Dissertations / Theses on the topic 'Photographers'
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Shtonda, A. O. "Great Contemporary Photographers." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8399.
Full textJambard-Sweet, Carolyn. "Carte-de-visite culture in Manchester NH a case study /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162753708.
Full textCordier, Astrid. "The influence of 1950s fashion photographers, Richard Avedon and Irving Penn, on photographers Matthew Rolston and Steven Meisel." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008112.
Full textMacleod, Sheila Jean. "Three french writer-photographers after Roland Barthes." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411256.
Full textPavão, Luís. "Photography in Lisbon, Portugal from 1886 to 1914 /." Online version of thesis, 1989. http://hdl.handle.net/1850/11377.
Full text黎健強 and Kin-keung Edwin Lai. "The life and art photography of Lang Jingshan (1892-1995)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B30230214.
Full textHaney, Erin Leigh. "If these walls could talk! : photographs, photographers and their patrons in Accra and Cape Coast, Ghana 1840-1940." Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415453.
Full textGillis, Natalie Kersey. "Reconstructions : the contemporary Southern landscape by its photographers." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002736.
Full textMorris, Ryan K. "Understanding Involuntary Job Loss Among Former Newspaper Staff Photographers." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4174.
Full textWilson, Denise Alexandra. "Beyond the domestic : women photographers in Ireland 1853-1913." Thesis, Ulster University, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.755095.
Full textCraig, Trigg. "Lala Land: A Discursive Ethnography of Professional Commercial Photographers." Thesis, Curtin University, 2016. http://hdl.handle.net/20.500.11937/51706.
Full textKennedy, Joan Loomis. "Representations of spectra in early British astrophysics." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365627.
Full textLai, Kin-keung Edwin. "The life and art photography of Lang Jingshan (1892-1995)." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22030323.
Full textPitts, Terence. "WILLIAM BELL: PHILADELPHIA PHOTOGRAPHER (PENNSYLVANIA)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/292050.
Full textSparrow, Ryan J. "Photographic disconnect : examining the divide between newspaper photographers and designers on the matter of digital alteration of photographs on the front page." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391238.
Full textDepartment of Journalism
Ashley, Daniel. "Civil War Photographs Considered." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/AshleyD2004.pdf.
Full textRichardson, Cynthia Watkins. "Picturing Nature: Education, Ornithology and Photography in the Life of Cordelia Stanwood: 1865-1958." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/RichardsonCW2002.pdf.
Full textMcDaniel, Kyle Ross. "Reviewing the image of the photojournalist in film how ethical dilemmas shape stereotypes of the on-screen press photographer in motion pictures from 1954 to 2006 /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4997.
Full textThe entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 7, 2007) Includes bibliographical references.
Nelson, K. E. "A compilation of information about the life of Robert Kates Bonine, 1862-1923 : with an examination of his early years in photography and film /." Online version of thesis, 1989. http://hdl.handle.net/1850/11373.
Full textKowalski, Shelley. "Fading light : the case of Doris Ulmann /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9977907.
Full textTypescript. Includes vita and abstract. Includes bibliographical references (leaves 232-242). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9977907.
Aufort, Adrien. "Homo photographicus : sociogenèse du métier de photographe en France." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL023.
Full textThis doctorate thesis aims to study the profession of photographer through the lens of sociology and history.A current portrait (2018-2023) of the professionals is drawn up by analyzing 30 interviews and 258 responses to an online questionnaire. Education, sociability, technique, aesthetic preferences and cultural habits are described in detail. In the manner of a replicability experiment, some of the results of this double survey reinforce the conclusions of previous work, particularly with regard to the socio-demographic determinants of entry into the profession. Others are more original, such as the influence of seniority on income, or the influence of geographical location on winning a prize. Professional success is also addressed and understood as the match between an ‘extended setup', a link between man and machine, and social representations. The latter are the fruit of the photographers' work, both on the photographic images they produce and on the self-image they cultivate. A historical correspondence (1910-1952) was also established by analyzing 778 issues of the magazine Le Photographe. From its beginnings as a corporate body to its legal, political and institutional achievements, the profession has a rich history. Understood as an individual and collective enterprise, the profession of photographer is seemingly in a constant state of crisis. It requires not only a constant negotiation with technological changes as they arise, but also with other users of the photographic medium
Schulman, Amy Alice. "'Picture Post' and the photographic essay : émigré photographers and visual narratives, 1938-1945." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8501/.
Full textBeckner, Sarah. "More than a record : an analysis of the stylistic development in W.H. Jackson's photography, 1868-1871 /." Online version of thesis, 1990. http://hdl.handle.net/1850/11076.
Full textLandriaux, Jo-Anne. "False illusion : animals, nature and consumerism /." Online version of thesis, 1989. http://hdl.handle.net/1850/11296.
Full textSteensma, Jennifer. "The Willard D. Morgan Archive /." Online version of thesis, 1992. http://hdl.handle.net/1850/11098.
Full textSmith, Laura E. "Obscuring the distinctions, revealing the divergent visions modernity and Indians in the early works of Kiowa photographer Horace Poolaw, 1925-1945 /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3330805.
Full textTitle from PDF t.p. (viewed on Jul 21, 2009). Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3782. Adviser: Sarah Burns.
Boddy, Adrian. "Max Dupain and the photography of Australian architecture." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36005/25/__qut.edu.au_Documents_StaffHome_StaffGroupR%24_rogersjm_Desktop_36005_Vol1_Digitised%20Thesis%20Vol%201%20Compressed%20%20Boddy.pdf.
Full textDeacon, Henry Christopher. "The perspective of Cape Town professional photographers on issues of integrity in the documentary photograph." Thesis, Cape Peninsula University of Technology, 2013. http://hdl.handle.net/20.500.11838/1312.
Full textThis study investigates the perspective of Capetonian professional photographers on issues of integrity, regarding the impact of digital imaging technology. Key objectives are to establish how the concept of photographic integrity manifests itself throughout the history of the documentary genre, prior and subsequent to the introduction of digital imaging technology; to ascertain the extent to which the Capetonian professional photographer uses digital imaging technology compared to film technology; to discover how Capetonian professional photographers perceive various concepts related to integrity in a documentary photograph; to identify what Capetonian professional photographers regard as acceptable digital editing to the photojournalistic documentary photograph; to ascertain whether Capetonian professional photographers believe that digital imaging technology impacted on the integrity of the documentary photograph; and finally, to discern whether Capetonian professional photographers who have practiced professional photojournalism see the need for a national regulating body, which clearly makes known what acceptable picture taking (in terms of content, e.g. staging of a photograph) and digital editing entails, for the South African photojournalist. The rationale for this study is that we exist in an era where we are faced with a digital revolution which transforms perceptions of integrity and it is essential to ascertain how technology influences the perceptions of the very professionals who produce documentary photography images. The literature review evolves a context for this study. This empirical study’s data collection and analyses has a mixed-method design. The survey’s instrument of data collection is a questionnaire, which captured quantitative data and with half of one question captures qualitative data. I analysed quantitative data with the help of SPSS and I analysed qualitative data much akin to a case study. The statistical test used to analyse quantitative data is a chi-square test and there are 66 participants in the study. I found that a breach of integrity, for instance manipulation, was always possible in the era prior to the introduction of digital imaging technology. Now it is only done faster, more thorough and more people have access to editing technology. Many who lack moral fiber are tempted now, more than ever, to illicitly manipulate. Capetonian professional photographer’s experience in digital image creation and editing technology outweighs the equivalent in the film medium. Digital camera usage takes precedence over film cameras. An example of a perception of a concept related to integrity in documentary photography is the sub-group which has practiced professional photojournalism insisted (73.5% of them strongly agreed) that it is possible to be creative and truthful at the same time in documentary photography. With regard to what acceptable editing entails, for cropping respondents favoured slight cropping; for dodging and burning in respondents favoured very light dodging and burning in; for pasting in respondents favoured no pasting in is acceptable; and for removing of objects respondents favoured no removing of objects. The Capetonian professional photographer believes that digital imaging technology has impacted on the integrity of the documentary photograph. For instance, the study has measured and proved that a majority of Capetonian professional photographers believe that a documentary essay taken in film and processed in the traditional darkroom feels more consistently trustworthy than its digital equivalent. This study has shown that there is a need for a body that clearly makes known what acceptable picture taking and digital editing entails for the professional photojournalistic photographer in South Africa.
Piper, William Brian. "Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970." W&M ScholarWorks, 2016. https://scholarworks.wm.edu/etd/1477068187.
Full textBrown, Mikell Waters. "The Photographer's Wife: Emmet Gowin's Photographs of Edith." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/4501.
Full textOliveira, Valter Gomes Santos de. "Revelando a cidade: imagens da modernidade no olhar fotográfico de Osmar Micucci (Jacobina 1955-1963)." Programa de Pós-Graduação em História da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/11492.
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A presente dissertação possui como tema a obra fotográfica produzida por Osmar Micucci entre os anos de 1955 a 1963 sobre a cidade de Jacobina. Nela o fotógrafo é visto como um espectador privilegiado no momento em que a cidade passou por um conjunto de transformações na sua paisagem urbana e nas práticas culturais de sua população, entendidas na época como sintomas da modernidade. Trabalhando como fotógrafo, Micucci produziu um conjunto de imagens urbanas, apontando através delas seu olhar atento para diversos aspectos que revelam, tanto panoramicamente quanto pontualmente, o acompanhamento das transformações na cidade. O estudo teve como objetivo analisar esse olhar fotográfico e sua importância dentro daquele contexto em Jacobina. Nesta pesquisa a fotografia foi tratada como documento histórico de primeira grandeza, estabelecendo diálogos com outras fontes, como a imprensa, a oralidade e escritos da época. A fotografia é analisada tanto como um artefato técnico quanto artístico e situada naquela realidade histórica específica. O olhar urbano de Micucci é visto dentro do contexto interno e externo da história da fotografia, de maneira que sua obra é pensada na relação entre a cultura fotográfica local, nacional e mundial. Por outro lado, as fotografias de Micucci também são tratadas como patrimônio cultural da cidade, dado o valor histórico que elas cumpriram na construção daquela memória social.
Salvador
Nott, Michael J. "Photopoetry : a critical history of collaborations between poets and photographers in the Anglophone world, 1845-2015." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7811.
Full textChen, Shi. "Early Chinese photographers from 1840 to 1870 innovation and adaptation in the development of Chinese photography /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0025015.
Full textMac, Dougall Lola. ""Not lost to human sight": indian glimpses of privacy in Zenana photographers, Dayanita Singh, Gauri Gill and Ketaki Sheth." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/396367.
Full textLa presente tesis doctoral analiza las contribuciones de algunas fotógrafas indias a la representación de la privacidad. Desde 1840 las fotógrafas indias han disfrutado de un acceso privilegiado a retratar lo privado -aquello que se ejecuta en soledad o a la vista de unos pocos- y ese acceso se explica frecuentemente en razón de su género. En este estudio se analizan las correspondencias y divergencias en la representación de la privacidad de las primeras fotógrafas indias -prestando especial atención al fenómeno de la fotografía zenana - y tres fotógrafas contemporáneas: Dayanita Singh, Gauri Gill y Ketaki Sheth. El argumento es que, en cada uno de los casos de estudio propuestos, la fotógrafa ha explorado los límites de representación de la privacidad en fotografía, impidiendo que algunas de sus formas o manifestaciones, a menudo relacionadas con lo doméstico y la intimidad, “se escaparan a la mirada humana”.
Barker, Geoffrey R. "Refracted vision : nineteenth-century photography in the Pacific." Thesis, The University of Sydney, 2010. http://hdl.handle.net/2123/7911.
Full textHudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.
Full textDworznik, Gretchen J. "The Psychology of Local News: Compassion Fatigue and Posttraumatic Stress in Broadcast Reporters, Photographers, and Live Truck Engineers." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1210513135.
Full textTitle from PDF t.p. (viewed Sept. 28, 2009). Advisor: Stan Wearden. Keywords: journalism; trauma; broadcasting; reporting; television; posttraumatic stress; compassion fatigue. Includes bibliographical references (p. 164-184).
Ricklund, Lina. "Föreställningar om naturfotografin En studie av naturfotografers syn på tendenser och förändringar inom naturfotografin." Thesis, Linköping University, Department of Thematic Studies, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2868.
Full textThe purpose with this essay is to examine the role of landscape photography as a portrayer of nature. The study contains interviews with eight landscape photographers, to find out how they look at tendencies and changes in photography. The essay focuses on the discussion of authenticity and realism in landscape photography. Due to the requirement of nature as something natural and authentic, the landscape photography stands in a special position when it comes to matters of manipulation and influence. On the basis of certain analysis themes, the landscape photographers debate questions such as where landscape photography stands today, and how the future looks for the genre.
Uppsatsen diskuterar naturfotografins roll som skildrare av naturen, och syftar till att undersöka hur etablerade naturfotografer själva ser på sin verksamhet. Studien består av intervjuer med åtta etablerade naturfotografer, för att få reda på deras syn på tendenser och förändringar inom naturfotografin. I fokus för studien finns diskussionen kring äkthet och verklighetsanspråk. På grund av kravet på naturen som någonting naturligt och äkta befinner sig naturfotografin i en särskild position vad gäller frågor om manipuleringoch annan påverkan. Med hjälp av analysteman som de intervjuade naturfotograferna reflekterar kring, uppmärksammas de frågor dagens naturfotografi står inför, och även hur framtiden ser ut för den naturfotografiska genren.
Yelles, Anissa. "Reproduire les ruines au XIXe siècle : pour une approche comparative de la représentation photographique des sites archéologiques en Méditerranée : l'exemple de l'Algérie et de l'Italie." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H108.
Full textOur thesis wishes to determine the components of the photography of ruins in the 19th century and to try to define this model of representation of the archaeological trace. This study aims to understand how the archaeological sites of the Mediterranean sites have been reproduced through a photograph of archeology whose scientific rules are not yet predefined in the nineteenth century. In order to produce this research, we propose to apply a comparative method, analyzing the production produced by photographers in two different geographical and geopolitical contexts, in the context of excavations, persona) travels or archaeological explorations. Taking into account relevant historical and socio-cultural criteria, we selected two countries on the two Mediterranean shores, Italy and Algeria. Two scientific but also tourist destinations conducive for the physical discovery of the archaeological experience for photographers of the period studied, simply because of richness and diversity of their archaeological heritage. Two destinations that also experienced a history of archeology, and a history of their separate excavations on many aspects. Based on a relatively large corpus, the comparative approach we have chosen to apply has enabled us to observe, describe and understand the way in which photographers have contributed to the structuring and circulation of the imaginary Archaeological sites between Europe (especially Italy) and North Africa (Algeria) in the nineteenth century. Thus, by means of an established protocol and a selection of corpus (mainly centered on the production of French photographers), we have been able to highlight a set of systems of representations of the ruin linked to a common imaginary of the countries Mediterranean countries
Soukhakian, Fazilat. "The Private Revealed: A Search for a New Modernity Through the Lens of the Shah and Contemporary Photographers in Iran." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522057558134736.
Full textJolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
Full textDobranszky, Diana de Abreu. "Referente e imagem na fotografia brasileira em fins do seculo XX." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285045.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Através da câmara obscura, a fotografia herdou características vindas da pintura quanto a representação tanto em termos estéticos como em relação aos conceitos de realismo. Ao mesmo tempo, seu mecanismo de funcionamento gerou discussões ao longo do tempo sobre sua verosimilhança e sobre sua peculiar ligação com o visível. O que destaca-se na imagem fotográfica é a presença do referente necessariamente real, como coloca Roland Barthes. Essa sua condição de ligação com o real evidencia sua natureza diferenciada com relação as demais formas artísticas e, com isso, oferece-lhe novos recursos plásticos que influenciaram a arte principalmente no século XX, da mesma forma como foi influenciada por ela. Essa pesquisa tem como foco principal o referente fotográfico que oferece-nos questões e discussões quanto a natureza da imagem fotográfica; que nos orienta no estudo de diferentes momentos da história da fotografia e que, por causa do experimentalismo na fotografia autoral, apresenta-se de inúmeras formas - o que aqui será ilustrado nas obras criadas em fins do século XX por seis fotógrafos brasileiros
Abstract: Not informed.
Mestrado
Mestre em Multimeios
Frank, Wiewandt Edward. "ARCHIVING THE DIGITAL IMAGE: TODAY'S BEST PRACTICES OF FILE PREPARATION." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1131398443.
Full textHenninger, Katherine. "Ordering the façade : photography and the politics of representation in contemporary Southern women's fiction /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Full textLopes, André Camargo [UNESP]. "Imagens da praça: a produção e os usos das fotografias de atestação como souvenir e ex-votos por romeiros em Aparecida - SP entre os anos de 1940 a 1980." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/144267.
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Este trabalho se propõe a analisar um conjunto de imagens fotográficas coletadas em acervos de famílias de moradores da região norte do Município de Londrina (PR), cujo tema remete as poses retratadas no Santuário Nacional de Aparecida (SP) entre os anos de 1940 e 1980. A análise presente nesta pesquisa está dividida em duas etapas que se completam em seu fechamento: a primeira etapa – volta-se para o exercício de coleta e pesquisa de campo, o processo de catalogação, orientação e seleção temática a partir da persistência do tema como algo externo a rotina cotidiana, mas permanente no acervo como uma tradição religiosa destes núcleos familiais. A segunda etapa do estudo, estabelece a construção das relações produtoras do tema “Fotografias de Aparecida”. Delimitada em um recorte histórico que objetiva examinar tanto as redes como os indivíduos responsáveis pela construção e manutenção do olhar fotográfico sobre os espaços de fé no Santuário de Aparecida (SP). A pesquisa é balizada em sua temporalidade a partir da concepção das fotografias enquanto uma mercadoria de lembrança ou ex-voto explorada economicamente pelos fotógrafos ambulantes nos marcos de concentração de romeiros, especificamente as poses produzidas na Praça Nossa Senhora Aparecida. Sendo assim, propomos um recorte temporal que abarque os períodos áureos desta prática entre as décadas de 1940 a 1980. Logo, a pesquisa se volta para compor através da análise das entrevistas com os fotógrafos da Praça, proprietários das imagens e as fotografias, uma rede produtora de uma memória sobre o espaço sagrado presente no imaginário religioso popular.
This study aims to analyze a set of photographs collected from the collections of families who are residents in the northern region in the city of Londrina, in Paraná; which theme refers to poses depicted at the “Santuário Nacional de Aparecida” in the city of São Paulo (National Sanctuary of Aparecida) between the years of 1940 and 1980. The analysis presented in this research is divided into two stages that complete each other in their closure: in the first stage the research turns to the collection and field search, the cataloging process, orientation and thematic selection from the persistence of the theme as something outside the everyday routine, however, permanent to the collection as a religious tradition of these family groups. In the second stage of the research establishes the development of producing relationships in regards of “Fotografias de Aparecida” (Photografs from Aparecida). Bounded by a historical approach that aims to examine both the networks and the individuals responsible for the construction, and maintenance of the photographic look over the faith space at the Sanctuary of Aparecida in the city of São Paulo. The research is highlighted in its temporality from the concept of photographs as souvenir merchandise or votive economically exploited by itinerant photographers in devotees travelers landmark concentrations, specifically the poses produced at “Praça Nossa Senhora Aparecida” (Our Lady of Aparecida Square). Therefore, we propose a time frame encompassing the golden periods from this practice between the 1940s and the 1980s. Thus, the search turns to compose through the analysis of interviews with Square photographers, owners of images and photographs, and a network which produces memory of the sacred space in this popular religious imagery.
Jolly, Martyn. "Fake photographs : making truths in photography." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4046.
Full textBogue, Elinor E. "A study of the gatekeeping role of chief photographers : the social identity theory and in-group bias in the assignment of sports photos." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1538076.
Full textPlunkett, Wilma Marie. "Edith Irvine: Her Life and Photography." BYU ScholarsArchive, 1989. https://scholarsarchive.byu.edu/etd/5613.
Full textIhle, Astrid. "Women under socialism : both sides of the camera : women photographers and the construction of femal identity in the photographic representations of the GDR, c. 1949-1961." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417772.
Full textSoldera, Dânia. "Fotografia: conversa com imagens, entre a luz as trevas." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/4076.
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Made available in DSpace on 2015-02-04T14:44:06Z (GMT). No. of bitstreams: 2 Dissertação - Dania Soldera - 2014.pdf: 15204983 bytes, checksum: c82bdaee340a3b058ad4adb84960cda3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-06-30
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The research entitled Photography: conversation with pictures, between light and darkness, aims to answer the question : What are the ways of seeing and how are they given? Thus, the proposal is to discuss what is the seeing and what are the ways of seeing, especially regarding images, and propose new possibilities to perceive and relate to the images. The look of blind photographers artists Teco Barbero, Pete Eckert and Evgen Bavcar is the starting point for articulating concepts, notes, contextualizing and question the oculocentrista beliefs that the world thinks the imagery as belonging only to the visionaries. The theoretical foundation is rooted in the study of the visual culture to think that corroborate the view, photography and reflection of visually impaired people enabled by the field, and discuss issues such as image, its production and some possible ways of seeing and relating to the images. The photograph is placed on debate to advance the reflection on the ways of seeing, perceiving, thinking and create the view beyond. And think the description and language as articulators for the visually impaired relationship with photography and images in general way. When entering the world of language, translation emerges as a possibility to reflect on ways of building the images for the visually impaired. The structure of the thinking process of the seeing, perceive and relate to the imaging, is woven from the poetics of 'see', ' review ' and ' transverse ' metaphor proposed by Manoel de Barros. Also relies, in the possibilities of translation, Flusser, entering the field of visual culture studies. The field research, observation and data collection was performed with a group of visually impaired and bachelors in travel photography Visual Literacy extension, Senac - SP, where students learn how to shoot and handle the camera, doing exercises to increase awareness, perception and imaging, as well as discussion and reflection on the photographic and image production. Research indicates, among other issues, that the seeing is not something unique of the eye and that it is built from the experiences, experiments, and especially the perceptions coming from the senses. The view is a construction that relies on vision, and is completed in sensations, memories and imagination. Seeking to expand the discussion on the ways of seeing, are listed the reports, processes and photographic works of Lelo Araújo, Ana Domingues and grandson Josiah. Analysis and interpretations that cover the production of these blind photographers are not woven, since the purpose of the research is to reflect upon the possibilities of seeing in its wealth of forms and manifestations, thus increasing the knowledge about the image.
A pesquisa intitulada Fotografia: conversa com imagens, entre a luz e as trevas, tem por objetivo responder à questão: O que é e como se dão os modos de ver? Desse modo, a proposta é problematizar o que é o ver e os modos de ver, principalmente no tocante às imagens fotográficas, e propor novas possibilidades para perceber e relacionar-se com as imagens. O olhar dos artistas fotógrafos cegos Teco Barbero, Pete Eckert e Evgen Bavcar é o ponto de partida para articular conceituações, apontamentos, problematizações equestionar a convicção oculocentrista que pensa o mundo imagético como pertencente apenas aos videntes. A fundamentação teórica tem raízes nos estudos da cultura visual que corroboram para pensar o ver, a fotografia e a reflexão dos deficientes visuais viabilizada pelo campo, e discutir questões como imagem, sua produção e alguns possíveis modos de ver e se relacionar com as imagens. A fotografia é colocada em debate para avançar nas reflexões referentes aos modos de ver, perceber, criar e pensar o ver que vai além. E pensa a descrição e a língua como elementos articuladores para a relação dos deficientes visuais com a fotografia e imagens de modo geral. Ao adentrar no universo da língua, a tradução surge como possibilidade para refletir sobre os modos de construção das imagens fotográficas pelos deficientes visuais. A estruturação desse processo de pensar o ver, perceber e se relacionar com as imagens, é tecida a partir da poética do 'ver', 'rever' e 'transver', metáfora proposta por Manoel de Barros. Apoia-se também, nas possibilidades da tradução, de Vilém Flusser, adentrando o campo de estudos da cultura visual. Apesquisa de campo, observação e coleta de dados foi realizada com um grupo formado por deficientes visuais e bacharéis em fotografia do curso de extensão Alfabetização Visual, SENAC-SP, onde os alunos aprendem a fotografar e manusear a câmera, fazem exercícios de sensibilização, percepção e criação de imagens, além de debates e reflexões sobre a produção fotográfica e imagética. A investigação aponta, dentre outras questões, que o ver não é algo exclusivo do olho e que ele é construído a partir das vivências, experiências e, principalmente, das percepções oriundas dos sentidos. O ver é uma construção que se apoia na visão, e que se completa nas sensações, memórias e imaginação. Buscando ampliar a discussão sobre os modos de ver são apresentados os relatos, processos e trabalhos fotográficos de Lelo Araújo, Ana Domingues e Josias Neto. Análises e interpretações que abarquem a produção destes fotógrafos cegos não são tecidas, pois o intuito da pesquisa é refletir a respeito das possibilidades do ver em sua riqueza de formas e manifestações, com isso, ampliar o conhecimento sobre a imagem.