Dissertations / Theses on the topic 'Photograph'
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1
De, Lorenzo Nicholas. "Photography Post-Photography: Materiality of the Photograph." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16303.
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This exegesis examines the theoretical framework and artistic context of my studio practice. The primary focus of the work is on the materiality of the photograph. Through alchemical experimentations and abstractions, the work contemplates the question what is photography? in the complex context of a post-photographic world. While not attempting to answer such an elusive question, this paper seeks to investigate some of the relevant ideas and evaluate how they manifest in contemporary practice. I will use this exegesis as a means of recording an exploration of the mediums recent history, as the context and general area of thought from which my own practice has emerged. As such, Chapter One looks into the discourse around the notion of ‘post-photography’, where it has come from, what it involves and why it could be considered significant. Chapter Two looks at how these ideas are manifested in contemporary photography, with a particular focus on the materiality of photographs, as well as on the roll of abstraction and experimentation in photography. Chapter Three then introduces my own practice in relation to these ideas. While my work and this paper broadly revolve around the position of photography in its current context, the intent of this exegesis is to further inform and ground my studio practice. By establishing and exploring this theoretical context, I hope to identify my work's position in –and possible contribution to–the field.
2
Belknap, Geoffrey David. "'From a photograph' : photography and the periodical print press 1870-1890." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609850.
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Johansson, Gustav, and Fredrik Persson. "Photograph labeling application : An Android application for labeling and uploading of photographs." Thesis, Karlstads universitet, Institutionen för matematik och datavetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-42972.
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Projektets mål var att lösa ett tekniskt problem för Värmlands Elonservice, där derastekniker har behov av en uppladdningslösning för märkta fotografier i samband med garantiärenden.Lösningen till problemet var att utveckla en Androidapplikation som märkerfotografier och sedan automatiskt laddar upp dem till en vald lagringstjänst. Slutresultatetav projektet är en fungerande Androidapplikation. Användaren kan ta fotografier viaapplikationen och tvingas sedan att namnge dem på ett korrekt sätt. Applikationen hanterarautomatiskt uppladdning av fotografier och radering av uppladdade fotografier. Utöverdetta finns även ett galleri där alla fotografier visas med sina uppladdningstillstånd samtmöjlighet till att se alla fotografier i helskärmsformat. Applikationen har framtida utvecklingsmöjlighetersom exempelvis fler alternativ till lagringstjänster, märkningsalternativtill fotografierna och en snyggare design.The project’s goal was to solve a technical problem for Elonservice in Värmland, wheretheir technicians have the need for an upload solution for labeled photographs in connectionwith warranty claims. The solution to the problem was to develop an Android applicationthat label photographs and then automatically uploads them to a selected storage service.The end result of the project is a working Android application. Users can take photographsthrough the application and is then forced to name them in a correct manner. Theapplication automatically handles the uploading of photographs and deletion of uploadedphotographs. In addition to this there is also a gallery where all photographs are displayedwith their upload state and the opportunity to see all photos in full screen. The applicationhas future development possibilities such as more options for storage services , labelingalternative to photographs and a more attractive design.
4
Malan, Andre. "The use of historical photographs as source for cultural histor : the Sammy Marks photograph collection." Diss., University of Pretoria, 1996. http://hdl.handle.net/2263/37292.
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During his sojourn on earth man leaves traces behind. Subsequent generations can
follow these traces through research in order to find out more about his forebears. The
term document can be interpreted much wider than referring to written material so that
different types of material can serve as source from which this knowledge can be
drawn. Pictorial sources is one subsection underneath which photographic material in
turn resorts.
This study looks at the use of historical photographs as source from which the cultural
historian can draw information .. Historical photographs are often merely seen and used
as illustration material while they are sources in own right. It is the only source which
captures and eternalises a moment in time visually.
Unfortunately it is still a human with all his faults and deficiencies who stands behind
the camera. That means that although the photograph as source is generally speaking
very reliable and objective, historical criticism still has to be applied. To err is human,
over and above wilful misrepresentation. Furthermore there are certain pitfalls and
limitations inherent to the photograph.
At the Sammy Marks Museum just east of Pretoria, a large collection of photographs
has been preserved which shows the everyday life of the Marks family over a long
period of time. By examining these photographs a clear picture can be formed of the
everyday life of a well-to-do Victorian family in the Transvaal during the period 1890
to 1920. The actual images captured by the camera tell the story of these people's weal
and woe like words cannot do.
No source can be all-revealing .on its own. The photographs and the information drawn
from them, are supported and confirmed by references and quotations from the personal
correspondence of the family of which much has also been preserved. It is kept at the
University of Cape Town. The biography of Sammy Marks by Richard Mendelsohn
(Cape Town, 1991) as well as other literary sources has been studied and applied.
The study also contains a broad background sketch of the period and its spirit. By
making comparisons between the findings about the lives of Sammy Marks and his
family and what is known generally about the people of the time, one can see to what
degree they conformed or differed. The development of photography itself is also.
briefly discussed. The historical photographs which were preserved by the Marks family, serve as
example of how valuable such photographs are for our knowledge and the eventual
reconstruction of the past. Without them the task of the physical restoration of the
house, outbuildings and garden to their original shape would have been much more
difficult. At the same time and even more important, they breathe life into the house
through the information they contain about the people who used to inhabit it.Dissertation (MA)--University of Pretoria, 1996.
gm2014
Historical and Heritage Studies
unrestricted
5
McCoy, M. J. "Would You Publish This Photograph?" Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/292240.
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Hontos, Vasiliki. "Conservation survey of the Benaki Museum Photographic Archive in Athens, Greece /." Online version of thesis, 1991. http://hdl.handle.net/1850/11621.
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Bonnell, Sian. "The camera as catalyst, the photograph as conduit : an exploration of the performative role of photography." Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/336516/.
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This thesis is a retrospective examination of practice based research as constituted by eight published outputs spanning a period of twenty years. The field in which the research began was British feminist photography of the 1980s and 1990s, part of the postmodern response to modernism/formalism. The analytical text that forms part of the thesis argues that the key contribution being made to this field is ‘Wilful Amateurism’, a term I have coined to describe an aesthetic which can be compared, and possibly contrasted with the aesthetic of play and boundary transgression found in artists of the avant-garde such as Duchamp and Hannah Höch. My application of Wilful Amateurism is a fusing of sculpture and performance understood as photography. The experiential origins are feminist, inhabiting the domestic, absurdism and motherhood. In addition to traversing boundaries between mediums, Wilful Amateurism ignores distinctions between the genres of landscape, still life and self-staging and I cite this as my original contribution to knowledge. The research is discussed within the prevailing attitudes in photography in the 1990s as a defiant attempt to bring a lived, feminine/domestic experience into the professionalized photographic domain that was categorised by either genre or gender. The research question and the driving force behind the work constituted within the submission is presented in the text as a desire to subvert the technical and professionalized aspects of photography so that my images are ‘entered’ and for the space between reality and fantasy to be experienced and understood. Other key artists who I identify as Wilful Amateurs include John Cage, Claude Cahun, Cindy Sherman and Helen Chadwick. The enquiry is underpinned by my research into the theories of DW Winnicott, Jean Rouch, Vilém Flusser and Bruno Latour. As the study will demonstrate, my methodology encompasses bricolage, defined as an ad hoc synthesis of space/place, object, performance and absurdity aimed at creating fictions. As I will show, I use the camera as an agent of my will and imagination to act on its subject/object. The resulting photographs enable the viewer to ‘willingly suspend disbelief’ and become a performer. Finally the point is made that the aesthetic category of Wilful Amateurism that I have identified, is tentative, requiring further research to become a possible tool for continuing study of this field.
8
Smoacà, Andreea. "ID Photograph hashing : a global approach." Phd thesis, Université Jean Monnet - Saint-Etienne, 2011. http://tel.archives-ouvertes.fr/tel-00719585.
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Cette thèse traite de la question de l'authenticité des photographies d'identité, partie intégrante des documents nécessaires lors d'un contrôle d'accès. Alors que les moyens de reproduction sophistiqués sont accessibles au grand public, de nouvelles méthodes / techniques doivent empêcher toute falsification / reproduction non autorisée de la photographie d'identité. Cette thèse propose une méthode de hachage pour l'authentification de photographies d'identité, robuste à l'impression-lecture. Ce travail met ainsi l'accent sur les effets de la numérisation au niveau de hachage. L'algorithme mis au point procède à une réduction de dimension, basée sur l'analyse en composantes indépendantes (ICA). Dans la phase d'apprentissage, le sous-espace de projection est obtenu en appliquant l'ICA puis réduit selon une stratégie de sélection entropique originale. Dans l'étape d'extraction, les coefficients obtenus après projection de l'image d'identité sur le sous-espace sont quantifiés et binarisés pour obtenir la valeur de hachage. L'étude révèle les effets du bruit de balayage intervenant lors de la numérisation des photographies d'identité sur les valeurs de hachage et montre que la méthode proposée est robuste à l'attaque d'impression-lecture. L'approche suivie en se focalisant sur le hachage robuste d'une classe restreinte d'images (d'identité) se distingue des approches classiques qui adressent une image quelconque
9
Brown, William H. "The historical photograph, artifact-testament-text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0009/MQ33980.pdf.
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Smoaca, Andreea. "ID Photograph hashing : a global approach." Thesis, Saint-Etienne, 2011. http://www.theses.fr/2011STET4034/document.
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Cette thèse traite de la question de l’authenticité des photographies d’identité, partie intégrante des documents nécessaires lors d’un contrôle d’accès. Alors que les moyens de reproduction sophistiqués sont accessibles au grand public, de nouvelles méthodes / techniques doivent empêcher toute falsification / reproduction non autorisée de la photographie d’identité. Cette thèse propose une méthode de hachage pour l’authentification de photographies d’identité, robuste à l’impression-lecture. Ce travail met ainsi l’accent sur les effets de la numérisation au niveau de hachage. L’algorithme mis au point procède à une réduction de dimension, basée sur l’analyse en composantes indépendantes (ICA). Dans la phase d’apprentissage, le sous-espace de projection est obtenu en appliquant l’ICA puis réduit selon une stratégie de sélection entropique originale. Dans l’étape d’extraction, les coefficients obtenus après projection de l’image d’identité sur le sous-espace sont quantifiés et binarisés pour obtenir la valeur de hachage. L’étude révèle les effets du bruit de balayage intervenant lors de la numérisation des photographies d’identité sur les valeurs de hachage et montre que la méthode proposée est robuste à l’attaque d’impression-lecture. L’approche suivie en se focalisant sur le hachage robuste d’une classe restreinte d’images (d’identité) se distingue des approches classiques qui adressent une image quelconqueThis thesis addresses the question of the authenticity of identity photographs, part of the documents required in controlled access. Since sophisticated means of reproduction are publicly available, new methods / techniques should prevent tampering and unauthorized reproduction of the photograph. This thesis proposes a hashing method for the authentication of the identity photographs, robust to print-and-scan. This study focuses also on the effects of digitization at hash level. The developed algorithm performs a dimension reduction, based on independent component analysis (ICA). In the learning stage, the subspace projection is obtained by applying ICA and then reduced according to an original entropic selection strategy. In the extraction stage, the coefficients obtained after projecting the identity image on the subspace are quantified and binarized to obtain the hash value. The study reveals the effects of the scanning noise on the hash values of the identity photographs and shows that the proposed method is robust to the print-and-scan attack. The approach focusing on robust hashing of a restricted class of images (identity) differs from classical approaches that address any image
11
Stoffle, Richard W., and Vlack Kathleen A. Van. "Timber Mountain Caldera Landscape Photograph Collection." Bureau of Applied Research in Anthropology, University of Arizona, 2013. http://hdl.handle.net/10150/303350.
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These photographs offer illustrations of the people, places, and resources along the two prominent pilgrimage trails in the Timber Mountain Caldera region. These photographs were taken during the 2006 Timber Mountain Caldera Landscape Study, the 2001 Shoshone Mountain Wind Farm Environmental Assessment, and 1999 NTS Rock Art study.
12
Stoffle, Richard W. "Ojibway Traditional Resources Study Photograph Collection." University of Arizona Libraries, Special Collections, 2013. http://hdl.handle.net/10150/305108.
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Humayun, Saalem. "Constructing family photograph albums : how the process of archival acquisition writes history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99722.
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This thesis is about photographic archives. Specifically, it concerns the process of acquisition for family photograph albums as archival texts. It argues that the process of acquisition writes history, and not one sole author. Additionally it argues that the institutional policy of an archive governs this process. Further, it argues that there is a homology between a public and private archive. In this light, it pursues an autobiographical approach, and compares the author's family photograph album with a family photograph album in the McCord Museum of Canadian History.
14
Cobon, Linda Louise. "Problems and issues in the arrangement and description of photographs in libraries and archival repositories." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27687.
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Until recent years, archivists have been reluctant to consider photographs as being archival in nature. The evidential value possessed by some photographs was ignored and archivists also failed to see where the informational value of a photographic image could be enhanced when viewed within the context in which it was created. Instead, archivists preferred to arrange and describe photographs as discrete items. For assistance in this endeavor, archivists turned to members of the library profession. Librarians, for their part, found that photographs were not amenable to standard bibliographic formats or classification schemes devised for printed monographs. The result was the creation by members of both the library and archival professions of numerous and often idiosyncratic methods for the physical and intellectual control of photographs.
The volume of photographic images acquired by libraries and archival repositories now makes it virtually impossible to continue dealing with photographs as discrete items. The research needs and methodologies of users have also changed; photographs are increasingly being sought as historical documents in their own right and not just as illustrations to accompany the written word. In response to these two factors, librarians began organizing and describing photographs as "lots" and archivists moved slowly toward the arrangement and description of photographs as archival fonds. This evolution, far from complete with regard to photographs, resembles an earlier evolution affecting the arrangement and description of textual archives, particularly manuscripts.
Today archivists in many Western countries are seeking to establish standard formats in the description of archival materials. This goal has become particularly urgent in the face of computer technology and the desire to form automated archival networks. It remains to be seen whether the final standards adopted in Canada, for instance, will encompass photographs or whether photographs will retain a "special" status. Without question, photographs have and will continue to present members of the library and archival professions with problems In arrangement and description. This is demonstrated in the body of this thesis through a survey of the professional literature and through field work undertaken in six libraries and archival repositories in the Vancouver area and in Victoria, British Columbia. However, the existence of problems should not mean that the approach to photographic archives should be any different, in essence, from the approach and principles applied to textual archives.Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate
15
Franklin, Patricia Bruce. "Surface Stories." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2208.
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Giles, Kenneth W. "The expectation of narrative in the photograph." Thesis, University of Kent, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267087.
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Potter, Jessica. "The photograph as a site of writing." Thesis, Royal College of Art, 2013. http://researchonline.rca.ac.uk/1353/.
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This research project considers the photograph as a common space, a space of encounter that unsettles the relations between word and image. It calls for a thinking of the photograph alongside notions of commonality at a time of increasing fragmentation and alienation in terms of what is communicable. The project is driven by different forms of description as a methodology and mode of enquiry. These methods of description constitute a series of experiments in writing and photography. They are presented in the thesis as image and text works and accompanying the thesis as an installation of photographic works and composition of voice recordings. The context of the research engages practices of space and everyday life along side ideas about community and commonality. Methods of description draw out the relationship between word and image, examining different particularities between writing as image and the construction of photographic sequences as a visual syntax in order to question the limits of description in relation to the photographic image and human encounter. The process of research is framed within a series of on-going conversations that embed themselves within thinking about and making photographs. Sitting on park benches and considering the space of The Look and the work Jean-Paul Sartre, converses with a series of photographs and writings that describe a space of human encounter. The description of Charles Bovary’s Hat in the opening sequence of Madame Bovary1 by Gustave Flaubert, informs a descriptive method and thinking about the photograph as a kind of mute or stuttering face. A dialogue with Walker Evan’s Labor Anonymous photographs emerges through experimental forms of writing and cropping. This concludes in a series of 150 sentences and photographic fragments that cover the entirety of the photographs in the Labor Anonymous archive, replacing editing with a process of cropping in order to approach an anonymous space within the photographic image. The thesis ends with photographs of discarded piles of organic matter constructed through a rigorous method of writing drawn out of the phenomenology of Emmanuel Levinas and a reading of Alain Robbe-Grillet and Francis Ponges. Here the photograph is presented as an exhausted site where word and image exist alongside each other, radically passive, together — apart. Making a series of voice recordings enables an exploration of the incommensurability of word and image approaching problems surrounding a thinking of the face, and the face-to-face encounter through the photograph. Throughout the project a problem of pronouns is evoked, an uncomfortable sense of the relations between us all in looking and thinking about the space of the image and how it can be constituted and conveyed. Processes of description developed through the different forms of enquiry call us to the urgent task of considering the photographic image as a site of commonality and a space of community.
18
West, Joanne. "How to Photograph Desert Plants and Flowers." University of Arizona (Tucson, AZ), 2009. http://hdl.handle.net/10150/556559.
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Halsban, Megan. "Stereographs as Scholarly Resources in American Academic Libraries and Special Collections." Thesis, School of Information and Library Science, 2008. http://hdl.handle.net/1901/543.
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This paper examines stereographic images as scholarly resources, and begins with a brief history of the stereograph. A discussion and review of the literature related to the stereograph as well as the preservation of photographic objects follows the introduction. In addition to the literature review, collections of stereographs at four repositories were evaluated for usability: The Keystone-Mast Archive at the University of California, Riverside; The Eliot Elisofon Archive at the Smithsonian Institution; the George Eastman House; the Library of Congress. The paper ends with suggestions for future work with the stereograph, in order to facilitate access and use by researchers.
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Chapman, Sarah Lesley. "Puncturing the silence : painting over the found photograph." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3088.
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Set up as a visual investigation, the research explores how the addition of paint and graphite materials onto the surface of found and discarded photographs, creates a visual and conceptual disjuncture by punctuating and altering the temporal frame of the photograph. The research is positioned in relation to Susan Sontag’s description in On Photography (1977) as to how the photograph can at once “transfix” and “anesthetize” the subject matter, which through the passage of time serves to create an “aesthetic distance,” and Roland Barthes’ observation in Camera Lucida (1980) that the photograph is “platitudinous.” The tendency to project nostalgic sentiment onto the found vernacular photograph is explored, drawing on Susan Stewart’s notion of the authentic object in On Longing (1984), which, it is argued, when expressed in the form of the found photographic object, becomes an emblem of loss, further exaggerating the sense of distance and impenetrability. Working specifically with the found photograph prompts a questioning of previous critical commentaries concerning painting over photographs, as in Gerhard Richter’s ‘Overpaintings,’ where Joannes Meinhardt (2009) suggests that the addition of paint intensifies the essential “speechlessness” of the photograph. This research extends these discourses and contributes a counter critical position, supported and articulated through an original body of work. It proposes that the applied paint on the surface of the found photograph punctures the essential “speechlessness” and unknowability magnified within this subset of photography. The very physical materiality and difference offered by the paint medium ruptures the perception of distance and mediates the tendency towards nostalgic interpretations, bringing a level of stability and certainty in the face of the uncertain, fluctuating meaning and temporal plane of the found photograph.
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Magnvall, Andreas, and Alexander Henne. "Real-time Aerial Photograph Alignment using Feature Matching." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-176658.
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With increased mobile hardware capabilities, improved UAVs and modern algorithms, accurate maps can be created in real-time by capturing overlapping photographs of the ground. A method for mapping that can be used is to position photos by relying purely on the GPS position and altitude. However, GPS inaccuracies will be visible in the created map. In this paper, we will instead present a method for aligning the photos correctly with the help of feature matching. Feature matching is a well-known method which analyses two photos to find similar parts. If an overlap exists, feature matching can be used to find and localise those parts, which can be used for positioning one image over the other at the overlap. When repeating the process, a whole map can be created. For this purpose, we have also evaluated a selection of feature detection and matching algorithms. The algorithm found to be the best was SIFT with FLANN, which was then used in a prototype for creating a complete map of a forest. Feature matching is in many cases superior to GPS positioning, although it cannot be fully depended on as failed or incorrect matching is a common occurrence.
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Oscar, Sara. "Into this wild abyss learning through fabricated photographs /." Connect to full text, 2007. http://hdl.handle.net/2123/3965.
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Thesis (Ph. D.)--University of Sydney, 2007."Photomedia"--T.p. Title from title screen (viewed February 18, 2007) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Visual Arts) to the Sydney College of the Arts. Includes bibliography. Also available in print form.
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Shirley, Anne. "What a photograph and cannot do exegesis submitted in partial fulfilment of requirements for the degree Master of Art and Design, to Auckland University of Technology, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/455.
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Beard, Sophie. "Collecting Collects: the family photograph in the British newspaper." Thesis, University of the Arts London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650314.
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Birkin, Jane. "Units of description : writing and reading the 'archived' photograph." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/377132/.
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This practice-based PhD takes the institution of the archive as its primary locus, and the position of the photograph within it. This approach opens up an interdisciplinary and post-representational investigation into the photographic image and its relationship to the companion descriptive text, as well as instigating a consideration of the structure and the management of both objects and descriptions in an archive situation. More specifically, the model of the visual content-based archive description is taken out of the confines of the institution and into visual practice. Different kinds of sets and collections of photographs are examined here, as well as traditional archives, but all through techniques of archival description, listing and organisation. The restricted institutional language structure becomes a conceptual writing technique when employed within this archive-related art practice. Positioned outside of the field of hermeneutical image analysis, this writing system is a form of information management, and, following archival conventions, does not attempt to assign meaning to the objects with which it engages. The practice predominantly takes the form of moving image or performance, always with text present (written or spoken). The image itself, paralleling a common archival situation, is often hidden or obscured, and the description allows a novel exploration of the image to take place and to be discussed. The largely decontextualised type of visual content-based description used emphasises the discrete and atemporal nature of the photograph and the synchrony of the moment of capture. It is acknowledged though, that the message and meaning of the single image is located outside of this moment of capture, and so may be subject to some speculation. The spatiotemporal context of the image, denied by the visual contentbased description, is brought back through ‘reading’ the archived image in its natural habitat, the archive list or catalogue. This relational situation reveals the fixed associations between images themselves and between images and their wider organisational structures. The description is ultimately identified as a ‘narrative pause’ (Fowler: 1991, p.25), and is celebrated as such. Inside the indexical and diachronic arrangement of the archive, images and descriptions are viewed through something other than a narrative gaze, as lists, and the juxtapositions therein, expose the acutely shallow time and non-chronological advancement of the archive.
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Stoffle, Richard W., Vlack Kathleen Van, and Nathaniel O'Mara. "Water Bottle Canyon Traditional Cultural Property Study Photograph Collection." Bureau of Applied Research in Anthropology University of Arizona, 2013. http://hdl.handle.net/10150/301169.
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Stoffle, Richard W., and Vlack Kathleen A. Van. "Arizona Strip Landscapes and Place Name Study: Photograph Collection." Bureau of Applied Research in Anthropology, University of Arizona, 2013. http://hdl.handle.net/10150/292607.
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This file contains a sample of photographs taken during the Arizona Strip Landscapes and Place Name Study(2003-2004). The photographs in this slideshow provide the viewer with an overview of places visited and resources examined during this study.
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Stoffle, Richard W., Vlack Kathleen A. Van, Rebecca S. Toupal, Sean O’Meara, and Jessica Medwied-Savage. "The Old Spanish Trail and Hispanic Communities Photograph Collection." University of Arizona Libraries, Special Collections, 2013. http://hdl.handle.net/10150/297034.
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This is a slide show of selected photographs from the Old Spanish Trail and Hispanic Communities Ethnographic Study. These photographs serve as supplemental materials for the two reports and offers illustrations of the people, places and resources.
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Koca, Asli. "Authentication Of Space: The Photograph As A Raw Material For Architectural Production." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12611454/index.pdf.
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This thesis is a critical reconsideration of the relationship of architectural production with its unique mode of representation: &ldquophotography.&rdquo
Photography has been interpreted essentially as a technique and a visual medium to document architecture in general. The &ldquo
photograph,&rdquo
in this sense, is regarded as a representational form of documentation and an artistic and material expression of architecture. Besides this conventional value, this study argues that photography not only provides a new medium for the reinterpretation of architectural space, but also a new material and technique for architectural production. In this respect, this study discusses photography as an emerging tool for architecture in which the photograph is conceived as a raw material. As in the manufacturing of a raw material in an industrial process, the main argument of this study is that as long as a photograph is processed with required components, it contributes to architectural production in a comparable manner. Even it has the potential to produce architectural space in its own right. To understand the nature of this architectural space supported by a variety of physical and non-physical characteristics of photography, this study compares two different ways of architectural production with the aid of photographs. Starting with the assumption that there is a radical change in the conception of photography in architecture from an immaterial quality to material essence, this study argues that the photograph is a raw material that can be used to authenticate architectural space from the initial idea to the built object. Therefore, drawing attention to the changed value of photography for architecture over time, the aim of this study is to establish a critical framework to understand and discuss this contemporary function of photography in architecture.
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Polk, Randi Lynn. "(Un-)Framing vision: text and image from the new novel to contemporary expressions of identity." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1121274446.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains vii, 217 p. Includes bibliographical references (p. 203-217). Available online via OhioLINK's ETD Center
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Gonçalves, Myra Adam de Oliveira. "A fotografia sem câmera : revelações de especificidades da fotografia através do quimigrama." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10746.
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Esta dissertação foca um processo de criação de imagens fotográficas a partir de manipulações químicas feitas sobre superfícies fotossensíveis, diretamente sobre o papel ou negativo, sem utilizar para isso o aparato tecnológico – a câmera. A partir dessa abordagem, a dissertação analisa os limites daquilo que conhecemos como fotografia. A pesquisa convergiu para a investigação das possibilidades fotográficas inerentes às superfícies sensíveis e fotossensíveis, às soluções fotoquímicas e para o cruzamento dessas possibilidades fotográficas com outras linguagens artísticas. O trabalho confrontou a fotografia com suas especificidades e buscou desvendar os domínios da fotograficidade, que se configurou como um lugar apropriado para vasculhar as certezas e incertezas do que é a fotografia. As reflexões teóricas foram instituídas pelo trabalho plástico.This dissertation aims at a photographic images creation process from chemistry manipulations made over light sensitive surfaces, directly on the paper or negative, without the camera. From this point of view the dissertation analyses the limits of which we know as photograph. The research converged to an investigation of the inherent photographic possibilities to sensitive and light sensitive surfaces, to photochemical solutions and to an approaching of these photographic possibilities to other kinds of artistic languages. The creation process faced photograph and its unique features and, by dealing with them, tried to reveal the photographs unique characteristics, which showed a specific place to search the certainties and uncertainties of what photography is. The theoretic reflections were established by the artistic work.
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Strandroth, Cecilia. "In search of the pure photograph : a historiographic study of the Farm Security Administration, Walker Evans, and the survey histories of photography /." Uppsala : Fronton, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8347.
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Pelser, Monique Myren. "Roles : "I am as intently observed as the people photograph"." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007647.
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With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.
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Vogt, Marion. "Zwischen Ornament und Natur : Edgar Degas als Maler und Photograph /." Hildesheim ; Zürich ; New York : G. Olms, 2000. http://catalogue.bnf.fr/ark:/12148/cb38847527s.
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Maree, Christine Fae. "That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.
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Much like a photograph, a casts creates a replica of its referent, thereby immobilising the subject in time. While the subject continues in time and hence ages and inevitably dies the replica does not. With this basic notion of fixing a subject, I have built an argument to contextualise my sculptures, which are made using casts of elderly people. In this discussion I have looked at my works through the ideas of different theorists. The main theorist I have cited is Roland Barthes, specifically with regards to his notion of the photograph as discussed in his book Camera Lucida. I have also referenced three particular artists: Rachel Whiteread, Diane Arbus and Churchill Madikida, as I have found each of their works relate to my work in various ways, creating a different reading from each viewpoint.
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Akyol, Melike. "Photograph As An Architectural Document: A Visual Archive For Metu Campus." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614752/index.pdf.
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This thesis aims at providing a pragmatic and conceptual basis essential for the establishment of an architectural photography archive for METU. The goal is to propose a methodology regarding the formation of an archive, which is physically and intellectually &ldquoaccessible,&rdquo
and to inquire future possibilities for its extension. The conceptual framework will be established by focusing on two main topics: theories of art, specifically focusing on photograph as a visual document, and architectural history writing, focusing on the term &ldquo
archive.&rdquo
Photograph as a visual document will be investigated by giving emphasis to its role as a historical evidence. The definition of the term &ldquo
archive&rdquo
given by Michel Foucault will be located in a key position for the construction of a discourse on documentation and historiography. The pragmatic framework will be established by taking as a reference the methodology used by the archives of the Royal Institute of British Architects (RIBA). The content and the scope subsumed under the RIBA archives show similarity to those of a possible proposal for an archive for METU. Current GISAM archives, which consist of METU campus photographs, will be taken as the primary source.
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Schwan, Minna. "”Photograph the ugly stuff” : En undersökning av William Egglestons fotografiska arbete." Thesis, Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200961.
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I denna uppsats presenteras vad jag kommit fram till genom undersökning av William Egglestons fotografi. Jag har främst studerat motiv och teknik i hans fotografiska arbete samt vad han inspirerats av. Jag har influerats av Egglestons i den visuella gestaltning som jag arbetat med parallellt med min undersökning. Eggleston arbetar efter konceptet ”The democratic camera” vilket innebär att han fotograferar saker i sin omgivning utan kulturell värdering. Han själv säger att det inte finns någon betydelse eller mening i sina fotografier, vilket ifrågasätts av andra. Tidigt inspirerades Egglestons av Henri Cartier-Bresson vars fotografier Eggleston liknar vid målningar. Resultatet av det visuella arbetet är en fotobok. Jag har fotograferat min egen omgivning i samma anda som Eggleston. Eggleston arbetar främst analogt, medan jag har gjort mitt arbete digitalt. Denna uppsats har gett mig en större förståelse för färgfotografi och digital efterbehandling, en viktig kunskap som blivande lärare i Bild.
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Kokkinias, Panos. "Existential Exposures : The Manifestation of Existential Motifs within the Art Photograph." Thesis, University of Derby, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518252.
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Ho, Hoi-yan, and 何凱欣. "Application of aerial photograph interpretation in geotechnical practice in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B42577585.
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Brunetti, Tina Marie. "Verbal protocol and eye movements for expert and novice photograph judges." Thesis, This resource online, 1994. http://scholar.lib.vt.edu/theses/available/etd-05042010-020313/.
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Ho, Hoi-yan. "Application of aerial photograph interpretation in geotechnical practice in Hong Kong." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B42577585.
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Hopgood, Roger. "An aesthetic inheritance : investigating the picturesque photograph and its vantage point." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20541/.
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The focus of the investigation is the relationship between photography and The Picturesque. The principles of the Picturesque movement of the 18th century are drawn into a discussion of our current understanding of the picturesque photograph with the aim of revealing continuity in aesthetic values and subjective relationships with landscape. Vantage point is explored as an integral element of the Picturesque effect, with compositional structure being recognised as a means of centring the viewer within a subject/object dynamic. Lacan's notion of a subjectivity initiated by vision, and desirous of a state of wholeness, is connected with a pictorial form that is compositionally self-contained, and inviting of a view of rural Otherness where a resilient Picturesque figure appears embedded in 'nature'. The instability of the subject of language (the symbolic order) is in this way related to a pursuit of the corporeal in a wild (but imaginary) landscape. In addition to an engagement with the visual motifs that define the Picturesque, such as irregular form and ruin and decay, the temporal register of the Picturesque is examined. Associations with nostalgia are developed to consider the Picturesque photograph as a crystallization of actual and virtual conceptions of time, where the captured instant resonates with echoes of the past and alludes to future desire. With a renewed understanding of Picturesque principles, recent photography is examined with the intention of revealing a continuing presence of the original Picturesque aesthetic. Documentary, as a form commonly associated with factual recording, is scrutinized for tropes of Picturesque effect with presumptions of photography's indexical link with the real being reassessed. The empirical and aesthetic realms, often seen as distinct, are located in the photograph (and act of photographing) as immeshed and made complex by subjective desire.
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Jolly, Martyn. "Fake photographs : making truths in photography." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4046.
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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
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Lobo, Flavia Maria Gonçalves. "A credibilidade da imagem fotográfica na era da tecnologia digital." Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/1823.
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This research tries to elucidate the question of the credibility of the photographic image after the technological age. That is, it is not a research that works pautada in the untiring quarrel if the photograph shows to the real or a trace of the real, this is a philosophical and semiótic bias, however to this research it more mentions this problematic one as part of the passage of the history of the carried through studies already until today with the photographic image, moreover this is a quarrel that already very was incited in the half academics and for the enthusiastic ones of the subject. The studies had been directed more for the credibility of the ampler point of view as for the individuals in general, the laypeople, fans of the photograph, to the readers of periodicals and magazines, at last, the people in a general way. After the digital technology doubts on the credibility in the photographic image they had started to hang in air, for the fact of that previously the people did not give account that the photographs could be modified, that the photograph is a process that always was modified, that already it was born manipulated for being chemical a physical process. The research walks to the side of sociology, therefore it was with the technological evolution that these questions had come to up, the individuals had started to buy cameras in very bigger number of what they bought has 30 years behind, the majority of the people has a compact cameras, cameras in the cellular ones, as well as almost everybody has access the internet and see transmitted images being of a side for the other, interacting of this form intensely. Today we live a imagétic society. In way that the photographic image is losing force in what its credibility says respect. One searched diverse sorts of representation of the photograph; journalism, authorial, conceptual and advertising, since its analogical production until our days with the imagétic profusion of the digial age and in each photographic language the research in shows different behavior to them with respect to credibility in the respective photographic productions
O estudo procura elucidar a questão da credibilidade da imagem fotográfica depois que surgiram aparelhos fotográficos mais avançados em tecnologia e em precisão de imagem. Não é uma pesquisa pautada pela discussão se a fotografia mostra o real ou um traço do real. Esta pesquisa menciona tal questão, porém mais como parte do percurso da história dos estudos já realizados até hoje com a imagem fotográfica, mesmo porque essa é uma discussão que já estaria muito acirrada nos meios acadêmicos e entre os entusiastas do assunto. Os estudos direcionaram-se mais para a credibilidade do ponto de vista mais amplo no que se refere aos indivíduos em geral, os leigos, amadores da fotografia, aos leitores de jornais e revistas, enfim, às pessoas em geral. Depois da tecnologia digital, dúvidas sobre a credibilidade da imagem fotográfica começaram a pairar no ar, pelo fato de que as pessoas anteriormente não se davam conta de que as fotografias pudessem ser alteradas, que a fotografia era um processo que sempre fora alterado, que já nasceu manipulada por ser um processo físico/químico. A pesquisa caminha ao lado da socioeconomia, pois foi com a evolução tecnológica que essas questões vieram à tona, os indivíduos começaram a comprar câmeras em número muito maior do que compravam há trinta anos, inúmeras pessoas possuem câmeras compactas, câmeras nos celulares, assim como quase todo mundo acessa a internet e veem imagens sendo transmitidas simultaneamente em vários lugares interagindo intensamente. Hoje vivemos uma sociedade imagética. A imagem fotográfica está perdendo força no que diz respeito à sua credibilidade.Pesquisaram-se diversos gêneros de representação da fotografia; jornalística, amadora, autoral, conceitual e publicitária, desde sua produção analógica até os nossos dias com a profusão imagética da era digital. Em cada linguagem fotográfica a pesquisa revela diferentes comportamentos no que se refere à credibilidade das produções fotográficas de quem está atrás da câmera
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Pikelytė, Zita. "Lietuvos provincijos fotografija 1918-1940 metais." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20130205_113248-92387.
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Tyrimo objektas yra 1918–1940 m. Lietuvos provincijoje fotografijos verslą plėtojusių fotografų personalijos, jų darbo sąlygos, užfiksuoti vaizdai bei šių vaizdų sklaidos aplinkybės. Tai pirmasis mokslinis darbas, tiriantis Lietuvos provincijos fotografiją, žiūrint iš provincijos fotografų perspektyvos, kompleksiškai nagrinėjantis jų kilmę, išsilavinimą bei profesinę veiklą, jų savivoką, socialinį statusą bei materialinę padėtį, be ko neįmanoma atskleisti fotografavimo paskatų, o taip pat jų užfiksuotų vaizdų funkcionavimą tarpukariu, reikšmę sovietmečiu bei recepciją nepriklausomybės laikotarpiu. Nauja yra tai, kad į tiriamąjį objektą žiūrima iš muziejaus kuratoriaus pozicijų, tad nemažas dėmesys skiriamas fotografijų atribucijai bei fotografinių vaizdų reikšmei, tiriant lokalias istorijas.The object of the research is personalities of photographers who were developing photography business in Lithuanian province in 1918–1940, their working conditions, captured photo images and the circumstances of these images dispersion. This is the first scientific study dealing with the Lithuanian province photography viewed from the perspective of photographers who lived and worked in Lithuanian province. This study researches professional activity of photographers in complex with their self-concept, their economic and social situation, and the functioning of their captured photo images in the interwar period, the importance of these photos in the Soviet period and their reception during the independence period. The novelty in this dissertation is the point of researcher view: the surveyed object is studied from the position of the museum-curator. Therefore much attention is paid to photo attribution and the significance of photographic images while researching the local histories.
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Schwartz, Joan Marsha. "Agent of sight, site of agency, the photograph in the geographical imagination." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0021/NQ45269.pdf.
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Daly, Timothy Michael. "Towards a fugitive press : materiality and the printed photograph in artists' books." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/617237/.
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The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists' books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle. My research examines the discourse surrounding the materiality of the photographic print within artists' publishing and explores book handling as a research method to identify non-codex forms that invite non-sequential reading, physical interaction and touch. The primary purpose of the practice element of my research is to test disruptive making strategies and fugitive materials, in order to make tacit knowledge explicit in the physical forms of prototypes and finished artists' books that operate beyond our horizons of expectations. My practice interconnects the separate fields of documentary photography and curating photography and the vernacular together with visual humour and seeks to restore a connection with the 'thingness' of photography largely absent in the post-digital age.
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Cruz, Ana Luisa. "The photograph of a loved one : a practice-led investigation through writing." Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/326220/.
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This written thesis constitutes a practice-led PhD. Many practice-led PhDs in art and design are comprised of two things – artistic practice in some form or other, for example an artist’s book or a film – and an accompanying theoretical text. By contrast, what I present here is a single text. The artistic practice is embedded within this document, taking the form of an intermingling of theoretically-informed and personally-informed writing. The thesis looks at the photograph through writing; and at writing through photography, thereby forming a deterritorialization of both worlds. The contribution to knowledge, broadly made within two areas, art writing and material culture studies, turns on presenting the world of photography as one informed by nurturing aspects of photographic practice. It looks at past experiences of being loved and loving; and at how these things link to the evocative qualities of the photograph. Within this text, words and writing (as things and actions) are linked back to personal experiences of learning to read and write, and to books as safe places, providing intimations of what could be, and of hope. The formation of letters and reading is directly linked to women’s gestures of care and attendance, and to my own present-day experiences of motherhood and my son’s first understanding of the formation of letters and words. It is as an artist, that I have pursued the possibility of a continuity between writing and the photograph. I have found a space opening up between them that has been focused through my approach to theory. This space has come to constitute my research methodology, referred to in the thesis as evaporation, and writing in waiting. This methodology is used to create a subjective imagery that ‘transcribes’ the entwining of subjective and theoretical voices relating to the experience of being in writing. Theory is understood here as an inhabiting of the space of ‘in between’ – a space before words, a space of ‘attempting to make sayable.’ In this sense theory is approached in this study as a mode of experiencing: aspects of theory are perceived as belonging to everyday places, while at the same time, everyday 3 places come to form an improvisatory place from within which to produce a response to aspects of affecting theory. Three overlapping tensions are developed through the research: - Barthes’ notion of punctum in Camera Lucida ([1980] 2000, pp.96). While retaining the power of the punctum in relation to loss as read in Barthes, I seek to unsettle fixed readings of the object (arguably suggested by Barthes’ account). To do this I draw on my own understanding of the punctum and Maria Lind’s considerations about Christine Borland’s work From Life (Glasgow), 1994, (Lind, 2006, pp.38-40) in relation to Barthes’ noéme of photography as ‘that-has-been’. Lind writes: ‘while the objects that I have in my hands are certainly not photographs, their Modus Vivendi is much the same – they function as spectra and they are proof that this individuality really existed’ (2006, p.39). In the study punctum is used to suggest a movement beyond the photograph’s surface and beyond Barthes’ notions of representation, as something extending outside the medium of photography (a transferability signalled by evaporation in the research). - Deleuze’s notion of multiplicity ([1966] 1991; Deleuze and Guattari, [1980] 2004) as an assemblage of elements deterritorializing, yet attaining some consistency for a pre-indeterminable duration. The research attends to, but also departs from Deleuze’s notion of multiplicity. For Deleuze, the first pronoun is potentially centralizing and directing, and the third pronoun conveys the potentiality to become inhered in the abstract folding and unfolding of connections (Deleuze, 1980b, part 6). In this study, while acknowledging notions of multiplicity, close relations between subject and object are understood as part of the folding and unfolding of relational connections. By exploring the use of the first pronoun, affect through gestures is viewed as a nourishing force, carrying with it an intention for language as a bridging between places. - Ingold’s view of the object as something regulated by representation (2007a; 2010). For Ingold, the object is positioned exclusively within representation, which in his eyes is directly opposed to the openness of the ‘worlding thing’ (Ingold, 2010, p.3). He rejects the object as an analytical tool and as an everyday term, favouring instead the concept of ‘material’ which allows for a translating of lived experience, through tracing the flow of materials (ibid, pp.12-13). In this thesis, the opposition Ingold sets up between object and material is revealed as problematic, 4 in as much as it places language, ideas and imaginaries further apart from the gestures of everyday affects, a distance I seek to narrow. In placing the photograph in a state of possibility between objects and things, the study comes to view material objects as temporary surfaces of things, close to the vulnerability of skin (and therefore of hope) and of everyday gestures. Following on from this state of possibility, acts of creativity through photography and writing can then be understood to be both form-making and un-forming. Surfaces are the material where the gestures of those who have manipulated or kept objects, are portrayed; but also where in attempting to disclose a connection with objects, a space in between is formed. In coming to consider the photograph as a material, affect comes to the fore of the research. Affect is viewed not only as a force, a movement of inclusion – ‘found in (...) intensities that pass body to body (human, nonhuman, part-body, and otherwise), in those resonances that circulate about, between, and sometimes stick to bodies and words (...)’ (Greg and Seigworth, 2010, p.2) – but also as a sentiment of everyday places, allowing a sort of attentiveness to language when, from vulnerability, language steps aside from the literal, creating marginal spaces, operating as an improvisatory continuation of form. The format of the research, a series of notes where some elements re-appear and re-occur throughout the chapters – for example grains of sand, the tree, the glass – forms an improvisatory response to theory. These responses foment returns to a series of situations and places positioned in-between ‘familiar and foreign’ territories. The thesis has emerged out of encounters between notions and places inside and outside books, inside and outside the academe, continuing (and confounding) each other, rather than separating from one another. ‘Place’ refers to such sites, often physical, geographical and material, but crucially, sites which carry an affective and imaginative charge. Theory takes place in the writing of this thesis as ‘systematic’ language (Nyrnes, 2006, p.17). It is ‘implemented’ in the work and informs the work, despite not always being outwardly denoted or explicitly present. In this respect, it keeps faith 5 with artistic research practices which seek to welcome qualities that formal research produces in terms of structure, rigour and constraints but retains artistic creativity’s ‘wide-eyed, experiential way of being in the world’ (Coessens et al., 2009, p.57). While the awareness of theoretical frames helps to challenge those frames and the artistic practice, theory forms informative and motivational movements to create a place both beside and within the art work.
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Iseman, Stephen Dane. "Showing as a way of saying : the photograph and word combinations of Lewis Hine in support of child labor reform /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1113497089.
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