of expression. However, while photojournalism fosters a deep appreciation of works of art by projecting artistic images via communication media, which ultimately informs the psyche of the audience, fine-art photography expresses the emotions and viewpoints of the artist through photographs. This study, therefore, uses documentary evidence to determine the interface between photojournalism and fine-art photography.
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Kim, Gyewon. "Reframing ‘Hokkaido Photography’: Style, Politics, and Documentary Photography in 1960s Japan." History of Photography 39, no. 4 (October 2, 2015): 348–65. http://dx.doi.org/10.1080/03087298.2015.1112532.
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STREET, RICHARD STEVEN. "Lange's Antecedents: The Emergence of Social Documentary Photography of California's Farmworkers." Pacific Historical Review 75, no. 3 (August 1, 2006): 385–428. http://dx.doi.org/10.1525/phr.2006.75.3.385.
Abstract:
Photographers focusing on California farmworkers are often described as heirs to a tradition that emerged midway through the Great Depression, mainly from the heroic efforts of one iconic photographer, Dorothea Lange. By calling attention to a diverse group of underappreciated antecedents who have never been linked together, this article presents a more sequential, less tidy account of how social documentary photography focused on farmworkers in the Golden State in the years before Lange moved out of her studio into the countryside. Without ever referring to their work as social documentary photography, these photographers, largely on their own and with little knowledge of one another, broke with standard commercial practices, turned a probing eye on the fields, recorded history as it unfolded, and created a visually stunning, realistic,often uncomfortable body of work.
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Foote, Kenneth E. "DOCUMENTARY PHOTOGRAPHY AND QUESTIONS OF URBAN CHANGE." Urban Geography 7, no. 5 (September 1986): 462–68. http://dx.doi.org/10.2747/0272-3638.7.5.462.
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김민정 and Joonsung Yoon. "Sebastião Salgado's Iconography and Documentary Photography Humanism." Korean Journal of Art and Media 14, no. 3 (August 2015): 77–102. http://dx.doi.org/10.36726/cammp.2015.14.3.77.
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Jernejšek, Jasna, and Martin Parr. "Photography Is the Only Art Form That We All Do: Interview with Martin Parr." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 24–29. http://dx.doi.org/10.47659/m5.024.int.
Abstract:
Martin Parr (1952) is considered to be one of the most iconic and influential photographers of his generation. Parr, whom obtained a photography degree at Manchester Polytechnic (1970–1973), joined the classics of British documentary photography with a series of black and white photographs of the disappearing folk customs of Northern England. In the 80s he managed to make his breakthrough to the global photography scene (and market). At that time, impressed by American colour photography, he took on photographing on colour film himself. He made The Last Resort (1983–1985), a series of British working class while spending holidays in a coastal resort in New Brighton, which remains one of his most recognizable work to this day. After its first presentation in the Serpentine Gallery in London in 1986, the project triggered turbulence and division of opinions of both professionals and general public. Polarization of opinions became a constant in Parr’s photography career. The polemics he caused by first becoming a member (1994) and then the president of Magnum Photos (2013–2017) are well known. The critics castigated Parr for being cruel and voyeuristic, and that he claimed to only be photographing what he sees, while he benefited from making a mockery of others. His unconventional use of the medium, smooth traversing through different contexts of photography and flirting with obvious commercial interests was deemed controversial and questionable by many (until today). Keywords: Martin Parr, photobook, photographic backdrop, portrait, studio photography
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Jodliński, Leszek. "‘And I still see their faces…’: Wilhelm von Blandowski’s photographs from the collection of Museum in Gliwice." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 155. http://dx.doi.org/10.1071/rs09155.
Abstract:
Wilhelm von Blandowski (1822-1878) was born in Gleiwitz, Prussia (now Gliwice, Upper Silesia, Poland). From 1862 through 1868, Wilhelm von Blandowski may have taken up to 10, 000 photographs. Though only a portion of his photographic accomplishment has been preserved, the existing photographs provide an insight into their content and character, as well as providing us with the better understanding of the work of their author. The main emphasis in the paper will be on Blandowski’s photographs presently in the collections of Museum in Gliwice. It will focus on his portraits with reference to some of the formal experiments Blandowski carried out, such as photomontage and narrative photography. Attention will be also drawn to his creation of documentary-like and realistic photographs. Both the commercial nature of the photographic business run by Blandowski, as well as his personal interest in picturing the human condition, had a strong influence on his photography. He put the person at the center of his interest. This was reflected in Blandowski’s attempts to capture the natural world of the Prussian borderlands in the 1860s. Blandowski depicted a place inhabited by Germans, Jews and Poles ‘the promised land’ of early industrialization. Witnesses of these days, the known and anonymous characters look at us from the hundreds of prints taken by Blandowski. Among them one can see wealthy industrialists, priests and doctors, workers and peasants, children and women, the rich and the poor, persons of different professions, nationalities and confessions. The article concludes with a discussion of the influences that Blandowski has had on his contemporaries and also of his place in the history of early photography in Poland.
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García Ranedo, Mar. "Entre la fotografía documental y la fotografía callejera: marginalidad y género." Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 181. http://dx.doi.org/10.7203/laocoonte.0.5.12406.
Abstract:
Resumen
Con este artículo, propongo un acercamiento analítico a dos series de fotografías, Pulsaciones y Utterances, de la que soy autora, que cuestionan el estatus fotográfico de la imagen y que ayudan a definir las diferencias y paralelismos entre lo entendido por fotografía documental y fotografía callejera. Ambas series se establecen a partir de fotografías “robadas” que persiguen visibilizar a la mujer y sus modos de ocupar el espacio público desde prácticas ciudadanas que revelan problemáticas de equidad y diferencia en relación al género. Con esta aproximación conceptual, dichas series -articuladas como conjuntos diagramáticos de imágenes- enfatizan la conveniencia de una sintaxis visual, organizativa de la narración y el discurso. Se pretende apoyar, de este modo, un tipo de fotografía callejera, causal, instantánea y operante, que desde esa instantaneidad recupere autenticidad y promueva una dialéctica entre el compromiso sociopolítico y la realidad.
Palabras clave: Fotografía, documental, callejera, mujer, género, sociopolítico.
Abstract
With this article, I propose an analytical approach to two series of photographs, of which I am the author, that questions the photographic status of the image and helps to define the differences and parallelims between what is understood by documentary photography and street photography. Both series are based on "stolen" photographs that seek to make women visible and their ways of occupying the public space during citizen practices that reveal issues of equity and difference in relation to gender. With this conceptual approach, these series -articulated as diagrammatic sets of images- emphasize the convenience of a visual, organizational syntax of narration and discourse. The aim is to support, in this way, a type of street photography, causal, instantaneous and operative, that recovers authenticity from instantaneity and promote a dialectic between sociopolitical commitment and reality.
Key words: Photography, documnetary, street, woman, gender, sociopolitical.