Dissertations / Theses on the topic 'Photographed moment'

This practice-based project explores the photographic phenomenon of ‘moment beyond moment’, which refers to the combined representations of an existing image in an environment, together with the real-life situation at the moment the photograph is taken. I call this photograph an ‘extended photograph’. Employing practical works of extended photographs and focusing on interactions between the moment in real-life and the moment in an existing image, the research explores the transformation of meanings caused by the interactions of these moments in an extended photograph. The research owes its approach to grounded theory, contrary thinking and Chinese Buddhist ‘Sudden Enlightenment’ to further its aim of exploring the unpredictable interaction of these moments, and to disclose the potentials of meaning transformation. My research outcome intends to initiate a discourse with photographic practitioners and theorists on the phenomenon of moment beyond moment in a working environment that is encaged by the excessive existence of displayed images. The thesis is composed as a creative work that consists of a series of photographic images accompanied by an exegesis component. The images represent a nominal 80%, and the exegesis 20% of the final submission.

Architecture exists as shelter, separating space into the inside and the outside. This separation is a crucial point in our experience of architecture. This separation is the first moment of physical interaction with the construct in our penetration of the construct. However, architecture is not only a physical language. It is nonphysical, in that architecture is defined as the art and science of building, etc. This separation, internally, both produces the architecture as well as the ideas that are produced from the architecture. Architecture is held in-between, the movement or passage from one to the other is perceived as an external transition and an internal passage into the realm of arts and sciences. The mediation in passage from one to the other may be perceived through the dialectic. This allows architecture to contain both external and internal mediation of extremes.
Department of Architecture

This dissertation provides a theoretical and historical exploration of two contrasting approaches and attitudes that took hold in street photography during the 1950s, and of their impact on the street photography of the 1960s and 1970s. The two approaches and attitudes are identified as, firstly, that of the "decisive moment," and, secondly, what is referred to as the "moment in between." The former attitude was famously introduced by Henri Cartier-Bresson and exemplified within his work, while the latter is distinctly manifested in the work of William Klein and Robert Frank. Through a comparative and interpretative approach to each, this study analyses the work of photographers whose imagery exemplifies the stylistic differences, and the conceptual and theoretical underpinnings of the two attitudes to street photography. In the first part of the dissertation, two concepts taken from ancient Greek thought - kairόs and tyche - are used to elucidate the nature of, respectively, the decisive moment and the moment in between, as well as the differences between these approaches to street photography. It is argued that the concept of kairόs embodies certain spatial, temporal, aesthetic and moral features capable of enriching the understanding of the approach to street photography represented by the notion of the decisive moment. The concept of tyche, with its focus upon chance and the unforeseen, brings to light a powerful contrast with the decisive moment, emphasising the photographers' position in respect of the fortuitous episodes that shape their practice, as well as the significance of the abandonment of linearity, intelligibility and determinability that is characteristic of this approach and attitude toward reality. The second part of the dissertation is dedicated to the impact of the decisive moment and the moment in between upon the North American street photography of the 1960s and upon the work of photographers active outside of the North American and Western European cultural and intellectual contexts. In particular, it is argued that in the 1960s, Garry Winogrand, Diane Arbus and Lee Friedlander established within their work a bridge between the approaches of the decisive moment and the moment in between, bringing about their fruitful co-existence within a single image. By interpreting these elements through the categories of kairόs and tyche, I analyse how these photographers embraced both approaches with the aim of appreciating the aesthetic opportunities resulting from their union. This second part also involves an examination of the extent to which forms of street photography that developed in relative isolation from the intellectual and cultural contexts of North American or Western European street photography, or which are embedded in non-Western ideas and philosophy, may still be understood by means of the dichotomy between the decisive moment and the moment in between. The works of Miroslav Tichý, a photographer who worked in the climate of seclusion of Communist Czechoslovakia, and Raghubir Singh, an Indian photographer who was profoundly influenced by Indian philosophy, are analysed in order to assess whether or not the categories of kairόs and tyche can be usefully employed in their interpretation.

This research looks at comedy and question what its function is. It identifies the gag as a specific moment that solicits laughter and examines what is expressed within and through a gag and whether a gag can trigger a change in our thinking. What are the structures, functions and outcomes of a gag? The project approaches these questions through an examination of the relationship between the visual and the verbal within the gag. This examination involves two very different types of comedy, silent and stand-up, and considers specific gags from both. The methods used for this examination take the form of both a body of visual artwork and a written thesis. The visual work consists of photographs, videos and text pieces. It is within the video works that the relationship between the visual and the verbal is most readily seen and this is due to the mimetic techniques used to make the work. The videos are a series of re-enactments of silent and stand-up moments and involve my re-performance to camera of selected gags. I have removed certain elements from the gag while emphasizing others through mimicry. In doing so I hope to make the viewer of the relationship between language and gesture within a gag. The writing begins with an examination of what it is that constitutes a gag. The relationship between gag and narrative is looked at first, then the relationship between the comic performer and the audience, and finally the ways in which the comic performer manipulates the medium that is used to create the gag. Following this comes a close reading of three comic performers’ work: Buster Keaton’s Sherlock Jr., Richard Pryor’s Live in Concert and Jo Brand’s Barely Live. The gags in each work are examined in order to see how the relationship between the visual and the verbal is used to solicit laughter and then further examined in order to discover what effect the gag has on its audience. How do language and gesture work together to challenge the audience's thinking? The methods used in both the practical work and the writing are empirical in natures. The source material is examined closely: gags are unpicked and put back together again. This approach allows the research to tease out some propositions surrounding the relationship between the visual and the verbal.

Moments of Absorption explores the conceptual and visual themes that are presented in my MFA thesis exhibition. The research looks into the absorption of the nude subject, the gestures that communicate this absorption, and the domestic space as a stage for the presentation of these gestures. This work investigates a tension between the theatrical and the natural as represented by images.

This thesis explores the relationship between photography and painting from the mid-nineteenth-century to the early twentieth-century. Specifically, I focus on the artistic outputs of four painters, Degas, Vuillard, Bonnard and Sickert, and the different manners in which they incorporated photography within their creative practices. In particular, I concentrate on photography’s representation of and relationship with time, discussing this in relation to three concepts, that of the narrative moment, memory and motion; concepts that painters often experimented with and explored during the timeframe mentioned. Throughout the thesis I examine how the paintings of my selected artists compare and contrast with photographic imagery. By doing so I demonstrate how these artists incorporated and commented on photographic notions of time within their paintings. Three of the artists, Degas, Vuillard and Bonnard, also experimented with photography and I look at how their photographic experiments related to and/or impacted their painting practices. This thesis argues that the selected painters’ experimentation with photography did not hinder their creative vision, but rather enhanced it. Further, I comment on how these artists recognised the differences between photographic representations of life and their own visual and emotional experiences, thereby challenging photography’s connection with objective truth; an important critique considering that photography was still in its infancy.

In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.

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The present research problematizes the social practices and representations within the social space of the favela (slum) Jardim Maria Virgínia (JMV) in the years of 1999 and 2011/12. The area is located in the southern outskirts of the city of São Paulo, in the Campo Limpo district. The research was carried out through a qualitative approach. Besides the usual methods, photographic images were used as a research resource. In 1999, local people were facing a threat of eviction, which was photographed by then. At that time, some inhabitants were interviewed. Returning to the slum in 2011/12, it was investigated what had changed and what had remained steady concerning the social practices and representations experimented by the dwellers in 1999. Through an approach based on the presuppositions of the disruption of politics, the thesis development has revealed the settings of contrasts and continuities between the two moments which are distant in time, as well as it has shown an unstable, provisory and unfinished everyday life, characterized by violence, fear and silence, and whose synthesis is inscribed within the logic of incompleteness
O presente estudo problematiza as práticas e representações sociais no espaço social da favela Jardim Maria Virgínia (JMV), localizada no bairro do Campo Limpo, periferia da zona sul da cidade de São Paulo, em 1999 e 2011/12. Trata-se de uma pesquisa de ordem qualitativa que, além dos recursos metodológicos clássicos, empregou a imagem fotográfica como instrumento de pesquisa. Em 1999, a favela enfrentava o momento do perigo do despejo, o qual foi fotografado, e os moradores entrevistados. Ao retornar à favela em 2011/12, buscou-se verificar o que mudou ou se manteve constante nas práticas e representações sociais experimentadas por seus moradores em 1999. Com uma abordagem sustentada nos pressupostos do desmanche da política, o desenvolvimento da tese revelou a tessitura dos contrastes e continuidades entre os dois momentos distantes no tempo, assim como demonstrou um cotidiano instável, provisório e inacabado, revestido pela violência, medo e silêncio, cuja síntese inscreveu-se na lógica da incompletude

Abstract    Cinematic time is the most complex of all: it is composed of public time (clock), personal time (experienced) and in addition, it can run backwards, be contingent, stored and (re)created. The present study examines some aspects of cinematic time, with special reference to the instant, the moment and the present. The strictly defined instant or moment does not exist. It is a passage between the past and the future and it is impossible to record on film or a photograph. One example is the moment of death, which is an abstraction with zero duration. The present must consequently contain the past and/or the future. Roland Barthes describes these complex multidimensional time relations in a photograph. André Bazin emphasizes that the image and the duration are ”mummified”. According to Gilles Deleuze , before the Second World War, the movement-image dominated and time was subordinated. With the long take of uncut time and deep focus, the cinema creates an increased experience of presence. After the war the time-image dominated. According to Deleuze it can represent time itself in the ”pure state”. Several images, simultaneously present, represent the crystal-image. Such an experience of time, a non-chronological present (durée), is founded in the philosophy of Henri Bergson. For the film director Andrei Tarkovsky, time and rhythm in the shot, was the essence of the cinema. His work is flooded with time-images, and it is possible to experience a time and space beyond the frame, in a multidimensional present. The digital technique has made cinematic time even more complex due to the possibility to create a continuous, synthetic present.

The existing world is becoming more disrupted and is falling apart. For its resurrection and restoration, a new way of thinking is necessary. This new type of thinking is needed to be able to open up its mind and to think about the process of thinking itself; it must understand what is happening in other systems, where processes seem to be taking place by themselves without any other visible interference. First Chaos is the title for an intermedia installation which contains 90 black and white photographs, both digital and analogue, all of which were taken between the years 2008 and 2012. Together, the photographs create one coherent piece – a kind of sculpture. They can evoke a "still film" with a non-linear, cyclical storyline, whilst the images can simultaneously function individually, without any connection to other photographs.

Lo Ka Yu.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2001-2002, design report."
Includes bibliographical references (leaves [62]-[63]).
Chapter 1.0 --- initiation
Chapter 1.1 --- statment of intent
Chapter 1.2 --- exploration
Chapter 1.3 --- initial thinking
Chapter 1.4 --- photography . tools
Chapter 1.5 --- my images
Chapter 1.6 --- Henri cartier-Bresson
Chapter 1.7 --- my moment
Chapter 2.0 --- study
Chapter 2.1 --- "ex.1, images making process"
Chapter 2.2 --- ex.2. ./. photo & arch
Chapter 2.3 --- "ex.3, abstract my images"
Chapter 2.4 --- ex.4. images of old hong kong
Chapter 2.5 --- human sense
Chapter 2.6 --- impossible triangle
Chapter 2.7 --- Chinese garden
Chapter 2.8 --- daylight
Chapter 2.9 --- shadows
Chapter 3.0 --- design
Chapter 3.1 --- site
Chapter 3.2 --- daylight study
Chapter 3.3 --- design strategy
Chapter 3.4 --- plans and sections
Chapter 3.5 --- visual sequence
Chapter 3.6 --- models
Chapter 3.7 --- special study
Chapter 4.0 --- others
Chapter 4.1 --- bibliography
Chapter 4.2 --- thanks
Chapter 5.0 --- appendix
Chapter 5.1 --- plans
Chapter 5.2 --- sections

碩士
國立臺灣藝術大學
視覺傳達設計學系碩士班
101
Abstract Compared with other typical of photographs, we always cherish our personal photographs most, because we memories of something or someone by reading those photographs. The writer tries to read his own personal photographs in different ways. Those images of the photographs are not only have different meanings for different readers metaphysically, but also have been reserved and copied on several different media physically. Therefore, the writer thinks it seems like these images of the photographs have journeys of image dissemination from this media to another, and live in the readers’ minds. The writer wants to express the creative conception by using several techniques, such as computer image editing, sketch transfer, and collage to change and compose the images of personal photographs in the same picture. All images are not drawn on the paper directly, but rather they are copied and pasted on it. In this way, they are being constantly changed within peoples’ mind as they are being constantly changed in many different medias. The meaning of personal photographs are not clear and certain as we thought, even though these are photographs that we are very familiar with. Different person has different interpretation. Each time we review a photograph, we could redefine the meaning, and make a new story. Maybe photographs don’t need to be given any kind of meaning at all, but all they need, is to be seen by the people. Keywords: personal photograph, image interpretation, image dissemination

碩士
國立臺灣師範大學
體育學系
104
The purpose of this study was to find out capturing cheerleading sport photography in the decisive moment essentials. Interviewed four cheerleading senior sports photographer with semi-structured interviews. Summed cheerleading photography shooting guidelines to the future cheerleading sport photographer, that they could understand the shooting process of quickly and select correct equipment. Results: Cheerleading sport photography need to have the camera with a high-speed continuous shooting and excellent focusing performance. And lens characteristics was large aperture zoom lens in 24-70 mm and 70-200 mm focal length. Using telephoto lens to take the image will render the subject more personal close-up and skills performance. The use of wide-angle lens rendering team tacit formation performance. Necessary conditions of capturing instant photo are high-speed shutter and to predict cheerleading players the next move. Using panning skill with pre-focus and completing photography composition in the shortest time to capture the most exciting moments.

碩士
國立臺中科技大學
商業設計系碩士班
100
"Photographic" has a very important purpose to record the history. Therefore the definition of Documentary becomes a more in-depth discussion. Wedding documentary is a type of documentary photography. Especially after the popularity of photography, everyone anywhere to shoot their photo anytime and anyware. Today, wedding documentary very important element in the modern marriage. Modern men and women are free to love, many of the old concept is not necessary in modern society. The wedding is evolving with the times, photography viewpoint likewise. The wedding documentary focuses on people with emotional, and therefore we can''t ignore the marriage of traditional evolution. The wedding documentary is a record of a process, but it is not just the outside of artistic expression, it is also worthy of further exploration text. First, this study is the to using the Documentary Analysis Method, focus on the history of photography, documentary photography information and photographer. Moreover, collect wedding documentary of Taiwan, traditional folk data, wedding photographer, etc. related literatures. From which to explore the professional competence of the evolution of wedding customs processes and wedding photographer. In considering the efficiency factor, using the Questionnaire to learn how new couples and their wedding photographer thinking. After Questionnaire, In-Depth Interview Method is the next step. Interviews with professional photographers through specific issues from the industry point of view. After the results to analyze the fallowing conclusions: 1. Women - a protagonist of modern wedding: Although the wedding before the undesirable practices of many degrading to women, but these conditions have been many improvements in the modern. Taiwanese society, many of the details are slowly evolved. 2. The modern wedding is relaxed and happy: Now, the traditional wedding there are many changes, but the spirit of the past almost the same. After reducing waste of resource, it is much easier to host of wedding. 3. Digital technology to stimulate new markets: shooting photos cost reduction features driven wedding documentary to professional business. In addition, exquisite wedding has driven the growth of other related industries. 4. Just shoot - Technology will take care everything: digital camera in the getting smarter and easier to use. With software and computer''s processing, you do not need high-level photography skills anymore. 5. Wedding documentary photographic is Documentary Photography: through of new couples and photographers than the scale denoted by the definition of Documentary Photography, you can understand that Wedding documentary Documentary photography ingredients, showing its close correlation. 6. All they need is result-their photos: The results show that most new couples are satisfied with their hired photographer, also said they trust for the photographer. These results establish the photographer how to display their works and how to communicate with customers. 7. Most important is the spirit of wedding: a modern wedding process in Taiwan, mostly to listen from others. Therefore, there is many different edition of wedding processes. With high internet developed, it is a new colorful wedding features in Taiwan.

碩士
台南應用科技大學
美術系碩士班
104
The purpose of the study was to access the emotional expression and conceptual photography on image display. Much to the feelings of many, during the critical time of the events occurred, a picture or an image is worth a thousand words. A designed image can be extended unlimitedly and convey the writer’s emotions. Let the scene dictate the concept but with a theme in your mind , and your viewers will make their own meaning out of it. 1. Introduction : To review the writer’s study purpose、motivation and methods. The writer as well as the photographer and inventor will capture the mood images during the traveling lives and convey the elicited emotion at the moment. 2.Documents discussion : Exploring the nature of photography and analyzing the style of different photographers to meet the influences of the inventors. 3.Invention concept : Using the metaphorical phototaking techniques and concealed concepts to record the inventor’s mood and the meanings of photos. The differences occurred between the inventor and the viewers will be the issues to discuss. 4.Work analysis : The phrase ''art for art''s sake'' condenses the notion that art has its own value and should be judged apart from any themes which it might touch on, such as morality, religion, history, or politics. Today, deployed more loosely and casually, it is sometimes put to very different ends, to defend the right of personal free expression and to appeal for art to uphold the differences caused by individual active exploring.

碩士
高雄師範大學
體育學系
98
This study provided the outlines and references on the presentation and application of the decisive moments in sport photography for the interested domestic photographers. Research area was focused on the pitchers of baseball games. Through the sports photos taken and personal experience of the researcher, in addition to the interviews of 4 domestic senior sport photographers with over 15 years of field experiences, the conclusion of this study were as follows： 1. In order to have a higher percentage of successful photos of the pitches, sport photographers have to take photos through different angles with different backgrounds. The skills of presenting a series of inspiring photos must be based on sharp observation and keen judgment with well-practiced photography skills and quick reaction. 2. The characteristic of sport photography is to capture the images of athletes on the fields and to tell the whole story and give meaning to it. Sharpen the fundamental photography knowledge and the capability to master all kinds of photographing techniques are the2 keys for a successful sport photography. 3. The excellent performance of an athlete on the fields not only enhances the individual achievements but also promotes the additional values of the relevant industries such as media and the entire sport market on the economic level. Comparatively, the demand in higher quality for sport photographies has a definite positive impact on creating the value of sport market.

Most of the work on photography is about image and trying to understand photography as an image. Contrary to this approach, this paper deals with the experience of the photographer at the time of taking the picture, and also the influence of photography, understood as a medium, on our perception. The main topic is the photography of movement, where we can best demonstrate how photography changes both our perception and our understanding of (objective) reality. The beginning of the work is devoted to one of the greatest Czech photographers, Josef Sudek, who describes the method of his work. Sudek's definition of the moment involved in taking the picture is "when everything fits together"; the impossibility of returning to the same moment is a central feature of photography as presented in this work. Consequently, the basis for the thesis is that (1) photography and camera change the way we perceive, and that (2) photography is an actualization of the possibility of how we see what we see. The actualization of the possibility is discussed mainly in the context of Barbara Probst, whose work "Exposures" fundamentally enters the history of photography, and who - once again - does not put emphasis on the image but rather on the photographer as the creator of the image.

Realism, Race and Citizenship: Four Moments in the Making of the Black Body, Colombia and Brazil, 1853 - 1907 investigates the visual and literary mechanisms used to refurbish racial and social hierarchies in Brazil and Colombia in the aftermath of the abolition of slavery. Chorographic paintings, scientific photographs, identification documents, and naturalist literature are taken to together to argue that: on the one hand, the slave is the fleshy object that defines freedom and, in the postcolonial moment, citizenship. In "Realism, Race and Citizenship: Four Moments in the Making of the Black Body, Colombia and Brazil, 1853 - 1907," I propose that in geo-political spaces where the abolition of slavery and the re-branding of work were intensely debated and violently fought over, realist programs of representation facilitated the propagation of modern racializing schemas. Chapters 1 and 2 study the watercolors created for the Comisión Corográfica (the pre-eminent mapping project of nineteenth century Colombia) and scientific photographs produced in Brazil. These chapters uncover the stylistic conventions that make possible the staging of blackness as visible and immutable biological inferiority and as cumulative category that encompasses a variety of physical and social characteristics including but not limited to skin color, occupation, costume, and physical environment. Chapters 3 and 4 argue that the disavowal of slavery structures Brazilian naturalist novels such as O Cortiço (Aluísio Azevedo, 1890) as well as legislative debates about the nation and the citizen. By focusing on the visual and narrative orchestration blackness, my dissertation provides a critical framework for understanding how realist aesthetic conventions configured (and continue to animate) discourses of race and citizenship in Brazil and Colombia.

Dissertation

My work uses process as a course of action that marks the death of moments through a continuous stream of consciousness. I metaphorically link disparate pieces of information to the human condition in order to present multiple readings through juxtaposition. I assemble both abstract and figurative subject matter in a collage-like manner through methods of cropping and fragmentation to symbolize the disjuncture I feel is indicative of how we experience the world through short-lived thoughts, feelings, and actions.