Journal articles on the topic 'Photographers'
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1
Indra Astutik, Ika Ratna, and Yudhistira Wignya Radhitya. "Sistem Informasi Pemesanan Jasa Fotografer Berbasis Web Pada Studio Fotograferku." Journal of Technology and System Information 1, no. 1 (January 19, 2024): 1–15. http://dx.doi.org/10.47134/jtsi.v1i1.2142.
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Studio Fotograferku is a company engaged in photography services. In the current digital era, the need for photography services continues to increase along with the growth of the creative industry and social media. However, the process of finding and ordering photographers often takes a long time and is less efficient. Seeing this potential, we developed a web-based photographer ordering information system. This system aims to make it easier for customers to search, compare, and order photographer services according to their needs and preferences. This system provides a photographer search feature based on category, location, price, and portfolio. Custome can view profiles, works and reviews of available photographers. In addition, this system is equipped with a calendar feature that allows customers to see the availability of dates from photographers and place orders directly through the platform. To increase user trust, the system is also equipped with a rating and review system that can assist customers in making decisions. From the photographer's perspective, they can register themselves, manage their profile, upload their portfolio, and schedule their activities. This system is also equipped with a notification feature to inform photographers about new orders or changes to existing orders. This web-based photographer ordering information system is expected to be a bridge between photographers and customers, increase efficiency in the ordering process, and expand market reach for photographers.
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Kaeppler, Adrienne L. "Early photographers encounter Tongans." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 209–26. http://dx.doi.org/10.1386/nzps_00038_1.
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Four early photographers are examined here in relation to their encounters with Tongans and Tonga. These photographers are Andrew Garrett, Gustav Adolph Riemer, Clarence Gordon Campbell and Walter Stanhope Sherwill. Garrett, an American natural historian who specialized in shells and fish, took two ambrotypes of Tongans in Fiji in 1868, which are two of the earliest Tongan photographs known. Riemer, born in Saarlouis, Germany, was a marine photographer on S.M.S. Hertha on an official diplomatic visit and took at least 28 photographs in Tonga in 1876. Campbell, a tourist from New York, took 25 culturally important photographs in 1902. Sherwill, a British subject born in India, moved to Tonga about the time of the First World War. He probably took many photographs with more modern equipment, but only two have been identified with certainty. This article presents information about the photographers and those depicted, where the original photographs can be found and the research that made it possible to glean cultural information from them. These early photographers are placed in the context of other more well-known early photographers whose works can be found in archives and libraries in New Zealand, Australia, Hawai‘i and Germany. In addition, summary information about two Tongan-born photographers is presented, as well as where their photographs/negatives can be found.
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Fiore, Dánae. "Photographs as Artifacts." Anthropos 114, no. 1 (2019): 57–78. http://dx.doi.org/10.5771/0257-9774-2019-1-57.
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This article presents key concepts and methods used to develop a visual archaeology of two Indigenous societies of Tierra del Fuego (Shelk’nam, Yámana/Yagan). Photographs are conceived as artifacts, which condense the traces of at least two agents: photographers and photographed subjects. These visual records are not only biased by the different photographers who took them, but also shed light on the different material culture patterns produced by each Indigenous society, which are visible on the images when studied in large samples. The article discusses some results of systematic investigations carried out on a corpus of 847 photographs taken by 39 photographers of Shelk’nam and Yámana/Yagan persons (19th and early 20th centuries). These are compared to materials found in the archaeological record in order to generate new data about the material culture used by Fueguian hunter-gatherers.
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Kloster Poulsen, Steffen. "Når eksplosioner er kunst." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 100–115. http://dx.doi.org/10.7146/periskop.v2024i31.146623.
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This article argues for an expanded effort to search for, and actively utilize, concepts and methods from the sociolinguistic periphery of the otherwise anglocentric academic lit- erature on photography in order to achieve a more level playing field between vernacular concepts and purportedly universal ones. Taking the history of public debate on photo- graphy in Japan as a departure point, this article aims to map out a new area of explora- tion for photographic research in the academic field of art history. Japan has been home to a vivid public and intellectual debate on photography since the birth of photography and, although its output of photographers and photobooks has been globally acclaimed and exported to museums and galleries internationally, especially in the past thirty years, lit- tle emphasis in academic research and elsewhere has been put on Japanese photographic critique, theory and debate outside the archipelago. As an example of unexplored theory, this article analyzes two published lectures by Japanese photographer Hatakeyama Naoya in which he reflects on photography's value as art, its place in the art world and the processes by which photographers become labelled as artists. Using a metaphor from analogue photography, he deems photographers “latent artists” who by a development process can become artists. Following Hatakeyama’s line of thought, this article argues furthermore that the metaphor can be extended to photographs themselves.
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Dissarami, Dissarami. "PHOTOGRAPHER INCOM EARNINGS PRE-WEDDING IN PERSPECTIVE AL-'AMÂL . IJÂRAH CONTRACT (A Research in Takengon City)." Dusturiyah: Jurnal Hukum Islam, Perundang-undangan dan Pranata Sosial 12, no. 2 (December 8, 2022): 169. http://dx.doi.org/10.22373/dusturiyah.v12i2.13260.
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Pre-wedding photo shoots are carried out to meet various aesthetic needs at the wedding ceremony. This causes many people to need the services of a photographer, producing various forms of style from every pre-wedding photo moment that is created. There are three problem formulations in this thesis, namely first, how is the contribution of the photographer in determining behavior and style in pre-wedding shooting. Second, what are the efforts made by the photographer to avoid photo sessions that are against the syara' in pre-wedding photography. Third, what are the consequences of the photographer's income according to the perspective of the ijarah al-'amal contract in Takengon City. The method that the author uses in this research is a qualitative descriptive method, the data collection used is through library researchers and field researchers, carried out by researching and asking questions to the photographer in Takengon City. The results of the study show that first, the participation of photographers in the photo-taking process to avoid things that are contrary to sharia. Second, in the photo session there were several photographers giving rules and restrictions to clients to avoid things that are contrary to sharia rules. Third, the photographer's income has met the terms and conditions based on the ijarah al-amal agreement
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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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De Leon, Adrian. "Frank Mancao's “Pinoy Image”: Photography, Masculinity, and Respectability in Depression-Era California." Journal of American Ethnic History 41, no. 2 (January 1, 2022): 58–94. http://dx.doi.org/10.5406/19364695.41.2.03.
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Abstract This article examines the construction of respectability politics and ethnic identity in the visual archives of Frank Mancao, a Filipino labor contractor and photographer in California. By investigating Mancao's relationship with the male Filipino farmworkers he managed and photographed, it argues that ethnic photographers and migrant workers as photographic subjects turned to the camera as a means of constructing a respectability politics to refashion a denigrated masculine Filipino identity in the American West. It begins with an investigation of Mancao's photographic practice and moves into how his work as a studio photographer provided Filipino men—including Mancao himself—opportunities to represent themselves against the popular image of the Filipino vagrant and criminal. However, this study also suggests that the “Pinoy image” crafted around the camera was not a revolutionary one; instead, the photographs reified industriousness and participation in capitalist production as the merits of good citizenship.
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Alexander, Arden. "Photographic Resources Documenting the Middle East at the Library of Congress." Middle East Studies Association Bulletin 40, no. 1 (June 2006): 63–74. http://dx.doi.org/10.1017/s0026318400049415.
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Images of the Middle East form an important part of the 14 million items in the Prints and Photographs Division (P&P) of the Library of Congress (LC). The Middle East designation covers a broad geographical region stretching from Algiers in North Africa, to Samarqand in present day Uzbekistan. Most of the photographs, negatives, book illustrations, posters, albums, stereographs, and prints date from between 1840 to the present and document people, archaeological sites, buildings, important events, and everyday life. The photographers include resident foreigners such as Rudolf Lehnert and Ernst Landrock (generally known by their corporate name Lehnert & Landrock), travelers to the region like Francis Frith, local photographers such as Ottoman military photographer Ali Riza Pasha, and most recently LC staff members who visited war-torn Baghdad. The Middle East holdings total about 50,000 items, received through copyright deposit, gift and purchase.
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Saretzky, Gary D., and Joseph G. Bilby. "New Jersey Photographers of the Civil War and Postwar Era: John P. Doremus." New Jersey Studies: An Interdisciplinary Journal 8, no. 1 (January 27, 2022): 152–223. http://dx.doi.org/10.14713/njs.v8i1.267.
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Of the more than 3,000 photographers active in New Jersey in the nineteenth century, a number of them were itinerant camera workers at some point during their careers, operating with a horse-drawn wagon. Some photographers, especially those taking views, circulated locally even when they had a gallery where they did portraits and sold other kinds of photographs. Like many other American photographers who did not always wait for customers, John P. Doremus began working in the medium during the Civil War, when there was a strong market for portraits. Doremus is distinguished in that, for much of the latter 1870s and 1880s, he lived and worked on a floating gallery on the Mississippi River while his business back home in Paterson, Passaic County, was managed by his family. For this remarkable episode in his career, he was inducted into the National Rivers Hall of Fame in 1991. He is also exceptional in that he kept a journal in which he recorded fascinating details about his experiences. This essay provides a case study of an able and ambitious photographer and entrepreneur whose career, characterized by both typical and unique experiences, sheds light on photographic and business practices of his era. You can find additional John P. Doremus photographs here: https://web.ingage.io/6jsPH2p.
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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky." Art & Culture Studies, no. 4 (December 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.
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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.
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Opp, James. "Still Photographs, Publicity, and the Making of Cecil B. DeMille's Ten Commandments (1956)." Film History: An International Journal 34, no. 4 (2022): 1–29. http://dx.doi.org/10.2979/fih.2022.a900040.
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ABSTRACT: From 1954 to 1956, tens of thousands of still photographs were taken, reviewed, printed, and circulated to promote Cecil B. DeMille's The Ten Commandments (1956). By tracing the conflicts that emerged over their management, this study centers the photographs and their distribution within an ecosystem of public relations, print media, and film production. While studio photographers produced the bulk of the photographs, their role was overshadowed by celebrity photographers, including Yousuf Karsh and Yul Brynner. Changes in the visual media landscape and Hollywood's photographic infrastructure threatened both the still photographers and the ability of studio publicists to shape the narrative.
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Iqbal, Muhammad, and M. Badar. "Fotografer dan Dinamika Jurnalisme Positif perspektif Jurnalistik Islam: Studi Media Online Times Indonesia." Moderasi : Journal of Islamic Studies 2, no. 1 (June 13, 2022): 60–78. http://dx.doi.org/10.54471/moderasi.v2i1.24.
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Photography has an important role in the world of journalism. However, someone who works as a photographer doesn't just take pictures based on his imagination based on the photographer's own volition. This study aims to describe the role of photography and the dynamics of positive journalism in online media at www.timesindonesia.com. This research uses qualitative research with descriptive analysis, which describes phenomena and facts systematically and analytically. Is the role of photographers and the dynamics of positive journalism from the perspective of Islamic Journalism by having a case study in the online media Times Indonesia. The data collection method was based on the virtual ethnographic paradigm in cyber media (Nasrullah, 2014), especially online documentation from the work of photographer Senda Hardika Prasasti for the 2016-2017 period, while the results of the interviews were conducted on July 10, 2017. The analysis of this data used analytical techniques. The Miles and Huberman model; is in the form of data reduction analysis, data display, and conclusion verification. The results of the study indicate that the role of photographers in Timesindonesia has fulfilled the rules of positive and constructive photojournalism, including; (1) Appropriate/appropriate photo composition; (2) Contains journalistic elements (5W+1H); (3) Does not destroy the reality of events; and (4) Has more value than ordinary photos. The recommendations for all photographers in this study, among others; are (a) A photographer should always comply with the applicable journalistic photography ethics and journalistic photography publication ethics, and (b) Do not be easily bribed with material to produce and publish fake photos that can cause polemics in the community. The research also states that Islamic Journalism is a constructive solution to developing online mass media based on religious and humanitarian knowledge (humanism).
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Gunawan, Agnes Paulina. "Mendalami Dasar-Dasar dalam Pengambilan Pose pada Pemotretan Model." Humaniora 4, no. 1 (April 30, 2013): 377. http://dx.doi.org/10.21512/humaniora.v4i1.3448.
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There are many activities and numerous objects in this universe, which make them interesting for photographers to explore as their masterpiece. One of the things that has been enjoyed and is always developing over time is the use of human as an object, whether as a candid photography or as a posing model in accordance to photographer's concept and theme. Using human being as an object is always popular among beginners and professional photographers. Even nowadays people often hold photo shoot as a media in many social network sites. And so if they understand the simple theories in basic knowledge of using human object, the results will be maximized, and of course, much more interesting. The more a photographer does his job, the better his experience is, and his work will develop. Thus, it makes him more alert to the situation and character of a model, which will then become more observant in predicting their outcome in photography.
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Mörzer Bruyns, Willem F. J. "Photography in the Arctic, 1876–84: the work of W.J.A. Grant." Polar Record 39, no. 2 (April 2003): 123–30. http://dx.doi.org/10.1017/s003224740200284x.
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In recent years, pioneer photographers in the Arctic have been researched. The last was W.J.A. Grant, who sailed as a photographer with Sir Allen Young in Pandora in 1876. Grant made another seven photographic trips to the Arctic. Four voyages were in the Dutch Arctic schooner Willem Barents, the others in British yachts. Grant's photographic legacy is considerable, but little known. The majority of his work was done for the Dutch and is still preserved in the Netherlands. Recently it has been possible to identify photographs by Grant in British collections. This article examines Grant and his work as an Arctic photographer.
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Swensen, James R. "New cartographics: Photography and the artistic mapping of the American West, 1969‐79." European Journal of American Culture 39, no. 1 (March 1, 2020): 83–104. http://dx.doi.org/10.1386/ejac_00012_1.
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This article examines the work of a diverse group of photographers who in the late 1960s and 1970s employed mapping techniques and devices as a means of artistic creation. Products of photography’s unprecedented growth, photographers John Pfahl, Michael Bishop, Kenneth Josephson and the participants of the Rephotographic Survey Project employed cartographic and topographic strategies as part of their exploration of the history of their medium and the American West. These artist-photographers, moreover, responded to the nineteenth-century surveys of the West as well as its relation to other, better-known contemporary movements like ‘New Topographics’. In all, this article provides the first exploration of this distinctive group of American photographers which may be collectively termed: ‘new cartographics’.
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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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Pfautsch, Anne. "Documentary Photography from the German Democratic Republic as a Substitute Public." Humanities 7, no. 3 (September 10, 2018): 88. http://dx.doi.org/10.3390/h7030088.
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This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photography, despite having had a different status to literature in the GDR, adopted similar traits and also functioned as part of a substitute public sphere. These photographers aimed to expose the existing gap between the propagandised and actual life under socialism. They embedded a moral and critical position in their photographs to comment on society and to incite debate. However, it was necessary for these debates to occur in the private sphere, so that artists and their audience would avoid state persecution. In this paper, I review Harald Hauswald’s series Everyday Life (1976–1990) to demonstrate how photographs enabled substitute discourses in visual ways. Hauswald is a representative of artistic documentary photography and although he was never published in the official GDR media, he was the first East German photographer to publish in renowned West German and European media outlets, such as GEO magazine and ZEITmagazin, before the reunification. In 1990, he founded the ‘Ostkreuz–Agency of Photographers’ with six other East German documentary photographers.
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Uthayakumar, Aarthy, Tamara Searle, and Noha Elshimy. "BT14 (P026) Teledermatology from the other side: a clinical photographers’ perspective." British Journal of Dermatology 191, Supplement_1 (June 28, 2024): i195—i196. http://dx.doi.org/10.1093/bjd/ljae090.412.
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Abstract Teledermatology has transformed the way we deliver our skin cancer service, with medical photographers playing a vital role in our trust. We sought to further streamline our existing teledermatology service and explore challenges faced by the photography team. Our teledermatology model involves patients directly attending the hospital for a professional photography appointment before consultant triage of the lesion(s). After observing teledermatology photography lists with detailed photographer feedback, 1 week of teledermatology clinics across all three sites of the trust were analysed. Referral type, discrepancies between the general practitioner (GP) referral and photos taken, and chaperone availability were explored, in addition to the referral pathway and patient information supplied. In total 122 teledermatology patients were included. Photographers highlighted difficulties with patients requesting lesions not specified on the GP referral to be photographed, and not having sufficient information prior to their teledermatology appointment, making it often difficult to manage expectations. Furthermore, due to minimal staffing, the availability of chaperones was often limited. In 19% of cases there was a discrepancy between the GP referred lesion and photograph taken, which was due to additional lesions being photographed (35%), patients having multiple moles (22%), and unlikely suitability for teledermatology and no GP referral being present (17%). Improvements have been implemented at different levels along the teledermatology pathway to further streamline the service and reduce some of the pressures faced by our clinical photographer colleagues. Modifications to the GP suspected skin cancer pathway referral make it clearer which patients are suitable for teledermatology, and request a mandatory lesion and locator photograph. The triage process has been altered to improve robustness, with an additional triage step to minimize patients inappropriate for teledermatology being booked in, such as those with more than three lesions, genital lesions and patients on stretchers. Patient information has been clearly displayed in the medical photography department, highlighting that only the referred lesion can be photographed, and a paper copy of the teledermatology patient information leaflet is provided to highlight the next steps to the patient. This minimizes questions directed at the photographers and aids management of patient expectations. Finally, a protocol for medical photographers has been implemented to standardize teledermatology images taken, with changes to include polarized and nonpolarized dermoscopy. With these changes we have minimized the challenges faced by our clinical photography colleagues, whose perspective and experience of a successful teledermatology service is critical, and we believe this should be explored in order to make meaningful improvements.
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Uthayakumar, Aarthy, Tamara Searle, and Noha Elshimy. "P026 Teledermatology from the other side: a clinical photographers’ perspective." British Journal of Dermatology 191, Supplement_1 (June 28, 2024): i26. http://dx.doi.org/10.1093/bjd/ljae090.053.
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Abstract Teledermatology has transformed the way we deliver our skin cancer service, with medical photographers playing a vital role in our trust. We sought to further streamline our existing teledermatology service and explore challenges faced by the photography team. Our teledermatology model involves patients directly attending the hospital for a professional photography appointment before consultant triage of the lesion(s). After observing teledermatology photography lists with detailed photographer feedback, 1 week of teledermatology clinics across all three sites of the trust were analysed. Referral type, discrepancies between the general practitioner (GP) referral and photos taken, and chaperone availability were explored, in addition to the referral pathway and patient information supplied. In total 122 teledermatology patients were included. Photographers highlighted difficulties with patients requesting lesions not specified on the GP referral to be photographed, and not having sufficient information prior to their teledermatology appointment, making it often difficult to manage expectations. Furthermore, due to minimal staffing, the availability of chaperones was often limited. In 19% of cases there was a discrepancy between the GP referred lesion and photograph taken, which was due to additional lesions being photographed (35%), patients having multiple moles (22%), and unlikely suitability for teledermatology and no GP referral being present (17%). Improvements have been implemented at different levels along the teledermatology pathway to further streamline the service and reduce some of the pressures faced by our clinical photographer colleagues. Modifications to the GP suspected skin cancer pathway referral make it clearer which patients are suitable for teledermatology, and request a mandatory lesion and locator photograph. The triage process has been altered to improve robustness, with an additional triage step to minimize patients inappropriate for teledermatology being booked in, such as those with more than three lesions, genital lesions and patients on stretchers. Patient information has been clearly displayed in the medical photography department, highlighting that only the referred lesion can be photographed, and a paper copy of the teledermatology patient information leaflet is provided to highlight the next steps to the patient. This minimizes questions directed at the photographers and aids management of patient expectations. Finally, a protocol for medical photographers has been implemented to standardize teledermatology images taken, with changes to include polarized and nonpolarized dermoscopy. With these changes we have minimized the challenges faced by our clinical photography colleagues, whose perspective and experience of a successful teledermatology service is critical, and we believe this should be explored in order to make meaningful improvements.
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Yogascitra Naufal, Neni Yulianita, and Anne Maryani. "Makna Diri dan Branding Fotografer." KOMVERSAL 5, no. 2 (September 2, 2023): 187–202. http://dx.doi.org/10.38204/komversal.v5i2.1077.
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The development of photography in the city of Bandung is closely related to the development of photography in Indonesia. Bandung is one of the big cities in Indonesia with a very rapid development of photography, especially with the emergence of various photographers with specialization in their fields. With the presence of many photographers who have started to appear in the city of Bandung, many photographers are still looking for the meaning of their photography activities and the branding that must be done so that the public becomes aware and uses their services. From this phenomenon, the research "Self Meaning and Photographer Branding" was created. This study uses a qualitative research method with a phenomenological study approach from Alfred Schutz. The purpose of this study is to find out, describe and analyze the motives of photographers in the city of Bandung in carrying out photography activities, to analyze and identify the experiences of photographers in the city of Bandung in carrying out photography activities, to find and describe the self-meanings of photographers in the city. Bandung in photography activities and to identify and describe the branding of photographers in the city of Bandung to attract consumer interest. This research uses social action theory from Max Webber. This research produces the because motive and in order to motive owned by the photographers, there are eleven motives owned by the photographers, namely, hobbies, love, environment, campaigns, earning a living, role models, visualization of imagination, remembering stories, appreciation, improvement confidence and dreams. The experience gained by photographers in the city of Bandung in carrying out photography activities is divided into three aspects, namely, obstacles, satisfaction and achievements. The meaning obtained by photographers in the city of Bandung in photographic activities is divided into three aspects, namely, the purpose, sensation and character of the photo. Branding carried out by photographers in the city of Bandung is obtained through three strategies namely, through social media, word of mouth and through the community.
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Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.
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Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.
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Dąbrowska, Urszula. "Podlascy fotografowie z lat 30. i 40. XX wieku. Wyrastanie z prowincji." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 57, no. 4 (April 3, 2023): 353–71. http://dx.doi.org/10.36770/bp.758.
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The article focuses on the works of three photographers active in Podlasie in the 1930s and 1940s. For over a decade, the discovered and rescued negatives by Bolesław Augustis from Białystok, Jerzy Kostko from Kleszczel, and Jan Siwicki from Jaczno have been compiled and published by the Cultural Educational Association ‘Widok’. They document provincial life just before and after World War II. They are part of contemporary photographic archaeology, which looks at popular (vernacular) photographs through the lens of avant-garde art theories, focusing not so much on their aesthetic qualities as on their context and interpretations. The heterotopias preserved in the photographs, due to the passage of time, restoring them to the public and drawing the attention of critics to their vernacular, have gained a new dimension and universality. Photographers from Podlasie grew out of the provinces and, as a result of the restoration of their works to cultural circulation, moved from the periphery of art to the central mainstream–Augustis as the creator of Poland’s largest collection of street photography; Kostko as a portraitist of the small hermetic community that he photographed for more than half a century; and Siwicki as a documentarian of the Catholic-Orthodox rituals of the village of Jaczno. The article is an attempt to answer the question of whether and to what extent the significance of the provincial background of those photographers is the result of a transformation made by time, and to what extent contemporary reading endows it with new meanings.
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Passonneau, Sarah. "William Henry Fox Talbot. The Pencil of Nature. Chicago: KWS Publishers, 2011. 164p. ISBN 978-0981773667. $149.95." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 13, no. 2 (September 1, 2012): 198–201. http://dx.doi.org/10.5860/rbm.13.2.384.
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Rediscovering William Henry Fox Talbot’s The Pencil of Nature, the first commercially produced photography book, led my mind back more than 20 years to when, as a young photographer, I studiously devoured the lessons wrought from the photographers Eugène Atget, Man Ray, and August Sander. One day as I sat in a verdant backyard absorbing books filled with images by these three photographers, my father plopped The Pencil of Nature by my side. In his quiet but immutable manner he said, “He [Talbot] did it first.” Atget, a late nineteenth-century/early twentieth-century photographer, took more than 5,000 pictures of Paris and . . .
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Mardiastuti, A., and Y. A. Mulyani. "Responsible tourism in birdwatching and wild bird photography." IOP Conference Series: Earth and Environmental Science 1366, no. 1 (July 1, 2024): 012027. http://dx.doi.org/10.1088/1755-1315/1366/1/012027.
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Abstract Birdwatching and wild bird photography lately has been flourished, and on many occasions might cause some negative impact on the birds and their habitat. This paper explores the type and the nature of activities that usually done by birdwatchers or photographers and provide some suggestions how to be responsible birdwatchers/photographers to minimize the negative impact on birds. Information was collected from literature study and personal experience as birdwatchers and bird photographer, then analyzed to characterize the responsible birdwatchers/photographers. Birdwatchers or photographers can be categorized as hard core (advance), enthusiastic (intermediate, novice) and casual. Risks on birds may come from visitor’s intrusion and manipulation to get better photo or video images, including baiting/feeding, play-back, flushing, artificial spotlighting, and staging. To be responsible birdwatchers or photographers, those manipulation and some other prohibited actions such as disturbing birds/nestling/nest/nest site, approaching too close, touching, capturing, removing, killing, taking bird parts, making loud noise, and other harmful activities should be avoided. All types of birdwatchers or photographers must be responsible to their activities to ensure that the birds would not be disturbed, feeling stressed, alter their behavior, and decrease productivity. For a rare and protected wild bird species, posting of geolocation should be prevented
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Darian-Smith, Kate. "The ‘girls’: women press photographers and the representation of women in Australian newspapers." Media International Australia 161, no. 1 (September 26, 2016): 48–58. http://dx.doi.org/10.1177/1329878x16665002.
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In 1975, Fairfax News commemorated International Women’s Year by appointing Lorrie Graham as its first female cadet photographer. Women only joined the photographic staff of newspapers in significant numbers from the 1980s and were more likely to be employed on regional newspapers than the metropolitan dailies. This article draws on interviews with male and female press photographers collected for the National Library of Australia’s oral history programme. It provides an overview of the history of women press photographers in Australia, situating their working lives within an overtly masculine newspaper culture where gender inequity was entrenched. It also examines the gendered and evolving photographic representations of women in the Australian press, including those of women in positions of social and political leadership. Although women press photographers have achieved greater recognition in the 2000s, the transformation of the media industry has impacted the working practices and employment of press photographers.
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Pardiana, I. Agus Yudi, and Saptono Nugroho. "PERSEPSI WISATAWAN DOMESTIK TERHADAP EKSISTENSI PEKERJA FOTOGRAFER DI DAYA TARIK WISATA TANAH LOT." JURNAL DESTINASI PARIWISATA 4, no. 2 (December 30, 2016): 49. http://dx.doi.org/10.24843/jdepar.2016.v04.i02.p09.
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Workers photographers not only to sell their photographs, but also sells services to tourists with polite and friendly. Photographers try to make a good first impression for tourists to be willing to use their services. Photographers workers very existence needs to be improved, because it provides positive benefits. Types and Sources of data used is qualitative and quantitative, primary data and secondary data. Data collected by observation, interviews, questionnaires, literature, and documentation. Determination of mechanical informants using purposive sampling, sample collection techniques using analysis of compound interest and use acsidental sampling. The number of domestic tourists responses calculated using a Likert scale The existence of photographers at Tanah Lot tourist attraction really have a positive impact for tourist attraction and the local community. Because it can be an additional income.
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Saayman Hattingh, Heidi M., and Rolf J. Gaede. "Photographer autonomy and images of resistance: the case of South Africa during the 1980s." Visual Communication 10, no. 4 (October 14, 2011): 499–525. http://dx.doi.org/10.1177/1470357211415780.
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This article examines the praxis of prominent photographers who were professionally active during the 1980s in South Africa, based on 26 personal interviews. The authors look at issues concerning practitioner autonomy, or the photographer’s freedom to make independent communication-related choices while working within social documentary or photojournalism genres. The data suggest that the majority of photographers operated on the level of strategic social actions with low levels of practitioner autonomy, using photography in the first instance as a ‘weapon’ in the fight against apartheid, actively forming collectives to assist with the distribution of resistance images internationally. In contrast, those photographers who opted to operate primarily as independent social commentators remained in the minority.
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Alenichev, Arsenii, Sonya de Laat, Nassisse Solomon, Halina Suwalowska, Koen Peeters Grietens, Michael Parker, and Patricia Kingori. "Assembling a global health image: Ethical and pragmatic tensions through the lenses of photographers." PLOS Global Public Health 4, no. 2 (February 14, 2024): e0002540. http://dx.doi.org/10.1371/journal.pgph.0002540.
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Background Recently, global health has been confronting its visual culture, historically modulated by colonialism, racism and abusive representation. There have been international calls to promote ethicality of visual practices. However, despite this focus on the history and the institutional use of global health images, little is known about how in practice contemporary images are created in communities, and how consent to be in photographs is obtained. Methods We conducted semi-structured interviews with 29 global health photographers about the ethical and practical challenges they experience in creating global health images, and thematically analysed the findings. Findings The following themes were identified: (1) global health photography is undergoing a marketing transformation and images are being increasingly moderated; (2) photographers routinely negotiate stereotypical and abusive tropes purposefully sought by organisations; (3) local scenes are modified, enhanced and staged to achieve a desired marketing effect; (4) ‘empowerment’ is becoming an increasingly prominent dehumanising visual trope; (5) consent to be photographed can be jeopardised by power imbalances, illiteracy, fears and trust; (6) organisations sometimes problematically recycle images. Interpretation/Discussion This research has identified practical and ethical issues experienced by global health photographers, suggesting that the production cycle of global health images can be easily abused. The detected themes raise questions of responsibility and accountability, and require further transdisciplinary discussion, especially if promoting ethical photojournalism is the goal for 21st century global health.
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Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.
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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.
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Somerstein, Rachel. "‘Stay back for your own safety’: News photographers, interference, and the photographs they are prevented from taking." Journalism 21, no. 6 (July 18, 2018): 746–65. http://dx.doi.org/10.1177/1464884918789227.
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This exploratory, mixed-methods study uses semi-structured interviews to identify the sources of interference that news photographers encounter and then, using survey research, assesses these interferences’ prevalence. It also uses interview and survey data to identify photographs that photographers are prevented from taking and ones taken despite interference. In so doing, the study illuminates how the constraints photojournalists encounter shape their work and, ultimately, the types of images missing from the mass media. Men and women, and freelancers and staff photographers, encounter different types of obstructions. Anxieties about public visibility, and the desire to control images, predict higher rates of interference. News scenes, police activities, accidents, and private spaces were among the most common scenes photographers were prevented from photographing. Taken together, this study contributes to Shoemaker and Reese’s hierarchy of influences model, by explicating the extra-media and individual sources of influence that shape photojournalistic practice.
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Vakhitov, E. N., V. N. Lagutkin, and A. P. Lukyanov. "EFFICIENCY OF MOTION CONTROL OF SPACE SENSOR PHOTOGRAPHING LOW ORBITAL SPACE OBJECTS." Issues of radio electronics, no. 3 (March 20, 2018): 40–44. http://dx.doi.org/10.21778/2218-5453-2018-3-40-44.
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Principles of observations and design of onboard equipment for obtaining optical images of low-orbiting space objects during flight at crossed courses are considered. It is noted that photographing from the distance of about 50 km allows to obtain images of space objects with linear resolution of about 1 dm. Simulation model of observation process by satellites-photographers was developed for the modes of their passive and controlled movement. The statistics of observability by one and two satellitesphotographers of low-orbiting space objects are calculated: dynamics of growth of the number of observed objects from distances of 30 and 50 km during one-year observation cycle, and the difference in dynamics in the modes of passive and controlled movement. An algorithm of controlling the motion of satellite-photographer for increasing productivity of obtaining photographs is proposed and described. The simulation of this algorithm has shown that control of the movement of satellite-photographer with reserve of characteristic velocity of 100 m/s provides significant increase in the number of photographed low-orbiting space objects. At distances to the object not exceeding 50 km the effectiveness of observations due to control increases from 80 to 98%, and the proportion of rendezvous from distance of 30 km will be 93%.
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Grossmann, Rebekka. "Image Transfer and Visual Friction: Staging Palestine in the National Socialist Spectacle." Leo Baeck Institute Year Book 64, no. 1 (2019): 19–45. http://dx.doi.org/10.1093/leobaeck/yby022.
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Abstract This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of the clashes between Arabs, Jews, and British troops during the 1930s and taken by German-Jewish photographers in exile became valuable commodities internationally and entered a plethora of national markets, including that of National Socialist Germany. Many of the photographers who had been banned from the German photojournalistic scene in fact remained part of the visual discourse negotiated in German illustrated newspapers. The experience of exile of the photographers and photo agents involved in the international image transfer of photographs from Palestine can be seen as a catalyst for the contingencies in international photo trade, the loss of control of news photographs, and ultimately the crossing of the aesthetic and artistic borders of National Socialist Germany, which were believed to be closed to outside influences. The various views and the ways in which they were used trigger questions about the nature of the photographic gaze and the possibility or impossibility of distorting visual content via textual frameworks in photo essays and newspaper articles.
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Ekimov, Evgeniy P. "Foreign photographers in Siberia: photography as a mean of dehumanization." Neophilology, no. 20 (2019): 566–73. http://dx.doi.org/10.20310/2587-6953-2019-5-20-566-573.
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This cultural research is the analysis of the foreign photographers’ activities in Siberia from the second half of the 19th century to the present time. We consider the issue of dehumanization of Russian society and culture by means of foreign photography. On the basis of real photographs published on the Internet, the author compiled a list of all Western photographers who visited Siberia and proved their destructive and countercultural, political, and non-artistic goals aimed at weakening the Russian state and Russian people dehumanization; we confirmed it by the final relevant foreign publications. Some research materials are documents of the State Archive of the Republic of Buryatia and are the first time in scientific discourse. Until now, researchers consid-ered the activities of foreign photographers in Eastern Siberia mainly in the specialty of history, exclusively as a source base positively. The novelty of this cultural research lies in the fact that foreign photography of Eastern Siberia is considered from the perspective of the tasks set for for-eign photographers by their foreign customers, as well as from aesthetic and artistic positions. Thus, we prove the negative nature of the foreign photographers’ activities in Eastern Siberia.
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Jollimore, Troy. "“Some Version of the Same River”." Boom 4, no. 3 (2014): 36–45. http://dx.doi.org/10.1525/boom.2014.4.3.36.
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Photographer Byron Wolfe traveled to Deer Creek in California to capture the locations of a series of photographs of Ishi, “the last wild Indian in North America,” taken in 1914. His purpose was to show what had changed in the intervening century, to pose questions about the original photographers’ intentions and choices, whether and in what sense they took the results to be “authentic” portraits of Ishi’s earlier life, and what they wanted people to find in, and take away from, the pictures they took. Wolfe’s photographs juxtaposed with the originals accompany an essay by Troy Jollimore, a meditation on Ishi’s legacy, wilderness, and how the art and artifice of photography helps us make sense of people, place, and history.
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Hodson, Dermot. "The Politics of Documentary Photography: Three Theoretical Perspectives." Government and Opposition 56, no. 1 (March 21, 2019): 20–38. http://dx.doi.org/10.1017/gov.2019.3.
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AbstractPhotographers are often inspired by politics but can they influence it? Drawing on the study of public policy and the history of photography, this article considers three ways in which documentary photographers enter the policy process. It considers the photographer as: a bureaucrat working within government networks to achieve individual and institutional aims; an advocate working with like-minded actors to advance shared political beliefs; an expert working within an epistemic community driven by a shared policy enterprise. These roles highlight the institutional channels through which photographers seek and sometimes secure political change and the contradictions and constraints they face in so doing. These contrasting perspectives are discussed with reference to the work of canonical and contemporary photographers engaged in national and international politics from 1890 to today.
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Wang, Justin, Marie A. Lee, and Thomas C. M. Lee. "When might we break the rules? A statistical analysis of aesthetics in photographs." PLOS ONE 17, no. 7 (July 1, 2022): e0269152. http://dx.doi.org/10.1371/journal.pone.0269152.
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High-quality photographs often follow certain high-level rules well known to photographers, but some photographs intentionally break these rules. Doing so is usually a matter of artistry and intuition, and the conditions and patterns that allow for rule-breaks are often not well articulated by photographers. This article first applies statistical techniques to help find and evaluate rule-breaking photographs, and then from these photographs discover those patterns that justify their rule-breaking. With this approach, this article discovered some significant patterns that explain why some high-quality photographs successfully break the common photographic rules by positioning the subject in the center or the horizon in the vertical center. These patterns included reflections, leading lines, crossing objects, ambiguous lines, implied lines, thirds line subjects, and busy foregrounds for center horizon photographs, and symmetry, circular-shaped objects, thirds line elements, gestalt, framing, leading lines, and perspective lines for center subject photographs.
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Demina, Evgeniya, Elena Larina, and Sergey Mescheryakov. "Tselina: The photographical practices of perception." Вестник антропологии (Herald of Anthropology) 45, no. 1 (March 7, 2019): 30–53. http://dx.doi.org/10.33876/2311-0546/2019-45-1/30-53.
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The paper presents the results of an experimental study on practices in visual anthropology based on photographs made by amateur authors during an expedition to «Tselina» (virgin lands) in Orenburg Oblast. The study considers photographs both in their representative aspect and as a material for the enquiry on perspectives, behavior and attitudes of amateur photographers and their models in historical, anthropological and visual contexts. The article analyzes the interaction between interview and photography practices, along with the ethos of photographer – model encounter, paying attention to ways of seeing particularities both determined by cultural and historical differences. Such an optics aimed at the visual material obtained during the expedition allows examining of typical images of the Soviet ‘Tselina’ campaign in the light of historical memory, which manifests itself in an impact of aesthetical registers and visual practices of the three parts of the process: the anthropologist, the photographer and the model. Key words: visual anthropology, anthropology of the image, visual history, historical memory, amateur photography, field practice, «Tselina».
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Rosellen Brown. "Photographers' Light." Antioch Review 72, no. 1 (2014): 96. http://dx.doi.org/10.7723/antiochreview.72.1.0096.
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Nesbit, Molly. "PHOTOGRAPHERS' BOOKS." Art History 8, no. 1 (March 1985): 132–38. http://dx.doi.org/10.1111/j.1467-8365.1985.tb00155.x.
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Latour, Ira H. "Western Photographers." History of Photography 22, no. 1 (March 1998): 93. http://dx.doi.org/10.1080/03087298.1998.10443931.
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Coleman, A. D., Naomi Rosenblum, and Elizabeth Partridge. "Women Photographers." Art Journal 55, no. 1 (1996): 99. http://dx.doi.org/10.2307/777816.
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Court, Stephen. "Surgeon photographers." Bulletin of the Royal College of Surgeons of England 101, no. 4 (May 2019): 140–45. http://dx.doi.org/10.1308/rcsbull.2019.140.
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Méaux, Danièle. "GEO-PHOTOGRAPHERS." photographies 12, no. 2 (May 4, 2019): 209–26. http://dx.doi.org/10.1080/17540763.2019.1566168.
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Anderson, Fay. "‘Photographing Lindy’: Australian press photography and the Chamberlain case, 1980–2012." Media International Australia 162, no. 1 (September 26, 2016): 7–18. http://dx.doi.org/10.1177/1329878x16665495.
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This article analyses the news photography surrounding a high-profile case of alleged matricide in Australia: the disappearance of 9-month-old Azaria Chamberlain, and the subsequent murder trial and eventual acquittal of her mother, Lindy. While the scholarship on the media’s conduct during Chamberlain’s ordeal has been exhaustive, the press photographers’ role has not been considered. Drawing on oral history interviews with newspaper photographers, this article explores the ways that the photographers’ workplace culture, gender, relationships and practices informed their approach. It argues that their images in isolation did not contribute to the demonisation of Chamberlain; the same photographs were used to project both innocence and guilt depending on the editorial interpretation. The article will provide new historical understanding about the photographic traditions and routines surrounding the Chamberlain case and crime photography more generally.
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Joshi, Urvish, Hiteshree Dave, and Uma Padaya. "Capture Connect." International Journal for Research in Applied Science and Engineering Technology 10, no. 3 (March 31, 2022): 304–6. http://dx.doi.org/10.22214/ijraset.2022.40632.
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Abstract: The internet has made us get everything from the market without even visiting the place. Technology has led a path for many online booking for functions, ceremonies, events, etc. To capture all these beautiful moments, we came up with a new idea, presenting professional photographers and videographers from all over the world with their all-past experience and portfolio, together at our website. On this website, you can book photographers and videographers from your cities for weddings, engagements, cultural functions, ceremonies, inaugurations, birthday parties, outdoor photography, and many more. In this project customers with their registered accounts can make bookings for functions and can also get their custom packages as per their requirements. Photographers/Videographers can get a booking request from different users and they can respond back with confirmation or issues related to their particular order. Keywords: photographer, videographer, book, online, ceremony
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Rafiqi, Hindam Basith. "An Overview of Current Commercial Fashion Photography." IJVCDC (Indonesian Journal of Visual Culture, Design, and Cinema) 1, no. 2 (October 9, 2022): 87–91. http://dx.doi.org/10.21512/ijvcdc.v1i2.8942.
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The presence of smartphones today has an impact on commercial photography, especially fashion photography. The presence of smartphones makes everyone able to become a commercial fashion photographer, which makes the role of a commercial fashion photographer even more questionable. Departing from this phenomenon this research was conducted. This research is a research with descriptive qualitative method. This study was conducted to describe the phenomenon of commercial fashion photography that is currently happening. In addition, this phenomenon can produce an idea for commercial fashion photographers in dealing with the world of commercial fashion photography today. The result of this research is that today's commercial fashion photographers need to have out of the box ideas which are the qualities of ideas and concepts that distinguish them from other commercial fashionphotographers. Although the need for tools in the process of creating photography today can be replaced with smartphones, the quality of ideas and concepts is something that is not necessarily owned by every commercial fashion photographer.
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Xue, Xinyi. "Photography in the Late Qing Dynasty: A Comparative Study." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 1–15. http://dx.doi.org/10.54097/ehss.v8i.4218.
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Photography was introduced to China in the early 1840s. The early Western photographers in China were mainly driven by artistic pursuit or curiosity of the Orient. This paper argues that the artistic value of photography was higher and the purpose of photography was simpler during the first years of its introduction to China than the late nineteenth century when photography was increasingly associated with colonialism. The situation of Western photography in China changed profoundly in the latter decades of the nineteenth century: photography began to serve colonialism, and photographers became accomplices of the colonizers. In addition, this paper also addresses the experience of Zou Boqi, the first Chinese photographer, who combined traditional Chinese knowledge with Western science and produced the first Chinese camera in 1844. Both Chinese and Western photography have evolved as the technology advanced over time. However, Chinese and Western photographers differed greatly in their techniques, motivations, and choices of subject.
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Khan, Ali. "In the bedroom." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 225–31. http://dx.doi.org/10.1386/fspc_00081_1.
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Boudoir photography is going through a renaissance. Having being rediscovered by whole new generation of amateur smartphone photographers and influencers, the genre has taken a new and exciting direction. The intimacy and erotic nature of this genre is now also injected with a dose of raw realism that further adds to the legitimacy of the image. This newly evolved aesthetic has been equally influential on fashion editorials and fashion ad campaigns from streetwear to luxury brands. In this series of photographs and the accompanying essay, the author/photographer aims to document such aesthetic by capturing the mood and fashion of the current times and analysis the background for such fashion editorial images.
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Abdul Rahman, Muhammad Azri, and Nadzri Mohd Sharif. "A Constructive Comparison Framework for Colour Vision Deficiency Photographer in Digital Photography." International Journal of Art and Design 7, no. 1 (May 7, 2023): 89–105. http://dx.doi.org/10.24191/ijad.v7i1.1101.
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Color vision deficiency (CVD) is the most common inherited disorder, with 1 in 20 men and 1 in 200 women affected. This situation ultimately gives disadvantages to photographers in digital photography. Individuals who suffer from CVD are unable to relish art since they are confused with objects and their colors. As a necessary consequence, researchers developed a constructive framework to improve CVD photographer visions by incorporating techniques of HSx (Hue, Saturation, Brightness), Contour Adjustment, Interpretation Process into photography. The impact of CVD towards digital photography from the perspective of colour naturalness, consistency, and contrast gained by comparing the differences between normal and CVD artwork. Experiment method is applied, and sampling is purposely selected consists of photographers. The samples meet specific requirements with similar skills. Samples consist of 40 photographers (n=40), and the samples are divided into two groups of Control Group and Treat Group with 20 respondents (n=20). Control group samples are tested with the original image with full instructions while in the Treat group with a different approach of CVD images with limited instructions. Questions consist of Hue, Saturation, Brightness (HSx) Based Method, Contour Enhancement, and Interpretation Process. Research findings assumed; this constructive framework competent in guiding CVD photographers to achieve better colour perception in digital photography.
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Lewis, Abigail E. "Collaboration in Focus." French Politics, Culture & Society 40, no. 3 (December 1, 2022): 73–98. http://dx.doi.org/10.3167/fpcs.2022.400304.
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Abstract This article examines the collaboration trials of French photographers André Zucca (1944–1945) and Robert Delhay (1947–1949) within the context of the postwar French state's attempts to punish collaboration and rehabilitate the French press. Paying attention to the interpretation of photographs as evidence, I argue that within the post–Liberation French courtroom, photographic evidence became crucial to narrating collaboration and resistance as a means of gaining re-acceptance into the profession and escaping legal charges. However, photographs proved too complicated to clearly prove either collaboration. Photographers disputed the charges against them by offering new interpretations of their photographs. These new readings were rooted in a postwar visual culture that had been saturated with photographs as historical evidence of Nazi atrocities, French victimization, and resistance. This article details how the collection and display of photographic evidence in these court proceedings informed the emergence of a postwar photographic press steeped in résistancialisme.