Journal articles on the topic 'Photograph'
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1
Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'." Aesthetic Investigations 1, no. 1 (July 16, 2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.
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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's photograph, the articles shows how such a 'social' focus on photography, easily reaffirms the social inequalities that lies within the practices of atrocity photography.
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Bragalini, Luca. "Buddy Bolden’s Photo." Journal of Jazz Studies 14, no. 1 (May 30, 2023): 90–119. http://dx.doi.org/10.14713/jjs.v14i1.227.
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In their 1939 monograph Jazzmen, Frederic Ramsey Jr. and Charles Edward Smith presented the photograph of a sextet from New Orleans which prominently features a cornet player identifed as Buddy Bolden. From the time of its publication, this photo has been the subject of controversy and many unanswered questions. What is the correct orientation of the photograph? What are the mysterious spherical objects that are seen on the edge of the photograph? Who is the leader of the band? This article presents a detailed photographic analysis of this so-called first jazz photo, proposing a solution to an enigma that has lasted for eighty years. Analysis of early photographic processes, analysis of the history of musical instruments portrayed in 19th century photographs, study of the history of US clothing in 19th century photographs, and organological investigations have helped provide answers to the riddles that Buddy Bolden's photography has raised.
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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.
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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
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Shamriz, Lior. "Photography of indenture." Journal of New Zealand & Pacific Studies 12, no. 1 (June 1, 2024): 55–72. http://dx.doi.org/10.1386/nzps_00187_1.
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The 1882 photography book by British photographer Colonel Henry Stuart Wortley, Tahiti: A Series of Photographs, features an image of a family of service workers. Wortley, who only briefly passed through the island, refers to the couple in the photograph as his ‘servants’. This article traces the margins of the journey of Wortley, as well as that of Lady Annie Brassey, an ultra-wealthy traveller and photography enthusiast who visited Tahiti in 1876 and who contributed the letterpress to Wortley’s book. By analysing the text and images of the book and looking at the historical context of Tahiti at that time, and the place European military personnel, travellers, entrepreneurs, royals and local workers had in the island’s economy and society, this article argues for the incentives and implications of trivializing and invisiblizing Tahitian labour. Looking at our engagement with a photograph as a transtemporal performance, beginning in the photograph’s commission, through the moment of encounter and until its printing and viewing years later, this article considers as a beginning of an entanglement the encounter between Wortley and the Tahitian family. I discuss how, by travelling in 2022 to Tahiti and revisiting Wortley’s photographs in different locations around the island, I aimed to influence those entanglements.
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AGUIAR, JONAS JOSÉ MENDES, JEAN CARLOS SANTOS, and MARIA VIRGINIA URSO-GUIMARÃES. "On the use of photography in science and taxonomy: how images can provide a basis for their own authentication." Bionomina 12, no. 1 (March 24, 2017): 44–47. http://dx.doi.org/10.11646/bionomina.12.1.4.
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Photography has, since its inception, significantly contributed as a tool to many areas of scientific research and consequently, has been able to achieve a high level of prestige in the scientific field. In recent years, there has been an increasing debate within the scientific community regarding the need for the deposition of type specimens when describing new species. Recently, Marshall & Evenhuis (2015) described a new species of Diptera, based exclusively on a few photographs. Even if one withholds judgement about whether the photographs used present sufficient characteristics for the description and identification of this new species, data missing from the holotype photograph could be of great importance for other analyses and future comparisons. The authors have omitted the digital photographic format used for the photographs in their work, and at no point has a deposition of the RAW type (a digital format sometimes called digital negatives, this file preserves most of the information from the captured picture) for verification of its authenticity been mentioned. The absence of this file for verification of the authenticity of the photograph makes its scientific credibility questionable and untrustworthy. We consider this taxonomical practice based exclusively on the use of photographs to be simplistic and harmful. Although the Code does not mention Rules about the use of photography formats we strongly suggest that, for the elaboration of academic articles, not only in taxonomic ones, using characteristics based on digital photography, the authors should be willing to make the RAW file of the photograph available for comparison in order to avoid doubts regarding the authenticity of the photograph presented.
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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (December 16, 2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.
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AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.
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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.
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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing
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Qasmiyeh, Yousif M., and Saiful Huq Omi. "Photography as Archive." Migration and Society 4, no. 1 (June 1, 2021): 195–202. http://dx.doi.org/10.3167/arms.2021.040118.
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In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, finally, how to envision an equitable future between the photographer and the photographed.In the form of poetic fragments, “The Human that is Lacking” offers a response to Saiful Huq Omi’s photograph reproduced in these pages, in an attempt to “co-see” the image with the photographer. The image and its response sit alongside Yousif M. Qasmiyeh’s interview with the award-winning photographer and film-maker himself (also in this issue).
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Redmond, Eden. "Radiant Traces." Departures in Critical Qualitative Research 3, no. 4 (2014): 418–26. http://dx.doi.org/10.1525/dcqr.2014.3.4.418.
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Photography is a referent medium. While a photograph is a physical object with its own ontology, the image depicted references a moment that has already ended. The mobility of a photograph relies on the divide between presence and absence, the material and the ephemeral. This photographic essay considers the tensions and parallels of such divides in photographing and photographs of sadhus, holy men who wander throughout East Asia. Sadhus relinquish worldly possessions in the name of spiritual pursuits, surviving on whatever the divine provides. The following images illustrate both their radiant spiritual presence, and the trace of a material boundedness.
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Bajraghosa, Terra, Budi Irawanto, and Seno Gumira Ajidarma. "Family Photography as Object and Practice in Independent Comics in Indonesia." International Journal of Creative and Arts Studies 10, no. 2 (December 5, 2023): 133–48. http://dx.doi.org/10.24821/ijcas.v10i2.11166.
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One small element that is rarely put in the comics’ scene setting is photographic imagery, commonly a portrait of a person or a family photograph. It is assumed that once a family photograph is presented in a comic, it definitely has a particular function. This study will examine how the family photograph as an object and practice is depicted and present the signification of the story meaning in independent comics. The research object is a drawing that represents a family photograph in a panel, or series of panels – consecutive or non-consecutive -in the independent comic "Pupus Putus Sekolah" (2022) and “Phagia” (2016) as the case study. This research uses a comic studies approach based on qualitative methods. The first analysis process is to pay attention to the presence of family photographic images in comic stories. In the following analysis stage, family photographs are treated as an object defined by social practices based on a semiological/discursive approach, especially the Doing Family Photography approach introduced by Gillian Rose. The study revealed that photographic images in independent comics were shown using the same artistic drawing style as the characters and objects in the story. The inclusion of family photographs in comics aims to present a portrayal of the 'evidence,' 'truth,' and 'indexicality' as the genuine authenticity of the photographed moments in photography while also serving as a symbolic picture in storytelling. The readers' comprehension of the indexical nature of the family photograph is inherently linked to the manner in which the photographic imagery is portrayed and organized with other elements in the sequential composition of comics.Foto Keluarga sebagai Objek dan Praktik dalam Komik Independen di Indonesia Abstrak Salah satu elemen kecil yang jarang dimasukkan ke dalam adegan komik adalah citra fotografi, biasanya potret seseorang atau foto keluarga. Diasumsikan jika foto keluarga disajikan dalam komik, pasti memiliki fungsi tertentu. Penelitian ini akan mengkaji bagaimana foto keluarga sebagai objek dan praktik digambarkan dan menyajikan signifikasi makna cerita dalam komik independen. Objek penelitian adalah gambar yang merepresentasikan foto keluarga dalam sebuah panel, atau rangkaian panel—berurutan atau tidak berurutan—dalam komik independen "Pupus Putus Sekolah" (2022) dan "Phagia" (2016) sebagai studi kasus. Penelitian ini menggunakan pendekatan studi komik berdasarkan metode kualitatif. Tahap analisis pertama adalah memperhatikan citra fotografi keluarga dalam cerita komik. Pada tahap analisis berikutnya, foto keluarga diperlakukan sebagai objek yang didefinisikan oleh praktik sosial, berdasarkan pendekatan semiologis/diskursif, terutama pendekatan Doing Family Photography yang diperkenalkan oleh Gillian Rose. Studi ini mengungkapkan bahwa gambar fotografi dalam komik independen ditampilkan menggunakan gaya gambar yang sama dengan karakter dan objek dalam cerita. Pencantuman foto keluarga dalam komik bertujuan untuk menyajikan penggambaran 'bukti', 'kebenaran', dan 'indeksikal' sebagai keaslian asli dari momen yang difoto dalam fotografi sekaligus berfungsi sebagai gambaran simbolis dalam bercerita. Pemahaman pembaca tentang sifat indeksikal foto keluarga secara inheren terkait dengan cara di mana citra fotografi digambarkan dan diatur dengan unsur-unsur lain dalam komposisi komik yang berurutan.
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Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.
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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic seeing instantiates. Ultimately, Lockhart's relational practice of photography-connecting each photograph she makes to prior images, while never fully duplicating or replicating them-provides a model for understanding the relational dynamics of photographic spectatorship. The essay also discusses Paul Strand, Roland Barthes's Camera Lucida, Kaja Silverman's World Spectators, “straight photography,” and Michael Fried.
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Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, no. 5 (December 2, 2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.
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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two photographic projects by photographers/mothers that document their ill and dying daughters – Lesley McIntyre’s photographic essay The Time of Her Life (2004) and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light (2009). Illness in these projects is not experienced in isolation. Instead, the photographs and accompanying texts provide a space to engage in a dialogue which is built on the interdependency of all the participants of the photographic act – the photographer, the subject of the photograph and the viewer. My aim is to question how these projects construct experiences and articulate private expressions of illness and how the photographs enhance and/or challenge the mother–daughter bond. Alan Radley’s critical analysis of representations of illness, Emmanuel Lévinas’s and Maurice Blanchot’s perspectives on ethical philosophy and visual social semiotics approach developed by Kress and Van Leeuwen provide a guiding framework for this study.
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Kmetyk-Podubinska, Khrystyna. "PHOTOGRAPHIC WORK AS AN OBJECT OF LEGAL PROTECTION." Visnyk of the Lviv University. Series Law 74, no. 74 (June 30, 2022): 50–57. http://dx.doi.org/10.30970/vla.2022.74.050.
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The article analyzes a photographic work as an object of legal protection. The author researches the peculiarities of legal protection of photographs, characterizes their legal nature, analyzes the peculiarities of the exercise of copyright in photographs. It is established that a photographic work can exist in various forms, but as of today photography is created and exists mainly in digital form, which determines the peculiarities of the exercise and protection of rights to it. It is highlighted that the national copyright law does not contain a definition of a photographic work, a photograph as well as a work made by means similar to a photograph, which is a shortcoming of legal regulation. It is proved that the object of legal protection is a photographic work, not a photograph, which may have all the features of the object of copyright. In addition, it is substantiated that the legal regime of a photographic work is also not defined in the legislation of Ukraine, which is a shortcoming of legal regulation. It is established that the Law of Ukraine «On Copyright and Related Rights» practically does not pay attention to the characteristics of a photographic work, only mentioning it among the objects of copyright. Moreover, it is proved that the features of a photographic work as an object of copyright are its creative character (as a result of creative activity), original character (expressed in a creative way of expressing the author’s idea – framing, lighting, focus, camera settings, etc.) and objective form of expression as a result of transferring the work from the author’s consciousness in the form of a creative idea to an independent material object, mainly in digital form). It is established that the creative and original nature of photography are often identified as features of the object of copyright. In turn, it is justified that a photograph and other works of art depicting an individual may be publicly shown, reproduced, distributed only with the consent of this person, and in case of his death – with the consent of persons specified by the law. It is proved that such an institution as the freedom of panorama, which characterizes the ability to photograph architectural objects that are in public places, is practically not regulated at the level of law. Consequently, it is established that the right to photograph the relevant architectural object as an object of copyright belongs to the personal non-property rights of the architect, but this approach of the legislator seems questionable, as the photography is a way to capture and reproduce the object of architectural activity as an object of copyright, which is a way to use property rights as a copyright. The imperfection of the application of the so-called «take down notice» procedure, provided for in Art. 52-1 of the Law of Ukraine «On Copyright and Related Rights», is stated, as this out-of-court procedure for protection of copyright in the digital environment does not apply to photographic works, which is a shortcoming of legal regulation.
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Carville, Justin. "‘This postcard album will tell my name, when I am quite forgotten’: Cultural Memory and First World War Soldier Photograph Albums." Modernist Cultures 13, no. 3 (August 2018): 417–44. http://dx.doi.org/10.3366/mod.2018.0220.
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Since the Crimean and American Civil Wars in the nineteenth century, photography has allowed societies to experience war through the collective understanding of photographic representation as an inscription or mnemonic cue for recollections of past events. However, the First World War ushered in new vernacular cultural practices of photography which radically altered how both war was represented and experienced through photography. This shift, in turn, engendered new private and domestic forms of post-war remembrance through the photographic image. Kodak's marketing of the Vest Pocket Autographic Camera which became known as the ‘Soldier's Camera’, allowed soldiers on the battle front and their families on the home front to experience the war and the formation of post-war memory outside of the iconic images of military heroes and battlefield conflict. Vernacular photography allowed for intimate portrayals of everyday soldier life to be visually displayed in private arrangements of photographs in photo-albums compiled by soldiers and their families as forms of post-war remembrance. Discussing photograph albums compiled by Irish soldiers and nurses, this essay explores the place of vernacular photography in personal commemorative acts by soldiers and nurses in the aftermath of the First World War. By treating vernacular soldier photographs of World War I as social objects that allow relationships to be formed and maintained across time, the essay argues that the materiality of the photograph as image-object can be explored to consider how the exchange, circulation and consumption of photographs allow for the accumulating and expending of histories and memories of the First World War and its aftermath.
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Kephart, Richard E. "Photographic Standards in Rhinoplasty." American Journal of Cosmetic Surgery 12, no. 1 (March 1995): 71–74. http://dx.doi.org/10.1177/074880689501200113.
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The difference between photography in general and photographic documentation is explored as a possible reason why standardized photographic documentation has been so elusive to cosmetic surgeons. Photographic documentation must employ the scientific experimental procedure wherein all of the elements that can affect the outcome of a photograph are held constant so that the one change, that performed by the surgeon, can be studied. The adaptive nature of off-the-shelf cameras and lighting, targeted to the amateur photographer, defeats the principles of scientific documentation. Simple modifications to equipment already owned by the cosmetic surgeon and methods for standardizing the documentation of the rhinoplasty procedure are presented so that constancy and repeatability can be brought to pre- and postoperative documentation sessions and then be delegated to staff. These methods can be extrapolated for the documentation of other surgical procedures. Photographs that illustrate the posing procedure and its effectiveness accompany the presentation.
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Markiewicz, Małgorzata. "„Takie jak w rzeczywistości”. Obraz fotograficzny - obiektywne odwzorowanie czy subiektywna kreacja? Fotografia w badaniach archeologicznych." Folia Praehistorica Posnaniensia 28 (December 27, 2023): 207–30. http://dx.doi.org/10.14746/fpp.2023.28.09.
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The article reviews the current state of knowledge on photography and the use of photographs in archaeological research. The discovery of photography was a breakthrough in the history of archaeology. The mechanical method of image registration, considered to be devoid of subjective human intervention, was supposed to guarantee the neutrality and objectivity of the visual representation. Belief in realism of photography has led to it becoming the primary form of documentation in archaeology, for both the research process and the relics themselves. This article will attempt to answer the question of whether we can trust the reality captured by the photographer? The reading of a photograph is done through culturally shaped codes. The ability to decipher those codes depends on the knowledge and experience of the recipient. The photographic image relies on the photographer’s subjective view of the subject, as well as the medium used, which influences the nature of the representation.
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Side, Katherine. "Grimaldi’s iconic photograph: Bloody Sunday, Derry 1972." Irish Journal of Sociology 26, no. 1 (November 21, 2017): 71–93. http://dx.doi.org/10.1177/0791603517741072.
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This article examines the concept of photographic iconicity in relation to Italian press photographer, Fulvio Grimaldi’s photograph of the evacuation of Derry-born marcher, John [Jackie] Francis Duddy, at Bloody Sunday, 1972. This historical photograph continues to instigate remembering and forgetting among nationalists and unionists in the context of Northern Ireland. Its uses, in state-led government inquiries, among nationalist communities and in the form of artistic intersessions, are demonstrated to be consistent with the hallmarks of iconicity, particularly the ability to situate viewers close to events in a historically specific moment. Additional factors, such as the significance of the photographer and the materiality of the image and objects in the image are also considered, in relation to Grimaldi’s image, for the ways they instigate recall, compel contestation, and maintain the photograph’s iconic status.
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Battin, Justin Michael. "Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context." Review of International American Studies 15, no. 2 (December 31, 2022): 49–70. http://dx.doi.org/10.31261/rias.14868.
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In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explores these photographs through the lens of the “event of photography,” a term emphasizing the temporal moment when a photographer, photographed subject, and camera encounter one another. With this interpretation, photographs are positioned as historical documents and the practice of photography as a civil and political matter, thus inviting new possibilities to read political life through its visual dimension, as well as to trace different forms of power relations made evident during the ‘event.’ This paper uses phenomenological reflection to explore the meshwork manifestation of these power relations, and articulate how they provide insights about one’s place and responsibility within that ‘event’ in a range of relational contexts.
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Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (April 30, 2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.
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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terhadap keunggulan reduplikasi, proses instan, dan otomatisasi fotografi membuat fotografi kehilangan tempatnya di dunia seni. Akan tetapi, persoalan seni adalah persoalan rasa. Fotografi tetaplah sebuah seni dengan melihat adanya relasi intensional yang tercipta antara objek dan seorang fotografer dalam sebuah foto. Relasi intensional ini tercermin dalam proses, imajinasi, dan kreativitas fotografer di dalam menghasilkan sebuah foto. Lukisan dan fotografi adalah seni menurut rasanya masing-masing. Photography is an Art: A Disaproval towards Roger Scruton's Analysis on the Legitimacy of Art Value of a Photograph. This paper aims to disprove Roger Scruton's argument about the validity of the artistic value of a photograph. Scruton argues that photography is not a work of art. Photography is simply a mechanical action in producing a picture, not a representation but merely a causal event, not an imaginary image, but only a copy. Photography presupposes the ease of art creation. Scruton's statement is further reinforced by the phenomenon of technological development that has forgotten the aesthetic side and only entirely devoted to the action of the machine. The excessive emphasis on the benefits of reduplication, instant processing, and photographic automation makes photography lose its place in the art world. However, the issue of art is a matter of taste. Photography remains an art by seeing the intense relationships created between an object and a photographer in a photograph. This intense relationship is reflected in the process, imagination, and creativity of the photographer in producing a photograph. Painting and photography are arts according to their own taste.
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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.
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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
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Browning, Kathy. "Scotland." Diversity of Research in Health Journal 1 (June 21, 2017): 144. http://dx.doi.org/10.28984/drhj.v1i0.62.
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I spent 14 days of intensive photographic research taking 10 000 photographs while travelling around the coast of Scotland. This includes the incredible architecture in ancient cities; amazing, magical landscapes of heather shrouded moorlands, expansive glens with grass covered hills and lowlands, and black and red mountains; and magnificent castles. Scotland is a part of my cultural heritage. This series of photographs is a merging of my artistic and academic skills as a visual arts researcher. It is similar to grounded theory (Glaser & Strauss, 1967) used for my academic research wherein I let Scotland tell me what photographs needed to be taken and my photographic eye knew when to take the photograph from my years of experience as a photographer.
Each of the photographs tells a visual story. As I continuously edited my photographs for months while making files in folders I asked myself: What was my experience of Scotland? How can I represent this experience so that it has the feeling of what each inspiring photograph had when I took the shot? It is a reliving and recreating of experience while working with specialty silver papers and creating triptychs, diptychs and other layouts to photographically tell the stories. These 19-limited edition colour archival quality giclée photographic prints are the result of my photographic Scotland experience. An exhibition is a publication and the exhibition of these photographs is supported by LURF.
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Morgan, Nicholas C. "Photographic Process as Desire." Afterimage 50, no. 1 (March 1, 2023): 24–48. http://dx.doi.org/10.1525/aft.2023.50.1.24.
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Between 1986 and his death from AIDS-related causes in 1989, the Boston- and Jersey City–based photographer Mark Morrisroe produced a series of cameraless photographs with heterogenous material including fabric, pornography, and X-rays. This essay argues that these photograms move away from a dominant understanding of photography that celebrates stasis, legibility, and indexicality in favor of one concentrating on activity. Morrisroe’s photograms cast the photograph as a process: the image unfixable and always under development, its matter flexing, sputtering, and shifting over time. For Morrisroe, this project was inextricable from an understanding of desire itself as processual. The essay positions Morrisroe’s processual and desirous conception of photography as an instance of what has recently been theorized as queer formalism’s capacity to galvanize queer politics and resist social violence. Morrisroe’s formal experimentation with the medium and unorthodox use of darkroom materials countered mainstream, pathos-ridden representations of AIDS and imagined alternatives to the epidemic’s fragmentation of queer worldmaking projects. Through intertextual readings with Morrisroe’s contemporary Hervé Guibert, the essay shows how Morrisroe’s anti-indexical and processual cameraless photography demonstrates the medium’s potential as a vehicle for currents and transmissions knitting together spectators, bodies, and queer communities in flow.
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McQuirter, Marya. "yes. still. movement." liquid blackness 7, no. 2 (October 1, 2023): 102–9. http://dx.doi.org/10.1215/26923874-10658346.
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Abstract How does one attempt to look at a photograph that is not attached to an institutional archive and for which there is no known historical data? How does one attempt to look when all you have is the photographic object? Focusing on a circa 1893 tintype of a couple of bicyclists taken at an indoor photography studio, this essay offers a set of reading practices that position photographic subjects as coproducers with the photographer and argues for stillness as a form of movement, rather than the suspension of movement. Conceived this way, this stillness illuminates the connections between movement indoors and outdoors and imagines nineteenth century US-based photographic subjects as diasporic cultural producers. The tintype is part of a larger set of what this essay calls bicycling photographs that were popular in the late nineteenth century, through which individuals and groups remixed two of the most popular technologies — bicycles and photography — to create new material objects that they could frame and keep in a dwelling place and move within and between dwelling places. Moreover, through the coproduction of new material objects, the duo, and many others, gave themselves other mobile lives.
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Homburg, Ernst, Danielle Fauque, Peter J. T. Morris, Franco Calascibetta, and Santiago Alvarez. "IUPAC in Brussels in 1921: A Historical Photo." Chemistry International 41, no. 3 (July 1, 2019): 11–15. http://dx.doi.org/10.1515/ci-2019-0305.
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Abstract During a search of photographs and documentation on the Belgian photographer Benjamin Couprie, who took the well-known pictures of the Solvay Conferences during the first half of the twentieth century, Santiago Alvarez [1] came across an image in “La Digithèque des Bibliothèques de l’Université Libre de Bruxelles” with the title “Réception de l’Union Internationale de Chimie Pure et Appliquée, photographie de groupe” (Figure 1) [2]. It is a high-resolution copy of a very sharp photograph of a group of 86 people. On the frame of that photo one can read two inscriptions noted in pencil above and below the photograph, respectively: “Union Internationale de la Chimie pure et appliquée,” and “Reception au chateau de La Hulpe le 29 Juin 1921.” Moreover, just under the photograph there are two inscriptions in smaller letters: “Bruxelles 1913,“ on the left, and the signature of “Benj. Couprie” on the right, both in the same handwriting. Two questions arise: (1) Which is the correct date for that photograph? (2) Who are the persons that appear in the photo?
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Latto, Richard, and Bernard Harper. "The Non-Realistic Nature of Photography: Further Reasons Why Turner Was Wrong." Leonardo 40, no. 3 (June 2007): 243–47. http://dx.doi.org/10.1162/leon.2007.40.3.243.
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The authors discuss the limitations of photography in producing representations that lead to the accurate perception of shapes. In particular, they consider two situations in which the photographic representation, although an accurate reproduction of the geometry of the two-dimensional image in the eye, does not capture the way human vision changes this geometry to produce a three-dimensionally accurate perception. When looking at a photograph, the viewer's uncertainty of the camera-to-subject distance and the fact that, unnaturally, a photograph presents almost exactly the same view of an object to the two eyes result in substantially distorted perceptions. These most commonly result in a perceived flattening and fattening of the 3D shape of the object being photographed.
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Samarkina, Mariia. "Ekphrasis in Photography Lyrics: Methods of Representation." Slavic World in the Third Millennium 14, no. 1-2 (2019): 206–18. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.13.
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The article deals with ekphrasis (verbal description of visual artworks) in lyrics about photography. The purpose of this article is to clarify the possibility of using the term “ekphrasis” in relation to photographic lyrics and to divide the phenomena of photopoetics and photoekphrasis. The difference becomes obvious as we analyze the following texts: “Photograph from September 11” and “Hitler’s First Photograph” by Polish poet Wislawa Szymborska, “A Snapshot” by Russian poet Bella Akhmadulina and “From the Album” by Russian poet Genrikh Sapgir. The four texts are characterized by a special timing structure: past, present and future, with some regularity, exist within the description of the same photographs. In addition, the space of all four texts is open. This is a feature not only of photoekphrasis, but also of photopoetics as a type of visual poetry, which does not depend on the type of description. In all four texts, the author's position is inevitably present and recognized. In the first three cases, we know the picture or the person to which the subject refers. In the fourth one, the poet refers to his personal archives or memories. But “Hitler’s First Photograph” refers to the well-known historical personality only in the title and some mentions in the text. Thus, in our opinion, only “Photograph from September 11” by Wislawa Szymborska and “A Snapshot” by Bella Akhmadulina can be considered as ekphrasis. However, “From the Album” by Genrikh Sapgir and “Hitler’s First Photograph” by Szymborska features photographic discourse and fragmentary descriptions to create a photopoetic text, but not an ekphrasis. Apparently, the ekphrasis of a photograph is not only a description of one specific and existing in common culture photograph, but also a restoration of its poetics in a lyrical text.
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Duncan, Margaret Carlisle. "Sports Photographs and Sexual Difference: Images of Women and Men in the 1984 and 1988 Olympic Games." Sociology of Sport Journal 7, no. 1 (March 1990): 22–43. http://dx.doi.org/10.1123/ssj.7.1.22.
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This paper develops a theoretical framework for understanding how and what sports photographs mean. In particular, it identifies two categories of photographic features as conveyors of meanings. The first category is the content or discourse within the photograph, which includes physical appearances, poses and body positions, facial expressions, emotional displays, and camera angles. The second category is the context, which contributes to the discursive text of the photograph. The context includes the visual space in which the photograph appears, its caption, the surrounding written text, and the title and the substantive nature of the article in which the photograph appears. Using 1984 and 1988 Olympic Games photographs appearing in popular North American magazines, I show how these various features of photographs may enable patriarchal readings that emphasize sexual difference.
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Sikora, Adam. "Possibilities of utilising perpendicular1 and oblique photographs of vehicles to determine dimensions2 and post-crash deformation using photogrammetric transformations." Issues of forensic science, no. 319 (2023): 31–37. http://dx.doi.org/10.34836/pk.2023.319.4.
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The article presents the issue of measuring traces on vehicles by experts directly from photographs. Tests were carried out, including an analysis of the dimensioning accuracy of perpendicular and oblique photographs, and the possibility of using a photogrammetric transformation of a single oblique photograph to restore its perpendicularity1 to the photographed object was examined, so that the photograph was cartometric again.
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Nicklaus, Krista M., Xiomara T. Gonzalez, Koushalya Sachdev, Jun Liu, Deepti Chopra, Aubri S. Hoffman, Summer E. Hanson, Mia K. Markey, and Gregory P. Reece. "What Does “Dr. Google” Show Patients Searching for Breast Reconstruction Outcomes Photographs?" Plastic and Reconstructive Surgery - Global Open 10, no. 5 (May 2022): e4331. http://dx.doi.org/10.1097/gox.0000000000004331.
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Background: Many women with breast cancer search the internet for photographs of their potential reconstruction outcomes, but little is known about the quality, variety, and relevance of images patients are viewing. Methods: Breast reconstruction outcome photographs identified by a Google Images search were assessed based on the American Society of Plastic Surgeons/Plastic Surgery Foundation photographic guidelines. Information such as source metadata, breast reconstruction procedure information, and subject demographics was collected from the photographs. Additional analyses were conducted to assess whether nipple reconstruction or tattooing occurred and was disclosed, whether a symmetry procedure was performed and disclosed, and whether donor site scarring is visible in abdominal flap photographs. Results: We acquired and analyzed 114 photograph sets. Although a variety of images were readily available, the majority of photograph sets did not follow photographic guidelines or provide sufficient information. Most photograph sets (60%) indicated symmetry procedures when a symmetry procedure was evident, but only 40% of photograph sets disclosed a nipple procedure when a nipple procedure was evident. Only 40% of abdominal flap photographs showed donor site scarring. Subject demographics were largely missing: 50% of photograph sets included subject age, 3% included race or ethnicity, and 12% included weight or BMI. Conclusions: Although breast reconstruction outcome photographs shown by “Dr. Google” represent a variety of reconstruction types, they typically lack information that a patient needs to assess self-applicability. Patients may benefit from discussion with their healthcare team about the strengths and limitations of breast reconstruction outcome photographs available on the internet.
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Tee, Sim-Hui. "Transparency, Photography, and the A-Theory of Time." Problemos 93 (October 22, 2018): 177–92. http://dx.doi.org/10.15388/problemos.2018.93.11761.
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[full article, abstract in English; only abstract in Lithuanian]
Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the depicted object situated from the space in which the viewer of the photograph resides that renders the photograph spatially agnostic. It is the timeless photographic world rather than the photographic object that renders egocentric spatial information inert. With this new formulation of spatial agnosticism, I propose that spatial agnosticism needs to be coupled with the temporal dimension (the A-theory of time) in the efforts to refute the thesis of transparency of photographs.
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Burleigh, Peter. "Photogenic Intensions." Magic, Vol. 5, no. 1 (2020): 60–65. http://dx.doi.org/10.47659/m8.060.art.
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What is a photograph? What a spurious, redundant start! After all, a photograph is clearly an image, a technical image of something. What a photograph is – such a stupid question! Yet, the casual announcement of the photograph as signification relies on an a priori truth that orients our thinking, our identities, our institutions. For it is “in terms of this self-apparent image of thought that everybody knows and is presumed to know what it means to think.” Collaging Deleuze and Bergson, intuition teaches us that an image is a nexus of force in itself, or as Anne Sauvagnargues suggests, what is crucial to images is how they cut into the world. As real enfoldings of the virtual and actual, photographs are the territories of a multiplicity of sensations – a genesis, the real actual of a diagrammatic structuring of the world in registers of time and space. Roger Fenton’s The Queen’s Target made at Queen Victoria’s opening of the first Rifle Association in 1860 is an entry point to thinking deeper signalisation in photographs. While the 3-D work by Andreas Angelidakis indicates photogenetic zones of intensity, temporal dislodgment, and the event of photogenesis actualized in physical form. Keywords: photogenesis, virtual, photography and event, ontology of the image, photography and information, philosophy of photography
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Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II." Prospects 30 (October 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.
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Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them to a so-called assembly center (Figure l). The photograph would appear at first glance to tell a very different story. The women smile and extend their arms out of a raised train window to wave goodbye, as if they are embarking on a vacation or some other pleasant excursion. The Albers photograph is not an exception to the photographic record of incarceration. In the thousands of photographs made of the incarceration process by government photographers, independent documentarians, and “internees,” it is much more difficult to find photographs that portray suffering than it is to find images of smiling prisoners.Not surprisingly, these photographs of smiling Japanese Americans are unsettling for those scholars, curators, and activists who have worked to expose the injustices of the wartime imprisonment. The smiles are charged for several reasons: They appear to belie the injustice of incarceration and the suffering it caused, they are reminiscent of the ugly stereotype of the grinning Oriental, and they suggest that those portrayed were entirely compliant with the government's racist agenda.
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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.
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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.
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Wolfreys, Julian. "‘The look that gropes the objects’: Derrida's Photographs." Derrida Today 10, no. 1 (May 2017): 21–37. http://dx.doi.org/10.3366/drt.2017.0140.
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In his introduction to Copy-Archive-Signature: A Conversation on Photography published in 2009, Gerhard Richter observes that while photography is concerned, ‘like deconstruction’, with ‘questions of presentation, translation, techné, substitution, deferral, dissemination, repetition, iteration, memory, inscription, death, and mourning’, relatively little attention has been given to those texts of Derrida's that specifically address photography and the work and thought of the photograph: ‘Aletheia’, Rights of Inspection, Athens, Remains, to name the most obvious. Things have changed a little since 2009, but it remains the case that photography, with its strange logic and uncanny temporalities, situates itself in Derrida's publications as, possibly, the most performative of tropes in Derrida's writing. As Richter argues, it is available to our view as a ‘metalanguage’, through which all other questions are brought into focus. This paper therefore focuses on the photograph: the photograph in Derrida's writings and photographs of Derrida.
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Aksenova, N. V., N. V. Denisova, and N. O. Magnes. "COUNTERFACTUAL SOVIET PHOTOGRAPHY THROUGH THE LENS OF AMERICAN AND BRITISH ART CRITICS: EVALUATIVE DIMENSIONS OF ART DISCOURSE." Voprosy Kognitivnoy Lingvistiki, no. 1 (2023): 40–51. http://dx.doi.org/10.20916/1812-3228-2022-1-40-51.
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The paper studies the axiological interpretation of Soviet photographs in British and American art reviews by examining the basic concepts STATE, ARTIST, and WORK OF ART. The analysis draws on the methods of cognitive discourse analysis, narratology, pragmatics, and semantics. Accepting R. Barthes’ view of the photograph as “a message without a code”, we hold that the main goal of art discourse is to construct an intermediary code to facilitate communication between the Operator and the Spectator, especially in the presence of a time/culture gap between the two. Through aesthetic distancing, art reviewers shift the axiological focus from the ethical implications of Soviet photographs towards their aesthetic value, encouraging a transcultural and transtemporal dialogue between the reader/viewer and the photographer. The analysis has enabled us to expand the framework of photographic roles (Operator, Spectrum and Spectator) suggested by Barthes and later complemented with the role of the Demonstrator, which is central to this study. The role of the Emptor, added here to the Barthian set of core roles, emerges as the ultimate role of the Soviet state vis-à-vis photography.
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Molloy, Caroline. "The Studio Photograph as a Conceptual Framework." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 38–47. http://dx.doi.org/10.47659/m5.038.art.
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In her essay, Caroline’s draws from her PhD thesis that looks the visual habitus of transcultural photography. She concentrates her writing on the genre of studio photography, specifically early English studio photography and argues that the conceptual framework established in early photographic studio practices still has its legacy in contemporary digital photographic studio practices. To illustrate this argument, she draws from a contemporary case-study in her local, digital photographic studio in North London and discusses a selection of photographs in relation to early photographic studio practices. She suggests that rather than a radical break caused by digital technologies, digital photography has opened up imaginative ways in which to make studio portraits that blur boundaries between the real and symbolic. Keywords: anthropology, digital form of photography, photography, studio photography
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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 1987): 510–18. http://dx.doi.org/10.2307/1159896.
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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa. The information presented here is based on ten years of searching for nineteenth-century photographs made by Sierra Leonean photographers. To locate these pictures, I have visited Freetonians and viewed their family portraits and photograph albums, interviewed contemporary photographers throughout Sierra Leone, and researched in the various colonial archives in England to locate photographs preserved from the period of colonial rule. I have discovered that a community of African photographers has worked in the city of Freetown since the very invention of photography. The article reviews the first phase of this unique photographic tradition, 1850–1918, and focuses on several of the African photographers who worked in Freetown during this period.
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Schulze Tanielian, Melanie. "Defying the Humanitarian Gaze: Visual Representation of Genocide Survivors in the Eastern Mediterranean." Humanity: An International Journal of Human Rights, Humanitarianism, and Development 14, no. 2 (June 2023): 186–211. http://dx.doi.org/10.1353/hum.2023.a916996.
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Abstract: This article is a critical encounter with the genre of humanitarian photography through the case study of images of women survivors of the Armenian Genocide. Viewing photographs taken as part of the American humanitarian campaign in the Eastern Mediterranean, the article exposes the universalizing modality of humanitarian photography while exposing mass atrocities as perpetuating the silencing of victims by reducing them to symbols of suffering. Through an indexical, forensic, and critical fabulatory engagement with the humanitarian photograph, the article aims to unsettle the universalized humanitarian body and explore the possibilities that lie at the boundaries of traditional historical methodologies. Firstly, it exposes the constraints of reading the image solely within the framework of the humanitarian index, highlighting the resulting silences. Secondly, the forensic reading, while placing the photograph in the context of the larger textual archive, provides glimpses into the local circumstances surrounding its creation but still violently mutes the photographed. Lastly, inspired by the method of critical fabulation, the article embraces a speculative reading to reimagine the lives and experiences of the women in the photograph based on imaginary possibilities. Deploying a method that attends equally to archival content and that which is impossible to discern allows us to shift the focus to those who are visible photographically but are nonetheless invisible in the archive and muted by being forced to perform as part of the humanitarian index.
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Bakker, Roelof. "A Boy’s Own Trauma: Revisiting a Photograph Recorded in a Nazi Concentration Camp First Encountered as a Child." European Journal of Life Writing 9 (July 6, 2020): LW&D198—LW&D222. http://dx.doi.org/10.21827/ejlw.9.36907.
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Photographer Roelof Bakker revisits a George Rodger photograph recorded in a Nazi concentration camp, Bakker first encountered as a child growing up in the Netherlands forty years ago. Finally developing this image, which registered in his mind yet remained unprocessed, Bakker actively engages with the photograph as a photographer, investigator and spectator, but also as a human being, integrating thought and feeling into an ethical and responsible process of analysis. Responding to critical texts by Ariella Azoulay, Ulrich Baer, Susie Linfield, Werner Sollors, and others, Bakker looks beyond the photograph as a static object, addressing the other participants in the photographic act, including the photographer’s subject Sieg Maandag, and connecting the photograph to a world outside its frame, towards a future unknown at the time of exposure.
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.
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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation
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Yurchuk, Olena. "PHOTOGRAPHY AS A FORM OF STATEMENT AND MEANS OF FIXING PRESENCE IN A. PEREZ REVERTE’S BATALIST." CONTEMPORARY LITERARY STUDIES, no. 19 (March 15, 2023): 63–68. http://dx.doi.org/10.32589/2411-3883.19.2022.274082.
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Modern literary criticism pays much attention to the theme of photography in fiction. R. Barth and his followers emphasize the active interpenetration of the two arts, which results in a play with imprint, blur, and image. Photography turns out to be a point of reference for reconstructing the past. The photographic image claims to be an archival document necessary for reconstructing the past, and the photograph claims to be completely objective, though limited by a subjective position. In the plot of A Perez Revert’s novel «The Battler» the camera, as well as photography itself, occupies a special place. After all, it is the camera that helps the photographer to recreate the chosen object of reality, to turn a moment into time frozen in history. For a photojournalist, a camera is not just a device for creating photo frames, but a component of his life, a mechanism that works in harmony with his body. The camera forms the inner world of the photographer, projecting the reality around him. During the Croatian war of the early 1990’s, it allowed the combatant to see what he saw through the prism of his own emotions and beliefs and recreate it in a specific photograph. A photograph is not only a documentary fact, but also a work of art, because it is a unique combination of dozens of random factors that together affect the perception of the photographer, coincide in one moment, are focused by the lens and reflected in it. This text is part of a discourse about the changing status of the document and the role of the photographer in assessing events, his ethical position, and recording presence. The one who publicly manifests his individuality and creative potential to make his voice heard, or to demonstrate images and attribute to himself a certain autonomy in relation to the world and its institutions, sooner or later becomes an artist.
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Koska, Bronislav. "Determination of St. George Basilica Tower Historical Inclination from Contemporary Photograph." Geoinformatics FCE CTU 6 (December 21, 2011): 212–19. http://dx.doi.org/10.14311/gi.6.26.
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A large amount of photographic material has been accumulated from the photography emerge in the nineteenth century. The most photographs record portraits, urbanistic complex, significant architecture and others important objects in the photography inception. Historical photographs recorded a huge amount of information, which can be use for various research activities. Photograph visual information is sufficient in many cases, but accurate geometrical information must be acquired from it in specific situations. It is the case of long-term stability monitoring of buildings in the Prague Castle area see [1]. For static analysis in the monitoring project, it is necessary to determine accurately specific geometrical parameter – mutual angle of St. George Basilica towers in the north-south direction before the reconstruction started in 1888. The angle standard deviation must be solved as well. The task demanded using of photogrammetric methods. Own implementation of general bundle adjustment had to be created to fulfill determination of reliable standard deviation of the angle, because standard photogrammetric software does not have all the necessary options.
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Kleimenova, S. N., and O. I. Yablokova. "Photography as an object of copyright." Uzhhorod National University Herald. Series: Law 1, no. 78 (August 28, 2023): 177–80. http://dx.doi.org/10.24144/2307-3322.2023.78.1.28.
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Copyright, the norms of which regulate relations that arise in connection with the creation and use of works of science and art. Copyright is an important component of the universal system of human rights, copyright is one of the essential guarantors of intellectual creativity, self-affirmation and dignity of every person. From whatever side copyright is analyzed, its purpose is to protect the interests of the creator of works and the interests of society. A photo can be created not only by a professional photographer, but also by any other individual. This is where the opportunity enshrined in the law to realize their creative abilities of each member of society is manifested.This article deals with issues related to a special object of copyright - photography. With the adoption of the new Law of Ukraine «On Copyright and Related Rights», the approach to understanding photography has changed. This is connected with the legal definition of the concept of a work and its features. Signs of originality and objective form are highlighted. Moreover, the legislator clearly defines which photographs should be attributed to objects of copyright, and which photographs are not subject to legal protection. This approach will greatly facilitate the resolution of issues related to the establishment of which photographs are subject to copyright. The Law of Ukraine «On Copyright and Related Rights» clearly states that photographic works are subject to legal protection. Based on the legislative definition of a work as an object of copyright, we can conclude that only original photographs are subject to legal protection. Moreover, paragraph 8 of Art. 8 of the Law of Ukraine «On Copyright and Related Rights» clearly defines that photographs that do not have a sign of originality are not photographic works. An analysis of some foreign judgments regarding the legal nature of photography makes it possible to conclude that a photograph is considered as an object of copyright if there are signs inherent in the work. he study conducted in this article confirms the correctness of the legislative understanding of photography as an object of copyright.
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Román-Gallego, Jesús-Ángel, María-Luisa Pérez-Delgado, and Sergio Vicente San Gregorio. "Convolutional Neural Networks Used to Date Photographs." Electronics 11, no. 2 (January 12, 2022): 227. http://dx.doi.org/10.3390/electronics11020227.
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Nowadays, the information provided by digital photographs is very complete and very relevant in different professional fields, such as scientific or forensic photography. Taking this into account, it is possible to determine the date when they were taken, as well as the type of device that they were taken with, and thus be able to locate the photograph in a specific context. This is not the case with analog photographs, which lack any information regarding the date they were taken. Extracting this information is a complicated task, so classifying each photograph according to the date it was taken is a laborious task for a human expert. Artificial intelligence techniques make it possible to determine the characteristics and classify the images automatically. Within the field of artificial intelligence, convolutional neural networks are one of the most widely used methods today. This article describes the application of convolutional neural networks to automatically classify photographs according to the year they were taken. To do this, only the photograph is used, without any additional information. The proposed method divides each photograph into several segments that are presented to the network so that it can estimate a year for each segment. Once all the segments of a photograph have been processed, a general year for the photograph is calculated from the values generated by the network for each of its segments. In this study, images taken between 1960 and 1999 were analyzed and classified using different architectures of a convolutional neural network. The computational results obtained indicate that 44% of the images were classified with an error of less than 5 years, 20.25% with a marginal error between 5 and 10 years, and 35.75% with a higher marginal error of more than 10 years. Due to the complexity of the problem, the results obtained are considered good since 64.25% of the photographs were classified with an error of less than 10 years. Another important result of the study carried out is that it was found that the color is a very important characteristic when classifying photographs by date. The results obtained show that the approach given in this study is an important starting point for this type of task and that it allows placing a photograph in a specific temporal context, thus facilitating the work of experts dedicated to scientific and forensic photography.
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Lane, S. N., K. S. Richards, and J. H. Chandler. "Developments in photogrammetry; the geomorphological potential." Progress in Physical Geography: Earth and Environment 17, no. 3 (September 1993): 306–28. http://dx.doi.org/10.1177/030913339301700302.
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Current emphasis in geomorphology recognizes the need for the accurate representation of topographic form, reflected in the growth of digital terrain and elevation modelling. A key requirement of such strategies is the efficient acquisition of information in an appropriate form and at an appropriate resolution to the landform under consideration. The traditional use of photographs in geomorphology has been for interpretation, but developments in photogrammetry may allow the full advantages of the photograph as a means of acquiring and storing quantitative information to be used. The photograph can provide information on all areas visible on a photograph; the information is acquired retrodictively; the photograph preserves the spatial relationship of morphological units; the collection of photographs requires minimal landform contact; the photograph records extra explanatory information; and photographs can be obtained at an appropriate temporal resolution to the landform under investigation. However, optical and mechanical limitations imposed by traditional photogrammetric approaches have prevented its rigorous and widespread application to geomorphology. Developments within photogrammetry, notably the analytical approach, now open up wider geomorphological possibilities. The analytical approach overcomes these limitations through the use of an interactive mathematical model at the stage of photographic analysis. The obtained information is in a form directly suited to the construction of digital terrain or elevation models. This technique can be used both for landform monitoring and for the analysis of archival photographs to reconstruct historical landform change.
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Shevchenko, Olga. "Photographs and Their Many Lives." Slavic Review 76, no. 1 (2017): 90–97. http://dx.doi.org/10.1017/slr.2017.12.
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“How does meaning get into the image? Where does it end?” asked Roland Barthes in his now-classic essay “Rhetoric of the image.” At first glance, Barthes’s questions might appear nonsensical, but as this discussion around the various uses and misuses of Evgenii Khaldei’s photographs of war-time Budapest demonstrates, the question of meaning and truth in photography is anything but simple. This is because the meaning of a photograph is shaped by a multitude of factors, both internal and external to the image itself, and because the photographic medium, more so than other visual practices, lends itself to expectations of verisimilitude that obscure the complex relationship that photographs have to reality that they purportedly record.
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Ng, Roy. "Rumah Abu : Death and the Photographic Medium in Straits Chinese Ancestral Halls." Southeast of Now: Directions in Contemporary and Modern Art in Asia 7, no. 2 (October 2023): 3–45. http://dx.doi.org/10.56159/sen.2023.a916546.
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Abstract: This article seeks to establish ancestral photographs as objects of worship and examines the relationship between death and the photographic medium in Straits Chinese ancestral halls, also known as rumah abu , in the former British colonies of Singapore, Malacca, and Penang. Various scholars have argued for a conceptual link between photography and death, but the case for diasporic communities such as the Straits Chinese have been under-studied and rarely discussed in meta-physical terms. Portraits of Straits Chinese matriarchs and patriarchs are commissioned as not merely images of visual commemoration, but also objects for physical reverence, sites to which descendants could feel geographically closer to their forebears. Objecthood in photography refers to death in the literal sense: the photograph structures a tangible space where spiritual, temporal, and cosmopolitan worlds could converge and meet. Ancestral photographs serve as points of reference for chia abu (to ‘invite’ the ancestors) and piara abu (to ‘upkeep’ the ancestral shrine) on special occasions such as death anniversaries; where the image performs the earthly representation of a living identity, negotiating traditional Chinese social order anew in southern shores. The photographic object, when ceremonially placed next to food offerings, processional music, and incense, augments the image of the dead with a presence that is bound ever more intimately to mortal space and time. Elevated as a ‘participant’ of the ritual, the ancestral portrait transforms into a social actor inasmuch as it is entangled in a web of material practices. Rather than merely a stage-setter for physical acts of filial piety, the photograph is also integral to it.
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Dumestre, Danielle O., and Frankie Fraulin. "Avoiding Breach of Patient Confidentiality: Trial of a Smartphone Application That Enables Secure Clinical Photography and Communication." Plastic Surgery 28, no. 1 (October 24, 2019): 12–18. http://dx.doi.org/10.1177/2292550319880910.
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Background: To evaluate a smartphone application for clinical photography that prioritizes and facilitates patient security. Methods: Ethics was obtained to trial the application Sharesmart. Calgary plastic surgeons/residents used the application for clinical photography and communication. Surveys gauging the application usability, incorporated consent process, and photograph storage/sharing were then sent to surgeons and patients. Results: Over a 1-year trial period, 16 Calgary plastic surgeons and 24 residents used the application to photograph 84 patients. Half (56%) of the patients completed the survey. The majority of patients found the applications consent process acceptable (89%) and felt their photograph was secure (89%). Half (51%) of the surgeons/residents completed the survey and would use the application as is (67%) or with modifications (33%). The consent process was felt to be superior (73%) or equivalent (23%) to participant’s prior methods and was felt to resolve issues present with current photography practices of secure transmission and storage of photographs by 100% and 95% of respondents, respectively. Perceived limitations of the application included difficulties in use with poor cellphone service or Internet, decreased speed compared to current practices, the lack of a desktop platform, video capability, and ability to transmit the photograph directly to the patient’s medical record. Conclusions: A smartphone clinical photography application addresses the risks of patient confidentiality breach present with current photography methods; broad implementation should be considered.
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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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Shin, Yoojin, Breffni M. Noone, and Stephani K. A. Robson. "An Exploration of the Effects of Photograph Content, Photograph Source, and Price on Consumers’ Online Travel Booking Intentions." Journal of Travel Research 59, no. 1 (December 20, 2018): 120–39. http://dx.doi.org/10.1177/0047287518817399.
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This research employed two experimental studies to examine the relationship of photograph content with consumers’ online travel booking intentions, the role of photograph source in this relationship, and the impact of photograph content on consumer reaction to price. Study 1’s findings suggest that perceived information value mediates the effect of photograph content on consumers’ booking intentions, with product-focused photographs perceived as being higher in information value than experience-focused photographs. Further, perceived photograph credibility was found to influence consumer reaction to photograph content, with photograph source moderating the photograph content-perceived photograph credibility relationship. Study 2’s findings suggest that photograph content moderates the price–booking intentions relationship. When the price is higher than the average in the market, consumers are likely to rely more heavily on product-focused photographs than on experience-focused photographs to inform the booking decision. Together, the findings of these studies can guide travel marketers in developing cost-effective, photograph-based online content.