Journal articles on the topic 'Landscape photography'
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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.
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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.
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von Brevern, Jan. "Fototopografia: The “Futures Past” of Surveying." reproduire, no. 17 (September 8, 2011): 53–67. http://dx.doi.org/10.7202/1005748ar.
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This article examines a particular problem in the early history of photographic land surveying: the unwavering desire to use photography to capture accurate topographical information for map-making, even in light of practical difficulties. It considers how both the practical survey work and the status of photography changed when, instead of the landscape itself, photographs were measured. Photography’s promise to simplify strenuous fieldwork was almost as old as photography itself—but in practice, it took decades of experimenting until the process was feasible.
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Blos-Jáni, Melinda. "The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) From Cluj." Studia Universitatis Babeș-Bolyai Historia Artium 68 (December 30, 2023): 141–64. http://dx.doi.org/10.24193/subbhistart.2023.06.
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The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) from Cluj. Lajos Orbán was an amateur photographer, whose main body of work was produced starting from the 1920s when he became the employee of a local shop specialized in photographic equipment and member in local photographic societies, e.g. the Tessar Bowling Society. His photographs were displayed at international photo exhibitions, but he was organising regional photo contests and exhibitions as well. His photographs show the influence of the pictorialist photography, but traces of modernism or the new objectivism are present as well. These pictures became archival documents, and they are also important resources to the visual culture of Transylvania, the visual literacy of the people living in the interwar years. The paper offers an in depth analysis of the scopic regimes detectable in the photographic heritage of Lajos Orbán based on the ways human figures and spatial relations are represented in his pictures. Keywords: amateur photography, visual culture, urban life, “flâneur”, scopic regime, landscape, human figures
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Foster, David William. "The antarctica photography of Adriana Lestido." INTERIN 25, no. 1 (December 6, 2019): 187–97. http://dx.doi.org/10.35168/1980-5276.utp.interin.2020.vol25.n1.pp187-197.
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During early 2012, the Argentine photographer Adriana Lestido spent two months undertaking photography on the Argentine Peninsula of Antartica. Hers is the first systematic photography of the region, and it demonstrates the attempt to capture visually the fully range of that landscape. Our customary imaginary of the Antarctic landscape is very impoverished, one of ice and white snow, with some scattered fauna. Lestido’s systematic project reveals, by contrast, complex patterns of shifting climatic process and how shadow and light are far more complex than the conventional imaginary holds. A Guggenheim Foundation fellow, Lestido, who is known for her uncompromising photography of urban feminist social subjectivity, has, in a new phase of her work, turned to landscape photography and her Antarctica photographs constitute an highly original artistic undertaking to visualize how we might expand our understanding of the natural environment.
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Wall, Gina. "Writing the world: photographing the text of the landscape." Excursions Journal 1, no. 1 (September 12, 2019): 123–42. http://dx.doi.org/10.20919/exs.1.2010.131.
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I am engaged in a practice led thesis, which has been challenged and shaped by thinkers in the fields of critical theory and philosophy. Although I work in dialogue with these theorists, I am principally a visual practitioner who is most at home with traditional, wet process photography.I began with a general concern regarding my own resistance to landscape photography as the depiction of the view, which has led me to question the persistence of the (illusion of) the unified photographic moment. My visual process, which began quite simply as a reaction against the pervasiveness of the view in photography, has, in dialogue with writers such as Ferdinand de Saussure, Roland Barthes, Jacques Derrida and Rosalind Krauss, enabled me to theorise my own photographic practice as a form of writing. Central to this has been the investigation of different theoretical configurations of the semiotic sign.I contend that Rosalind Krauss’ conception of Surrealist photography as a practice of écriture, in fact accounts for photographic practice more broadly speaking. The spacing of the photographic sign, which Krauss describes as an ‘invagination of presence,’ defers the confluence of the signified and the signifier thus rupturing the illusion of presence in the photographic moment: the shutter differences the image from the world and the practice of photography reconfigures the world as a form of writing. However, not simply in the sense of a surface inscribed by light, but writing as a space in which the possibility for meaning is realised.
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Gallus-Price, Sibyl. "Why Photography Mattered (1847) As Art More Than Ever Before." Praktyka Teoretyczna, no. 4(50) (March 28, 2024): 51–74. http://dx.doi.org/10.19195/prt.2023.4.3.
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In the late 20th-century, landscape photographs that were never meant as art come to play a central role in the critique of one notion of what art is. Rosalind Krauss begins her attack on Modernism by mobilizing the indexical qualities of the photograph, holding up Timothy O’Sullivan’s 19th-century landscape photographs as the exemplar. This essay considers Krauss’s model in relation to César Aira’s contemporary revival of the 19th century landscape painter Johann Moritz Rugendas who is conceived, I argue, under the sign of the photograph. Conceptually recasting the landscape— the locus classicus for the crisis of Modernist art— through Rugendas, Aira transforms the painterly genre into an alternative neuro-aesthetically charged “procedure.” Aira’ s landscape painter turned photographer serves, I contend, both as an emblem for Aira’s own relation to writing and as an artifact of Krauss’s post-Art world.
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Godolphim, Nuno. "DE ÁRVORES, PEDRAS E HOMENS:." Cadernos Cajuína 7, no. 1 (April 30, 2024): e227116. http://dx.doi.org/10.52641/cadcajv7i1.254.
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RESUMO: Procurando entender as especificidades da fotografia nas ciências sociais e, particularmente, na antropologia visual, este texto se propõem a analisar de que maneira uma foto produzida sobre um ser humano é qualitativamente diferente da foto de uma paisagem ou de uma pedra. Para tal, situa as diferentes concepções de sujeito que estão embutidas no olhar do fotógrafo que registra paisagens naturais, paisagens humanas e paisagens culturais. Para em seguida pensar sociologicamente estas diferenças, reconstruindo o lugar do sujeito fotografado na informação imagética constituída pelo aparato fotográfico. PALAVRAS-CHAVES: Antropologia, Fotografia, Semiótica, Sujeito. ABSTRACT: Trying to understand the specificities of photography in the social sciences and, particularly, in visual anthropology, this text aims to analyze how a photo produced about a human being is qualitatively different from the photo of a landscape or a stone. To this end, it situates the different conceptions of the subject that are embedded in the look of the photographer who records natural landscapes, human landscapes and cultural landscapes. Then it to think sociologically about these differences to reconstruct the place of the subject photographed in the image information constituted by the photographic apparatus. KEYWORDS: Anthropology, Photography, Semiotics, Subject.
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Horta, Paula. "When the Landscape of the Face is Hidden from Us." Grimace, Vol. 2, no. 1 (2017): 68–71. http://dx.doi.org/10.47659/m2.068.art.
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How do we respond to the vulnerability of the Other when we do not see his face? How do photographer and viewers position themselves ethically in relation to the (hi)story of suffering they are called to witness? These are the questions that steer my reflection about Jillian Edelstein’s unpublished photograph of Archbishop Desmond Tutu. Taken shortly after the South African Truth and Reconciliation Commission (TRC) completed its work, the photograph evokes the moment during the TRC hearings when the Archbishop, Chairman of the commission, laid down his head and wept. Drawing on Emmanuel Levinas’s conceptualization of “the face”; I discuss how affect is produced within and through Edelstein’s photograph, and specifically how the affective quality of the photograph both contributes to an understanding of the experience of suffering within the context of the TRC and summons an ethical response from the viewer. Keywords: Desmund Tutu, Emmanuel Levinas, gesture and photography, Jillian Edelstein, photography portrait
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Huang, Wanfei. "Photographic practice as a mode of non-representational self-world engagement." International Journal of Education Through Art 20, no. 2 (June 1, 2024): 183–92. http://dx.doi.org/10.1386/eta_00160_7.
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This visual essay presents my journey of coming to experience and conceive photography through the lens of non-representational theory. In the light of non-representational notions of landscape and embodiment, photography is more than an aesthetic and representative medium of one’s outer and inner seeing of the world. Rather, photographic practice can be ‘a perceiving-with’, that with which the new camera-I (eye) sees, and the expressive photograph becomes embodiment as body a-where-ness. This journey of photographic artmaking and conceptual speculation has taught me to live photography as a set of creative tensions between self, camera and the world instead of merely using photography to express and represent one’s life.
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Grese, Robert E. "Landscape photography." History of Photography 26, no. 4 (December 2002): 372. http://dx.doi.org/10.1080/03087298.2002.10443315.
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Mitchell, W. J. T. "Reframing Landscape." ARTMargins 10, no. 1 (February 2021): 14–19. http://dx.doi.org/10.1162/artm_a_00281.
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Abstract “Reframing Landscape” explores three distinct landscapes that have been decisively impacted by conquest and colonization, reframed by three artistic interventions: painting, photography, and sculpture. August Earle shows us the de-forested landscape of 19th century New Zealand, still guarded by a Maori totem; Miki Kratsman photographs a wall mural in occupied Palestine that erases the presence of indigeneous people; and Antony Gormley anticipates the clearing of Manhattan by a pandemic in whirlwind of metal. Real spaces and places are converted into landscapes of attention into what has been lost and what is to come.
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Graves, Steven. "Landscape Love Letters: An Appreciation of the Larry Ford Photographic Library." Yearbook of the Association of Pacific Coast Geographers 85, no. 1 (2023): 17–26. http://dx.doi.org/10.1353/pcg.2023.a913568.
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ABSTRACT: This essay, adapted from the APCG Presidential address delivered at the eighty-fourth annual APCG conference in Bellingham, Washington, explores the substantial legacy of Larry Ford as an author and photographer. Ford's extensive research publications profoundly influenced the thinking, and indeed the career trajectory, of numerous geographers, including the author. Ford's corpus of landscape geography photography is perhaps the equal of his text-based works and is the most important photographic collection housed in the Geography Department at California State University, Northridge. To demonstrate the value of the collection, several sample images from the Ford photography collection are considered from a landscape geography perspective.
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Hess, Scott. "William Wordsworth and Photographic Subjectivity." Nineteenth-Century Literature 63, no. 3 (December 1, 2008): 283–320. http://dx.doi.org/10.1525/ncl.2008.63.3.283.
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This essay argues that William Wordsworth's poetry constructs a subject position analogous to that of the photographic viewer: hence, a photographic subjectivity. Critics have often read Wordsworth's writing as opposing imagination against visibility and mimetic realism. Many of the visual structures of his poetry, however, continue the structures of the picturesque, whose desire to capture the landscape as framed image culminated in the technology of photography. These structures of perception include the stationed point of view of the observer, focusing the scene from a single location; the tendency to reduce the multisensory, ambient experience of lived environment to pure vision; the separation of the observer from the landscape; and the resulting general disembodiment of that observer. Much of Wordsworth's poetry positions the observer in these ways in order to capture images that can then be viewed in private isolation (as in the ““spots of time””), like a series of internalized photographs. These structures of visuality construct what would emerge, after the invention of photography, as a photographic subjectivity, complementing (rather than opposing) the objectivity of the photographic image. They define the viewing subject, in the manner of photography, as a mobile, seemingly autonomous self in an appropriative relationship to landscape——the paradigm of the modern self, taking a ““view from nowhere”” on a world captured as image. The stability, unity, and autonomy of the Wordsworthian self ultimately depend on these photographic relationships.
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Lund, Katrín Anna. "Co-Creating Nature: Tourist Photography as a Creative Performance." Humanities 12, no. 6 (November 29, 2023): 141. http://dx.doi.org/10.3390/h12060141.
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This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist, but also about social relations that the surrounding landscape partly directs and stages. It has also been argued that, as photographing tourists, we become ‘concerned with the artistic production of ourselves’. Photography is thus a practise that is relational and sensual and that cannot be reduced to the seeing eye. However, whilst emphasising the tourist as a creative being, the surrounding landscape has been left out as a stage and its active agency ignored. I address the complex, more-than-human relations that emerge in the photographs collected in Strandir. I argue that the act of photographing, as a performative practice, is improvisational and co-creative, and the material surroundings have a direct and active agency. As has been demonstrated, photography communicates ‘not through the realist paradigm but through lyrical expressiveness’ and, thus, it may be argued that tourist photography is a poetic practice of making, as it weaves together the sensing self and the vital surroundings in the moving moment that the photograph captures.
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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.
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Hadi, Akhmad Arifin, Andi Gunawan, Tsuyoshi Honjo, and Katsunori Furuya. "Identifying Interesting Sceneries and Objects in A Tropic Forest Through Visitors Employed Photography." Jurnal Ilmu Lingkungan 22, no. 1 (October 12, 2023): 270–78. http://dx.doi.org/10.14710/jil.22.1.270-278.
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Tropical Forest is a unique forest landscape character composed of vegetation with various altitude strata combined with other biotic and abiotic landscape elements. The combination of landscape objects produces a landscape character that is visually attractive to visitors. There are few references to forest sceneries and objects of interest to forest visitors, even though this information is important for forest tourism. This study identified tropical forest sceneries and objects of interest to forest visitors through photographs taken by visitors. The method used is Visitors' Employed Photography (VEP) combined with GPS tracking and artificial intelligence Google Clouds Vision API. In this VEP method, we invited 41 respondents to walk in the "Situ Gede Forest " and directly photograph interesting objects in the field. We obtained 1,206 photos from respondents containing the scenery and objects of the "Situ Gede Forest" and the location of the photo-taking points. The photos were labeled via Google Cloud's Vision API and clustered based on the Photo's label into 15 photo clusters using R Statistics software. The grouping results identified three sceneries and objects that interested the respondents: "View to the standing of trees inside the forest, woodland, or jungle," "Forest scenery with recreational activities and zoo," and "Body of water, edge of the body of water, waterway, and trees." Information on the three characteristics of tropical forest landscapes is beneficial in tropical forest management activities, where landscapes with these three types must be conserved and preserved in the interest of sustainable tourism forest.
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Glebova, Aglaya. "Elements of Photography." Representations 142, no. 1 (2018): 56–90. http://dx.doi.org/10.1525/rep.2018.142.1.56.
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This essay traces the evolution of landscape imagery in Aleksandr Rodchenko’s photographic oeuvre, focusing especially on images produced during his journalistic trip to the White Sea-Baltic Canal, one of the first Soviet forced labor camps. Through close reading of photographs, it argues that Rodchenko’s abandonment of avant-garde aesthetics, in particular the emphasis on photography’s transformative powers and its medium-specificity, in these images did not represent a shift toward socialist realism but, rather, held critical potential in the face of contemporaneous official censure of formalism and “contemplation” in both science and art.
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Fadia, Aqila. "ANALISIS KOMPOSISI FOTOGRAFI PADA FOTO FASHION EDITORIAL ‘SWARNADWIPA’ KARYA NICOLINE PATRICIA MALINA." JURNAL Dasarrupa: Desain dan Seni Rupa 4, no. 2 (December 26, 2022): 6–18. http://dx.doi.org/10.52005/dasarrupa.v4i2.130.
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One of the activities to express yourself is through photography. Photography is not just an activity to take pictures or take pictures. However, expertise is also needed to be able to apply the basic techniques and composition of photography properly so that the resulting photos are more interesting. One Indonesian female photographer whose works are very interesting is Nicoline Patricia Malina. Nicoline is very famous for her Fashion Photography work. Nicoline's Fashion Photography works are usually used for editorial purposes. One of them is entitled 'Swarnadwipa'. In this photographic work, Nicoline uses a photographic composition of leading lines, symmetry, fill the frame, and the rule of third in portrait and landscape photo formats. Nicoline also uses a combination of gold tones which is a concept from the 'Swarnadwipa' photo series, and there are several other colors such as brown, black, gray and silver. Apart from that, Nicoline also used the Borobudur Temple building as a background for the 'Swarnadwipa' photo. This analysis uses a descriptive qualitative method, which aims to find out what photographic compositions are used in the 'Swarnadwipa' editorial fashion photo as well as to find out what the relationship between the photographic composition and the concept of 'Swarnadwipa'.
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Michałowska, Marianna. "Mobilne pejzaże. Miasto w ruchu czy ruch w mieście?" Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 9, no. 4 (July 3, 2018): 62–77. http://dx.doi.org/10.24917/20837275.9.4.6.
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DOI 10.24917/20837275.9.4.6W artykule analizowane są sposoby reprezentacji miejskiego krajobrazu w fotografii. Stawiam tezę, że chociaż przestrzeń zasadniczo jest nieruchoma, to można mówić o postrzeżeniu jej jako ruchomej w czasie oraz środkami fotografii można podzielić się z innymi doświadczeniem mobilności. Tekst składa się z pięciu części: z wprowadzenia, w którym analizuję znaczenia terminu „mobilny pejzaż”, oraz z czterech interpretacji, zainspirowanych fotografiami reprezentatywnymi dla przemian zachodzących w obszarze fotograficznego medium. Są to kolejno: widoki miast Charlesa Marville’a i Karola Beyera, fotomontaże Edwarda Steichena i Harry’ego Callahana, fotografie mobilne (portal Grupamobilni.pl), oraz projekt oparty na aplikacji mobilnych (Amsterdam REALTIME). Proponowane tu refleksje nie dostarczą wyczerpującej wiedzy o mobilnym pejzażu miasta, lecz, mam nadzieję, mogą stać się początkiem takiej analizy.Mobile landscapes. City in motion or motion in a city?An article is an analysis of modes of representation of urban landscape in photography. I state that though a city space formally is still we perceive it as movable in time. We can also share the mobile experience with others. The article is parted into five sections: the introduction reflects briefly on the meaning of the term „mobile landscape” and four short interpretations inspired by four photographs, representative for shifts in history of photography are presented in subsequent parts. These are: city views by Charles Marville and by Polish photographer Karol Beyer, photomontages by Edward Steichen and by Harry Callahan, mobile photography by Polish group „mobilni” and finally – a project based on mobile app (Amsterdam REALTIME). Brief reflection proposed in the article is not a comprehensive survey on mobile landscape, but rather – can suggest a direction of such study.
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Notteboom, Bruno. "Recollecting Landscapes: landscape photography as a didactic tool." Architectural Research Quarterly 15, no. 1 (March 2011): 47–55. http://dx.doi.org/10.1017/s1359135511000352.
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Recollecting Landscapes is a rephotographic survey project which documents a century of landscape transformation in Belgium. It is based on the successive photography of sixty sites at three moments in time between 1904 and 2004 [1, 2]. This paper takes the project as a starting point to investigate the subject of the image and its presentation. This means that the text develops some thoughts on how the images in the project are displayed and read, rather than on the content they display.
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Rojas Cocoma, Carlos. "El ritual fotográfico: fotografía y naturaleza en Colombia alrededor de 1900." Sztuka Ameryki Łacińskiej 11, no. 1 (January 31, 2021): 17–41. http://dx.doi.org/10.15804/sal202101.
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Photographs of nature in Colombia around 1900 were to a large extent the first images that were taken of regions and populations. Therefore, despite the difficulty of being interpreted as documents, they allow us to understand ways of looking and analyzing, positioning and conditioning the landscapes represented. Based on intensive research in various public and private archives, is presented an analysis of the connections between landscape, nature and photography in Colombia. Through a semiological analysis, I seek to understand the way in which nature, an invisible element devoid of temporality, found its meaning and its own stylistic identity through photography.
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Sim, Lorraine. "A different war landscape: Lee Miller's war photography and the ethics of seeing." Modernist Cultures 4, no. 1-2 (May 2009): 48–66. http://dx.doi.org/10.3366/e2041102209000458.
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This essay examines the war photography of Lee Miller in terms of the ways it negotiates ethical challenges integral to the visual documentation of war, and the means by which her photography achieves what Susan Sontag terms an “ethics of seeing” (On Photography). In often eschewing, or figuring in unconventional ways, the horrors of war and directing the viewer's attention to typically unprivileged scenes and moments, I argue that the moral tone and sensibility of Miller's war photography is a function of her complex engagement with ideas, and the subject matter of, the ordinary and everyday. The essay focuses on two bodies of work: Miller's photographs of London during the Blitz which were published in Britain and America in 1941 in the book Grim Glory: Pictures of Britain Under Fire, and some of the photographs she took on the Continent when working as a U.S. accredited war correspondent for British Vogue in 1944 and 1945.
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Davis, Tim. "Photography and Landscape Studies." Landscape Journal 8, no. 1 (1989): 1–12. http://dx.doi.org/10.3368/lj.8.1.1.
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Hansuk Ock. "Reading Geograpy Landscape Photography." Journal of the Association of Korean Photo-Geographers 18, no. 4 (December 2008): 39–49. http://dx.doi.org/10.35149/jakpg.2008.18.4.005.
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Crawford, Alistair. "Landscape photography as art." Landscape Research 17, no. 1 (March 1992): 2–8. http://dx.doi.org/10.1080/01426399208706351.
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Smith, Olga. "INTRODUCTION: PHOTOGRAPHY AND LANDSCAPE." photographies 12, no. 2 (May 4, 2019): 137–42. http://dx.doi.org/10.1080/17540763.2019.1603837.
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Macdonald, Ellie. "Shooting the dragon: How visual representations of Welshness in photography have developed and are changing." Journal of European Popular Culture 14, no. 1 (April 1, 2023): 71–92. http://dx.doi.org/10.1386/jepc_00055_1.
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For decades, the natural landscape and industry have been the central tropes of visual Welshness. But the decline of industry and its prolonged traumatic effects on the landscape have rendered some of the key established visual images of Wales redundant, particularly in a contemporary context. This article traces the relationship between photography and Welsh national identities, examines the role of institutional gatekeeping in Welsh photography and highlights the innovative use of online collecting and commissioning of photographic images which is shifting the discourse around what, and who, constitutes photographic Welshness in the twenty-first century. In doing so, it contributes to the paucity of literature on the topic of photographic institutions and archives within Wales and hopes to raise awareness around the growing diversity of new Welsh photography and its contribution to more contemporary and dynamic Welsh identities. This article is the result of a doctoral thesis that represents a transdisciplinary inquiry into expressions of national identity present in photography generated in and of Wales.
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McManus, Karla. "Objective Landscapes: The Mediated Evidence of Repeat Photography." reproduire, no. 17 (September 8, 2011): 105–18. http://dx.doi.org/10.7202/1005751ar.
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Repeat photography, which involves re-photographing a location from the same vantage point, has become a common method to document the changes occurring in the landscape. Artists, ecologists, geologists and anthropologists alike have employed this practice. What unites these disciplines across great ideological and cultural distances is their understanding of photography as a truthful witness to the passage of time. This position places great value on the mechanical observation of the camera and the objectivity of the photographer. The article focuses on one example of this practice: the Rocky Mountain Repeat Photography Project, an academic research project, illustrates the complexities inherent in claiming photography, or the photographer, as a neutral observer free of ideological and cultural concerns.
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Steele, Gabriel. "Man-made man: The role of the fashion photograph in the development of masculinity." Critical Studies in Men’s Fashion 7, no. 1-2 (December 1, 2020): 5–20. http://dx.doi.org/10.1386/csmf_00014_1.
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As a former male model and fashion photographer, I am fascinated by the visual representation of masculinity. Currently, this representation is in the midst of a shift away from traditional, singular notions of masculinity towards a more diverse and inclusive representation. This article looks to analyse the role of fashion photography in the changing landscape of masculinity in male fashion photographs. I will be examining the historic creation of singular hegemonic masculine ideals and comparing them to current representations in male fashion photography, which have become more complex and inclusive of gestures and elements that were once ascribed to non-normative ideals. My research has uncovered the role of authors who create male fashion photographs and the process they follow in the creation of new narratives that are more diverse in the current climate of accelerated digitized media.
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Michalowska, Marianna. "Photography’s Narrative Spaces – Stories About Man-Altered Landscape." Athens Journal of Humanities & Arts 9, no. 4 (September 27, 2022): 275–90. http://dx.doi.org/10.30958/ajha.9-4-1.
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In the seminal text from 1982, Rosalind Krauss wrote about the discursive spaces of photography. She stated that varied interpretations of landscape photography depend on the image circulation. The "new topography" in photography provides in artistic language data on the situation of the natural environment. Therefore, it is not just a matter of changing fields of discourses but narratives through which discourses are created. In the paper I discuss the narrative contexts of photography, in regard to Krauss's concept of discourse and narratology by Mieke Bal. Examples are modern landscape photography in the new topography style. The goal of this artistic movement, which can be dated to the mid-1970s is to document and reflect on changes that occur in the environment through human activities (mainly related to industry). Today, however, artists' voices are increasingly commenting on climate change and environmental disaster. Therefore, these are activities that can be included in the field of environmental art (in regard to T. J. Demos concept) or, more broadly, criticisms directed towards capitalocene and anthropocene consequences. I will focus on three photographic projects presenting peripheral areas in Poland: documentation of the course of the Warta entitled 808.2 km by Waldemar Śliwczyński, Jedynka (No. 1) by Maciej Rawluk and Urodzaj (The Harvest) by Michał Woroniak.
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Crouch, Giorgios. "Exploring, Photographing and Vacationing in J. G. Ballard’s Airport Landscape." Open Cultural Studies 3, no. 1 (January 1, 2019): 503–7. http://dx.doi.org/10.1515/culture-2019-0043.
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Abstract Landscape and architecture has played a major role in J. G. Ballard's writing, I have in particular been fascinated with the use of airports in his work. When attempting to hunt down and photograph J. G. Ballard's airport landscape police and security would disrupt my ability to take photographs meaning initial plans would be altered and I would turn my focus to the peripheries, spending time cut off from the infrastructure, dwelling in abandoned waste land and forgotten patches of wilderness. Inadvertently I would replay the roles of certain characters from Ballard's work, becoming marooned and learning to adapt to the landscape. Photographing these places would yield unusual results, images resembling a science fiction landscape, turning the realist properties of photography on its head. I would discover that the extreme nature of the airport landscape influences those who experience it, so when Ballard's work portrays the modern landscape he is also revealing the unseen psychology of the humans inhabiting it.
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Cartwright, Lisa. "On the Face of the Photograph, and the Moving Image: Geopolitical Affect in the Speculative Landscapes of Connie Samaras." Journal of Visual Culture 17, no. 2 (August 2018): 238–52. http://dx.doi.org/10.1177/1470412918783833.
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This article introduces the concept of geopolitical affect in landscape photography and video, focusing on two series by the US artist Connie Samaras: V.A.L.I.S. (2004-5) and Edge of Twilight (2011–2018). The article draws on the cybernetic affect theory of the mid-century US psychologist Silvan S Tomkins as well as the artist’s own concept of speculative landscape and critique of identity politics to consider surface, movement, and the face in landscape photography. As well, a photographic and audiovisual theory of geopolitical drive and affect, based on the work of Tomkins, is proposed.
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NADOLNY, Adam, and Katarzyna SŁUCHOCKA. "Post-WWII Ruins on Photography: An Introduction to the Reconstruction of the City of Poznań. Case Study Old Town." International Journal of Conservation Science 15, SI (February 28, 2024): 277–90. http://dx.doi.org/10.36868/ijcs.2024.si.21.
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The aftermath of World War II (WWII) left numerous European cities devastated, necessitating extensive reconstruction efforts to restore their urban fabric. The city of Poznań, located in western Poland, was no exception, as it bore witness to widespread destruction during the war. In this abstract, we delve into the role of photography in documenting the ruins of Poznań after WWII and how these visual records have contributed to the city's subsequent reconstruction. This research explores the visual representations of post-war ruins in Poznań through the lens of documentary photography. By examining archival photographs, contemporary accounts, and historical narratives, we aim to analyse the significance of these images in understanding the extent of the destruction and the subsequent efforts to rebuild the city. The abstract highlights the inherent power of photography to capture the raw reality of urban devastation, conveying the magnitude of the challenges faced by the city's inhabitants in the aftermath of war. Furthermore, it sheds light on the ways in which photographic documentation played a crucial role in informing reconstruction initiatives, acting as a visual guide for architects, urban planners and policymakers. Drawing from the rich visual archive of post-war Poznań, this study showcases how photographs served as a valuable resource for documenting architectural losses, mapping destroyed areas and preserving cultural heritage. By juxtaposing historical photographs with contemporary images, we examine how the city's landscape has evolved over time, tracing the progression from ruins to reconstruction.
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Conte, Chris. "The Usambara Knowledge Project: Place as Archive in a Tanzanian Mountain Range." History in Africa 48 (June 2021): 83–102. http://dx.doi.org/10.1017/hia.2021.11.
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AbstractThe essay chronicles the early phases of a digital history project on landscape change in the mountains of eastern Tanzania. In collecting sources for a land and culture narrative, the project aims ultimately to create an archive that is locally produced in Tanzania and maintained by Utah State University Library’s Special Collections and Archives division. The project draws on more than thirty early twentieth-century landscape photographs from the Usambara Mountains in northeastern Tanzania by Walther Dobbertin, a professional photographer living in German East Africa. In the fall of 2015, team members scouted the sites for repeat photographs. The following summer, the project team began repeat photography and expanded the range of local collaborators to develop an oral history collection tied to the region’s landscape history. The essay lays out the problems, pitfalls, and successes of the preliminary collaborative work among academics, university students, archival specialists, and elders’ groups intent on collecting and preserving knowledge.
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Ferreira, Cristina. "The transparent city, the multiple image." Manuscrítica: Revista de Crítica Genética, no. 52 (June 29, 2024): 6–10. http://dx.doi.org/10.11606/issn.2596-2477.i52p6-10.
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This brief essay explores the connection between photography and urban perception, using multiple exposure to generate an altered view of the landscape, creating imaginary landscapes. According to Calvino, cities can succeed others without knowing each other, reflecting on the complexity of the city. For their part, Jay and Gombrich highlight that vision goes beyond the eyes, influenced by memory and knowledge, and Spirn describes the landscape as complex and multifaceted. The transparent images of the “transparent city” question perceived barriers, where Proust and Bachelard highlight photography's ability to reveal new perspectives, expanding the interpretation of the city.
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Banerjee, Sandeep. "“NOT ALTOGETHER UNPICTURESQUE”: SAMUEL BOURNE AND THE LANDSCAPING OF THE VICTORIAN HIMALAYA." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 351–68. http://dx.doi.org/10.1017/s1060150314000035.
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During his third expedition into the higher Himalaya in 1866, the most ambitious of his three journeys into the mountains, Samuel Bourne trekked to the Gangotri glacier, the source of the Ganges. At that site he took “two or three negatives of this holy and not altogether unpicturesque object,” the first photographs ever made of the glacier and the ice cave called Gomukh, meaning the cow's mouth, from which the river emerges (Bourne 96). These words of Victorian India's pre-eminent landscape photographer, importantly, highlight the coming together of the picturesque mode and the landscape form through the medium of photography. In this essay, I focus on Samuel Bourne's images of the Himalaya, produced between 1863 and 1870, to query the ideological power of this triangulation to produce a specific image of the mountains in late nineteenth-century Victorian India. Situating Bourne's images in relation to contemporaneous material practices of the British within the space of the Himalaya, namely, the establishment of hill stations as picturesque locales in the higher altitudes of the Indian subcontinent, I argue that the landscape form, the picturesque mode, and the photographic medium, inflect each other to tame the sublimity of the mountains by representing them as similar to the Alps.
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Hill, Rodrigo. "Contemporary photography practice: From landscape to expanded modes of place representation." Revista 2i: Estudos de Identidade e Intermedialidade 3, no. 4 (December 31, 2021): 167–85. http://dx.doi.org/10.21814/2i.3455.
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Contemporary photographic practice has evolved into a broad field of possibilities, a flux of representational modes that represent emotions, experiences and feelings. In parallel the depth and layering of places offers a stimulating challenge to researchers and artists whom are willing to creatively explore nuances of land and nature as well as the multi-sensorial and spatial “reality” of places. The Waikato River is my research locale, located in the central North Island of Aotearoa New Zealand. I draw on contemporary photography practice and theory to develop multimodal approaches to my research place, expanding objective modes of landscape and place representation. I trace a timeline from early landscape photography practice particularly during the British colonisation in New Zealand juxtaposing my photography practice as a counter approach to Eurocentric modes of place representation. This is informed by local Waikato Māori cosmologies and more contemporary readings on place. As a result I conceptualised a theoretical framework around the notion of place imaginaries as a creative platform for the development of expanded photographic modalities.
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Michałowska, Marianna. "Layers of landscape—transdisciplinarity of contemporary landscape photography." Polish Journal of Landscape Studies 1, no. 1 (January 28, 2019): 65–75. http://dx.doi.org/10.14746/pls.2018.1.7.
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Crawford, Alistair, and Peter Howard. "Editorial: landscape, photography and art." Landscape Research 17, no. 1 (March 1992): 1. http://dx.doi.org/10.1080/01426399208706350.
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Guitart Vilches, Miguel. "Reshaping Robert Adam's Landscape." ZARCH, no. 2 (June 30, 2014): 186–97. http://dx.doi.org/10.26754/ojs_zarch/zarch.201429343.
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The purpose of this research is to explore the search for a preservation of Robert Adams’ transforming landscapes of the American West of the 1960s, through the relationship between his photography and the pessimistic discourse originated in the metropolises’ disurbanization following the cold war and the nuclear menace. Adams chose not to photograph the natural beauty of Colorado but to document, without irony, the transformation of that landscape by human activity. We will explore Adams’ idea of order behind the chaos and how the author understands how these apparent non-spaces are transformed into a new architecture by means of man´s intervention, unveiling the potential of the connections between the original landscape and the intruder. The work by Dorothea Lange, Edward Weston, Ed Ruscha, Robert Venturi and Edward Dimendberg will help understand Adams’ position in the artistic discourse of the 60s.
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Barrell, Jeffrey, and Jon Grant. "High-resolution, low-altitude aerial photography in physical geography." Progress in Physical Geography: Earth and Environment 39, no. 4 (May 5, 2015): 440–59. http://dx.doi.org/10.1177/0309133315578943.
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Intertidal landscapes are highly complex and dynamic habitats that exhibit variability over a range of spatial and temporal scales. The spatial arrangement of structure-forming biogenic features such as seagrasses and bivalves influences ecosystem function and the provision of important ecosystem services, though quantification and monitoring of intertidal landscape structure has been hindered by challenges collecting spatial data in the coastal zone. In this study, an intertidal landscape mosaic of eelgrass ( Zostera marina) and blue mussels ( Mytilus edulis) was observed using low-altitude aerial photography from a balloon-mounted digital camera platform. Imagery representing seagrass-bivalve landscape structure was classified and analysed using multiple metrics of landscape composition and configuration at the patch scale and the landscape scale. Patch-scale imagery was compared to a previously collected dataset in order to track temporal changes in seagrass patch metrics over a 26-month period. Seagrass and bivalve patches exhibited distinct spatial patterning at different spatial scales. At the patch scale, the change in seagrass metrics was consistent with patch border expansion at the expense of patch density and integrity. These methods demonstrate a novel approach for collecting high-resolution spatial data that could also be valuable to physical geographers dealing with similar fine-scale landscapes. The application of spatial metrics at multiple spatial scales quantified elements of the configuration and composition of a seagrass-bivalve habitat mosaic and allowed for the tracking of patch metrics through time to depict landscape change. Continued development of landscape metrics within intertidal habitats will increase understanding of the ecological function of these areas with benefits to management and monitoring of ecosystem health.
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Ractliffe, Jo, Scott Straus, and Charlotte Groult. "On photographing the legacies of violence: A conversation with Jo Ractliffe." Violence: An International Journal 1, no. 2 (October 2020): 408–31. http://dx.doi.org/10.1177/1357034x20970733.
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In her work, the South African photographer Jo Ractliffe has been exploring the idea of landscape as “pathology,” how past violence manifests in the landscape of the present. In 2007, she made the first of a number of visits to Angola and over the following 4 years photographed the lingering end of Angola’s civil war, one that South Africa was deeply involved in and was known to White South Africans as the South Africa’s “Border War.” For Violence: An international journal, she has come back on her wide body of work and shared her thoughts on the difficulties to grasp violence visually, the ethics of representation and the ways in which photography exercises one’s critical awareness.
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Scott, Samantha L., Rick Rohde, and Timm Hoffman. "Repeat Landscape Photography, Historical Ecology and the Wonder of Digital Archives in Southern Africa." African Research & Documentation 131 (2017): 35–47. http://dx.doi.org/10.1017/s0305862x00022512.
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Environmental history projects using repeat photography often involve the acquisition of large collections of historical and current images, matching those images for comparative analysis, and then cataloguing and archiving the imagery for long-term storage and later use (Webb et ah, 2010). When used in combination with other techniques, repeat photography is an excellent tool for documenting change (Gruell, 2010) and has been used in a variety of disciplines, including historical ecology, to determine changes in plant populations, soil erosion, climate trends and ecological processes to name a few. Historical photographs often provide greater temporal range to an analysis compared to, for example, satellite imagery and in many cases even aerial photography (Gruell, 2010).
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Scott, Samantha L., Rick Rohde, and Timm Hoffman. "Repeat Landscape Photography, Historical Ecology and the Wonder of Digital Archives in Southern Africa." African Research & Documentation 131 (2017): 35–47. http://dx.doi.org/10.1017/s0305862x00022512.
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Environmental history projects using repeat photography often involve the acquisition of large collections of historical and current images, matching those images for comparative analysis, and then cataloguing and archiving the imagery for long-term storage and later use (Webb et ah, 2010). When used in combination with other techniques, repeat photography is an excellent tool for documenting change (Gruell, 2010) and has been used in a variety of disciplines, including historical ecology, to determine changes in plant populations, soil erosion, climate trends and ecological processes to name a few. Historical photographs often provide greater temporal range to an analysis compared to, for example, satellite imagery and in many cases even aerial photography (Gruell, 2010).
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Buerger, Janet E. "LANDSCAPE AS PHOTOGRAPH and COMMON GROUND: AN AMERICAN FIELD GUIDE, VOLUME 1 and LANDSCAPE PHOTOGRAPHY." Landscape Journal 7, no. 1 (1988): 70–73. http://dx.doi.org/10.3368/lj.7.1.70.
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Stevenson, S. "Hugh Miller and the Gravestone." Geological Curator 10, no. 7 (August 2017): 455–61. http://dx.doi.org/10.55468/gc247.
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The photographs of David Octavius Hill and Robert Adamson, taken in Edinburgh between 1843 and 1847, were arguably the first to explore the truthful and aesthetic properties of photography, beyond its powers as an accurate form of reproduction. The largely undocumented friendship between D. O. Hill, the landscape painter and photographer, and Hugh Miller, was based on an evident mutual admiration. This appears initially in the photographs of him taken by Hill and Adamson in 1843 and 1844, and in one of the very earliest critical articles on photography, written by Miller in 1843 from this direct experience as a sitter and from discussion with the photographers. This article is intended to offer a cross-cultural approach to images generally examined for their artistry. The original intention behind the photographs was sophisticated beyond the concern to make an attractive picture, and was meant to address the individual, his nature and his concerns. The portraits show us one of the most significant geologists of his day, and should be seen within the historic context of that time. They are museum objects, which can be read for their visual and intellectual impact.
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Leão Neto, Pedro. "Interdisciplinary research reorienting the perceptions and understanding of Modern architecture and landscape heritage through an enriched documentary utilization, namely of photography and film." Sophia Journal 8, no. 1 (December 31, 2023): 3–8. http://dx.doi.org/10.24840/2183-8976_2023-0008_0001_1.
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“ [When] I am taking a photograph, I am conscious that I am constructing images ratherthan taking snapshots. Since I do not take rapid photographs it is in this respect likepainting which takes a long time where you are very aware of what you are doing in theprocess. Exposure is only the final act of making the image as a photograph.”1 Thomas Struth With this 8th Volume of Sophia Journal, we are continuing our third thematic cycle “Landscapes of Care” and our interest is to understand and explore through diverse visual practices, with a specific interest in photography and film, how the physical environment is understood and shaped by a diverse field of study, practices and cultures. This means, besides other things, to better understand the relationship between culture and space and to explore how culture, beliefs, behaviours, and practices, interact with and shape the physical environment of different territories and their architectures, cities and landscapes, as well as to acknowledgecontemporary discourses and usages of landscape concepts2.As we had already explained3, the concept of landscapes of care has increasingly been adopted by diverse areas of study, from health geography to the arts and architecture. It allows us to comprehend architecture, city and territory as living and inclusive organisms, constituted by multifaceted landscapes with complex social and organisational spatialities, as well as exploring the concepts of space and place for care within a transdisciplinary research environment. (...)
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Pickard, John. "Assessing vegetation change over a century using repeat photography." Australian Journal of Botany 50, no. 4 (2002): 409. http://dx.doi.org/10.1071/bt01053.
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Repeat photography is a technique of detecting changes in the landscape by comparing old and more recent photographs taken at the same place. Information gained is used to detect landscape change as one component of historical ecology. Understanding the causes of any change detected requires additional information. The technique was pioneered in vegetation ecology in Arizona and has since been applied in many other parts of the United States. After a description of the technique, the American experience is reviewed and the problems of detecting change and assigning cause are discussed. The relatively few Australian examples are briefly summarised. There are many limitations of repeat photography, but these can be controlled through a careful approach. Although repeat photography has rarely been used in Australia, it has significant applications in education, in understanding past changes and in helping to help predict future changes in vegetation.
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Young, R. N. "Two dimensional landscape photography and the three dimensional landscape." Landscape Research 17, no. 1 (March 1992): 38–46. http://dx.doi.org/10.1080/01426399208706357.
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de Klerk, Anneke. "Photographer–camera–place relations: reflections on postphenomenology and landscape photography practice." Visual Studies 35, no. 2-3 (May 26, 2020): 201–15. http://dx.doi.org/10.1080/1472586x.2020.1779608.
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