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Journal articles on the topic 'Photographic process'
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1
Tomaszczuk, Zbigniew. "Fotografia jako przedłużenie ciała." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 134–49. http://dx.doi.org/10.5604/01.3001.0012.9869.
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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Tomaszczuk, Zbigniew. "PHOTOGRAPHY AS THE EXTENSION OF A BODY." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 134–47. http://dx.doi.org/10.5604/01.3001.0012.9927.
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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Klingle, Matthew. "River Glass." Boom 5, no. 2 (2015): 42–51. http://dx.doi.org/10.1525/boom.2015.5.2.42.
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This essay by historian Matthew Klingle compares the work of Carleton Watkins, a pioneer in early photography, and Michael Kolster, a contemporary photographer. Like his predecessor, Kolster uses the wet-plate photographic process to create ambrotypes: handmade images made on glass. Watkins’s images, made in the late-nineteenth century, helped to sell scenic, monumental California and the West to the nation. In contrast, Kolster’s photographs of the Los Angeles River, a degraded and often ignored urban waterway, suggest how older photographic techniques might be employed to create new aesthetics of place freed from the confines of purity and beauty.
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Meron, Yaron. "Photographic (In)authenticity." Video Journal of Education and Pedagogy 4, no. 2 (December 27, 2019): 60–81. http://dx.doi.org/10.1163/23644583-00401018.
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Debates around authenticity within photographic discourse are persistent. Some have revolved around documentary photography, while other discussions focus on the ethical validity of digitally edited news photographs and indeed the photographic medium itself. This article proposes that discussions around ‘authenticity’ should be focused instead towards contextualising photography more appropriately within the creative practice of ‘making strange’. It acknowledges existing debates around photography and authenticity, before locating the discussion within creative practice. It then moves to a discussion, using Robert Capa’s ‘Falling Soldier’ (Capa, 1936) as a starting point, before drawing on examples from the author’s own creative and professional practice. In the process, the article argues that visual researchers embrace the challenges of making the familiar strange within photographic creative practices.
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Ruzgienė, Birutė. "REQUIREMENTS FOR AERIAL PHOTOGRAPHY." Geodesy and cartography 30, no. 3 (August 3, 2012): 75–79. http://dx.doi.org/10.3846/13921541.2004.9636646.
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The photogrammetric mapping process at the first stage requires planning of aerial photography. Aerial photographs quality depends on the successfull photographic mission specified by requirements that meet not only Lithuanian needs, but also the requirements of the European Union. For such a purpose the detailed specifications for aerial photographic mission for mapping urban territories at a large scale are investigated. The aerial photography parameters and requirements for flight planning, photographic strips, overlaps, aerial camera and film are outlined. The scale of photography, flying height and method for photogrammetric mapping is foreseen as well as tolerances of photographs tilt and swings round (yaw) are presented. Digital camera based on CCD sensors and on-board GPS is greatly appreciated in present-day technologies undertaking aerial mission.
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Flint, Kate. "Photographic Memory." Articles, no. 53 (May 12, 2009): 0. http://dx.doi.org/10.7202/029898ar.
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Abstract In this essay, I discuss the relationship between photography, photographic technology, and memory in the final decades of the nineteenth century. I do so first in relation to the desire to possess actual material memories of the deceased, and then move to consider the way in which the photograph was often used as a metaphor for the processes of memory. I argue that apart from exceptional cases, this was, in fact, a false analogy. Taking Amy Levy’s 1888 novel The Romance of a Shop as a text through which to examine both death-bed photography and the workings of memory, I explore the idea of the memory flashing back, suddenly, and link this to the developments that took place in flash photography at the time that Levy was researching her photographically-themed novel. The metaphor of the flash – and the flash-back – has proved of more lasting value in the semantic linking of photography and memory, I argue, than other attempts to link the materiality of the photographic process to the workings of the brain.
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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.
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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generate new understandings of slavery and its connection to post-emancipation economies, of history and its relationship to photography, and of archival absence and its representational possibilities.
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Sile, Agnese. "Mental illness within family context: Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty." Arts and Humanities in Higher Education 17, no. 1 (January 12, 2018): 84–103. http://dx.doi.org/10.1177/1474022216684635.
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The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the process how it challenges representation itself, on which it is dependent. The focus of the analysis is on identifying and illuminating the intimate space that opens between the photographer and the photographed person and that provides new forms of communication as well as uncovers existing forms of knowledge that is shared between them. This paper will also assess the political and cultural significance of such representation.
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.
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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation
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Slifkin, Lawrence. "The Improbability of the Photographic Process." MRS Bulletin 14, no. 5 (May 1989): 36–40. http://dx.doi.org/10.1557/s0883769400062904.
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The very high sensitivity of silver halide photographic emulsions is the result of a surprisingly high quantum efficiency in the formation of the latent image, combined with a large amplification of the stored optical signal upon photographic “development.” The efficient formation of the latent image can be traced to the effects of an unusual set of physical properties of silver bromide and silver chloride, involving the electron energy band structure, the dynamics of photoelectrons, the nature and mobilities of the ionic point defects, and the existence of a sub-surface electric field.Despite the current availability of a wide variety of optical recording systems, the standard silver halide photographic emulsion continues to offer a unique combination of sensitivity, resolution, tone quality, convenience, and economy. This article will outline the physical processes that operate in forming the image. It will emphasize the unusual set of properties of silver bromide and silver chloride that are involved, and that impart to the process its extraordinary efficiency. Only black-and-white images will be considered, but the same basic imaging process is involved in color photography as well.This discussion is, of necessity, brief and often qualitative, but more complete treatments of the scientific aspects of the photographic process can be found in the other articles in this issue of the MRS BULLETIN, as well as in the bibliography.
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Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II." Prospects 30 (October 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.
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Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them to a so-called assembly center (Figure l). The photograph would appear at first glance to tell a very different story. The women smile and extend their arms out of a raised train window to wave goodbye, as if they are embarking on a vacation or some other pleasant excursion. The Albers photograph is not an exception to the photographic record of incarceration. In the thousands of photographs made of the incarceration process by government photographers, independent documentarians, and “internees,” it is much more difficult to find photographs that portray suffering than it is to find images of smiling prisoners.Not surprisingly, these photographs of smiling Japanese Americans are unsettling for those scholars, curators, and activists who have worked to expose the injustices of the wartime imprisonment. The smiles are charged for several reasons: They appear to belie the injustice of incarceration and the suffering it caused, they are reminiscent of the ugly stereotype of the grinning Oriental, and they suggest that those portrayed were entirely compliant with the government's racist agenda.
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Mononen, Kaarina, and Hanna Lappalainen. "Taidetta ja tutkimusta näyttelyssä." AFinLA-e: Soveltavan kielitieteen tutkimuksia, no. 12 (April 16, 2020): 1–31. http://dx.doi.org/10.30660/afinla.84523.
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The aim of this study is to describe how linguistic biographies and photographic art complement each other in an exhibition. The exhibition was part of a project on biographies that were collected through conducting interviews, and some of the interviewees were subsequently photographed. The photos and written summaries that were based on the interviews were displayed together. This article discusses how photos are interpreted in relation to biographies. The data consist of the learning diaries of the students who visited the exhibition, interviews with the photographer and with some of those who were photographed. The linguistically oriented content analysis reveals that the interpretations of the photos were predominantly based on where the photographs were taken as well as on the appearance of the person in the photo. The informants also connected their observations to the use of languages and language attitudes of the interviewees who were photographed. In addition, the article analyses how the photographer discusses his choices of place and setting during the process of constructing linguistic biographies.
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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von Brevern, Jan. "Fototopografia: The “Futures Past” of Surveying." reproduire, no. 17 (September 8, 2011): 53–67. http://dx.doi.org/10.7202/1005748ar.
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This article examines a particular problem in the early history of photographic land surveying: the unwavering desire to use photography to capture accurate topographical information for map-making, even in light of practical difficulties. It considers how both the practical survey work and the status of photography changed when, instead of the landscape itself, photographs were measured. Photography’s promise to simplify strenuous fieldwork was almost as old as photography itself—but in practice, it took decades of experimenting until the process was feasible.
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Wicky, Érika. "L’imaginaire pictural de la matière photographique (1850–1860) : la cuisine de l’art, du peintre au photographe." RACAR : Revue d'art canadienne 40, no. 1 (August 27, 2015): 85–94. http://dx.doi.org/10.7202/1032758ar.
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The writings on photography published in the 1850s reveal the emergence of a pictorial imaginary of photographic matter that grew in the margins of the amazement at a medium completely dominated by nature and the precise developments of the photographic technique. In some of these texts, photographers were likened to painters because of the application, in both techniques, of multiple layers of varied and more or less opaque substances. Inasmuch as it concerned the process of fabrication more than the image itself, the understanding of the work performed by photographers, of their action on matter, directly affected their social status. To reflect on the material imaginary of photography is then to interrogate the modalities of the joint emergence of the profession and of the figure of the photographer-artist at the very moment of the industrialization of photography.
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Petraitis, Paulius. "Performing Togetherness: Tourist-Like Photography from Abu Ghraib." Acta Academiae Artium Vilnensis, no. 99 (July 5, 2021): 99–125. http://dx.doi.org/10.37522/aaav.99.2020.16.
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The article explores the infamous photographs from the Abu Ghraib prison that circulated and were made public in 2004. It specifically looks at how the sense of togetherness was enacted by the U.S. military personnel stationed in the site, and the way cameras were instrumental in this process. It argues that the resultant photographs can be seen as tou- rist-like in several respects. A notable aspect of the photographic images is that the soldiers who took them repeatedly appear in the frame themselves. Appearing in and photographing the abusive acts was not only a form of structuring and reinforcing power relations at the prison, but also an attempt to portray a fun-having personnel group. The visual signifiers – thumbs up, smiles, pointed fingers – authenticate the images, lending them some of the qualities of tourist photography. At Abu Ghraib, the soldiers’ photographic practice also partly served as a sense-making mechanism, allowing a symbolic distance between the camera-wielder and unforeseen emergent events. It promised a wishful alternative to the grim realities of the prison: an overcrowded and undersupplied facility with a lack of on-site leadership. The scars of resultant violence – and the notorious photographs that document it – remain relevant, and continue to resurface in recent so- cial and political contexts.
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Hamilton, J. F. "The silver halide photographic process." Advances in Physics 37, no. 4 (August 1988): 359–441. http://dx.doi.org/10.1080/00018738800101399.
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Olm, Myra T., and Raymond S. Eachus. "Defects and the photographic process." Radiation Effects and Defects in Solids 150, no. 1-4 (November 1999): 71–78. http://dx.doi.org/10.1080/10420159908226210.
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Hölzl, Ingrid. "The Photographic Now: David Claerbout’s Vietnam." reproduire, no. 17 (September 8, 2011): 131–45. http://dx.doi.org/10.7202/1005753ar.
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David Claerbout’s video installation, Vietnam, 1967, near Duc Pho, reconstruction after Hiromichi Mine (2000), questions the “photographic now,” the present state of photography and its new relation to the present. The piece reproduces, or more exactly recomposes, a press photograph of an American airplane shot down by friendly fire. The Belgian artist travelled to the site of the accident and took a series of photos of the landscape. He then assembled these stills into a video animation onto which he superimposed the still image of the exploding plane. The result is an image whose temporality is hybrid and whose mediality is unclassifiable. This study investigates the process of digital reconstruction and animation, and the “becoming signal” of the image, and questions the possibility of reactualizing the photographic past through digital screening.
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Chatterjee, Debangana. "Globalization and the Politics of Photographic Representation: Essentializing the Moments of Agony." Jadavpur Journal of International Relations 22, no. 2 (July 8, 2018): 167–88. http://dx.doi.org/10.1177/0973598418782745.
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Prima facie photographic representations are reproducing reality, though in most of the cases they are artificially created and subjectively interpreted. Focusing on photography as a form of visual representation, the article argues that globalization as a process accelerates this agenda of photography. This article aims at exploring the cultural penetration of globalization through contemporary visual bombardments. The modern capitalist intervention has made globalization even more pregnable to the grassroots of everyday life. In this way, globalization creates stereotypical visual and cultural representations of the feminized societies. People belonging to these societies not only remain at the fringes but also are sympathized from an orientalist perspective. Two-fold questions remain relevant here. First, how does the politics of essentialization take place through photographic representation of feminized societies? Second, how is globalization at work for the creation of these visual images in a manner that in turn strengthens its own bio-power? The article, thus, engages in the exposition of the photographic representation by connecting its theoretical implications with the larger picture of globalization. It picks up some of the widely circulated photographs of the ‘backward’ Third World countries around the world as illustrative instances and shows how these photographs capture the phenomenon of essentialization reflecting a common narrative of suffering.
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yang, nel. "Arousal and Elicitation: Photographic Performativity in FinDom." Master, Vol. 5, no. 2 (2020): 70–77. http://dx.doi.org/10.47659/m9.070.art.
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Financial domination (findom) is a fetish practice in which a submissive derives erotic pleasure from sending money to a dominant or a cashmaster. Cashmasters produce photographs meant to elicit this desire in cashslaves, essentially arousing the desire to send money. This essay approaches this emergent genre of seemingly self-promotional photography as a genre of photographic performativity (Levin 2009). Rather than the desire to capture or represent (Batchen 1999), these images evidence a choreography of photographic performativity including both masters (as makers) and slaves (as viewers). Though the compliance with form and economic practice tempts the interpretation that masters are now slaves, this essay suggests that these images invite performances of domination, submission, and critique into wider performatives of arousal and elicitation. What critics and social analysts perceive as power (economic, erotic, or otherwise) are, in fact, desire at its seams, in the process of active and cooperative composition. Keywords: desire, fetish, photographic performativity, critique, masculinity, financial domination
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Park, Rae-Woong, Joon-Hoe Eom, Ho-Yong Byun, Peom Park, Kyi-Beom Lee, and Hee-Jae Joo. "Automation of Gross Photography Using a Remote-Controlled Digital Camera System." Archives of Pathology & Laboratory Medicine 127, no. 6 (June 1, 2003): 726–31. http://dx.doi.org/10.5858/2003-127-726-aogpua.
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Abstract Context.—Conventional gross photography requires a series of tedious and time-consuming steps, including taking, developing, labeling, sorting, filing, and tracking numerous photographs. Objective.—To describe how to automate the gross photographic process by way of controlling a digital camera remotely. Design.—After defining the requirements of automation regarding gross photography, a remote control board, foot switch, barcode system, and image retrieval system were devised. Setting.—The surgical pathology laboratory of a university medical center with a commercially available megapixel digital camera. Results.—The digital camera zoom and shutter were controlled remotely by a foot switch. A large portion of the gross photographic process, including specimen number labeling, image downloading, labeling, sorting, filing, and tracking, were automated. In addition, the elimination of several manual specimen-processing steps, along with not having to wait for the developing and mounting of conventional 35-mm film, reduced the entire time span required in conventional gross photography from 2 to 5 days, to a few minutes. It was also possible to review the gross images at the time of microscopic sign-out. Conclusions.—The automation of gross photography using a remote-controlled digital camera changes the conventional gross workflow markedly. We found use of a remote-controlled gross photography system to be practical, convenient, and efficient.
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Bakker, Roelof. "A Boy’s Own Trauma: Revisiting a Photograph Recorded in a Nazi Concentration Camp First Encountered as a Child." European Journal of Life Writing 9 (July 6, 2020): LW&D198—LW&D222. http://dx.doi.org/10.21827/ejlw.9.36907.
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Photographer Roelof Bakker revisits a George Rodger photograph recorded in a Nazi concentration camp, Bakker first encountered as a child growing up in the Netherlands forty years ago. Finally developing this image, which registered in his mind yet remained unprocessed, Bakker actively engages with the photograph as a photographer, investigator and spectator, but also as a human being, integrating thought and feeling into an ethical and responsible process of analysis. Responding to critical texts by Ariella Azoulay, Ulrich Baer, Susie Linfield, Werner Sollors, and others, Bakker looks beyond the photograph as a static object, addressing the other participants in the photographic act, including the photographer’s subject Sieg Maandag, and connecting the photograph to a world outside its frame, towards a future unknown at the time of exposure.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.
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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Kotsev, Angel. "The Rise of the Image Banks – a Threat for the Advertising Photography?" Sledva : Journal for University Culture, no. 39 (August 20, 2019): 36–47. http://dx.doi.org/10.33919/sledva.19.39.6.
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The study presented in this article is part of the topic The Impact of Image Banks on the Advertising Photography in Bulgaria, which in turn is part of the doctoral thesis Trends in the Development of Bulgarian Advertising Photography in the Period 2000 – 2017. The purpose of the research is to explore the trends in the selection of an advertising image, i.e. when the preferred images are from image banks and when they are custom-made. The survey will present the number of photographs in Bulgarian advertisements taken from an image bank and the amount of custom made ones. Another issue considered is at what stages of the working advertising process stock images appear. What is also discussed is whether the stock image generating industry is detrimental to customized advertising photography and if it provides additional business opportunity for advertising photographic studios. Through analysis and in-depth interviews with art directors, custom commercial photographers and stock image photographers, the research will attempt to present and systemize specific trends in the working process of advertising agencies on the Bulgarian market and how this affects the advertising photography in Bulgaria. The term advertising photography will be used in the sense of custom photography created for a particular advertising project, while the term stock photography will be used to define a photograph created without a specific assignment and of general commercial nature.
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Gavrik, V. V. "Is Photographic Development an Autocatalytic Process?" Imaging Science Journal 46, no. 1 (January 1998): 32–39. http://dx.doi.org/10.1080/13682199.1998.11736441.
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Tan, Yen T. "Ionic defects and the photographic process." Journal of the Chemical Society, Faraday Transactions 2 85, no. 5 (1989): 457. http://dx.doi.org/10.1039/f29898500457.
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Sathaiyan, N., P. Adaikkalam, J. A. M. Abdul Kader, and S. Visvanathan. "Recovering Silver from Photographic Process Wastes." JOM 42, no. 10 (October 1990): 38–40. http://dx.doi.org/10.1007/bf03220412.
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Harries, John, Linda Fibiger, Joan Smith, Tal Adler, and Anna Szöke. "Exposure: the ethics of making, sharing and displaying photographs of human remains." Human Remains and Violence: An Interdisciplinary Journal 4, no. 1 (2018): 3–24. http://dx.doi.org/10.7227/hrv.4.1.2.
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This article will query the ethics of making and displaying photographs of human remains. In particular, we will focus on the role of photography in constituting human remains as specimens, and the centrality of the creation and circulation of photographic images to the work of physical anthropology and bioarchaeology. This work has increasingly become the object of ethical scrutiny, particularly in the context of a (post)colonial politics of recognition in which indigenous people seek to recover dominion over their looted material heritage, including the remains of their dead. This ethical concern extends to the question of how and under what circumstances we may display photographs of human remains. Moreover, this is not just a matter of whether and when we should or should not show photographs of the remains of the dead. It is a question of how these images are composed and produced. Our discussion of the ethics of the image is, therefore, indivisible from a consideration of the socio-technical process by which the photographic image is produced, circulated and consumed.
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Gizzi, Ferdinando. "Photographing a miraculous apparition in fin-de-siècle France." Magic, Vol. 5, no. 1 (2020): 28–35. http://dx.doi.org/10.47659/m8.028.art.
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This paper is dedicated to the photographic coverage of the alleged miraculous apparitions, which occurred in the small French village of Tilly-sur-Seulles between 1896 and 1897. These photos, circulated as postcards and appearing in popular magazines of the time such as L’Illustration and Le Monde illustré, were presented – by virtue of the authority of the photographic as an indexical trace – as “authentic” testimonials of the supernatural events, though in fact neither recognized nor approved by the Catholic Church. These photographs used the already-known double exposure process of spirit photography, bringing these exotic visual materials into the tradition of religious “authentic fakes”. But more importantly, such images manifested the “visionary fervour” of late nineteenth-century France, that is, the growing desire of the modern crowd to see the invisible in more and more spectacular and convincing ways. Such a new spectatorial desire – that can also be found in the very successful genre of the photographs of the real bodies of mystics, saints, and seers – would be perfected by a whole series of contemporary forms and attractions, and finally, by cinematographic special effects. Keywords: nineteenth century, Marian apparitions, visionaries, photography, superimposition
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Cronin, Anne M. "Researching Urban Space, Reflecting on Advertising." Space and Culture 14, no. 4 (September 19, 2011): 356–66. http://dx.doi.org/10.1177/1206331211412278.
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This photo essay places into dialogue practices of photographing urban space and the market research practices of the U.K. outdoor advertising industry. It explores photography as a method for accessing understandings of cities, and it examines ways of analyzing the interplay between photographic practices and data gathered through ethnography. Through personal reflections on the research process, the essay considers the spatial practices of the outdoor advertising industry and how its billboards and panels act to space out cities and city imaginaries.
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Wall, Gina. "Writing the world: photographing the text of the landscape." Excursions Journal 1, no. 1 (September 12, 2019): 123–42. http://dx.doi.org/10.20919/exs.1.2010.131.
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I am engaged in a practice led thesis, which has been challenged and shaped by thinkers in the fields of critical theory and philosophy. Although I work in dialogue with these theorists, I am principally a visual practitioner who is most at home with traditional, wet process photography.I began with a general concern regarding my own resistance to landscape photography as the depiction of the view, which has led me to question the persistence of the (illusion of) the unified photographic moment. My visual process, which began quite simply as a reaction against the pervasiveness of the view in photography, has, in dialogue with writers such as Ferdinand de Saussure, Roland Barthes, Jacques Derrida and Rosalind Krauss, enabled me to theorise my own photographic practice as a form of writing. Central to this has been the investigation of different theoretical configurations of the semiotic sign.I contend that Rosalind Krauss’ conception of Surrealist photography as a practice of écriture, in fact accounts for photographic practice more broadly speaking. The spacing of the photographic sign, which Krauss describes as an ‘invagination of presence,’ defers the confluence of the signified and the signifier thus rupturing the illusion of presence in the photographic moment: the shutter differences the image from the world and the practice of photography reconfigures the world as a form of writing. However, not simply in the sense of a surface inscribed by light, but writing as a space in which the possibility for meaning is realised.
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Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (April 30, 2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.
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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terhadap keunggulan reduplikasi, proses instan, dan otomatisasi fotografi membuat fotografi kehilangan tempatnya di dunia seni. Akan tetapi, persoalan seni adalah persoalan rasa. Fotografi tetaplah sebuah seni dengan melihat adanya relasi intensional yang tercipta antara objek dan seorang fotografer dalam sebuah foto. Relasi intensional ini tercermin dalam proses, imajinasi, dan kreativitas fotografer di dalam menghasilkan sebuah foto. Lukisan dan fotografi adalah seni menurut rasanya masing-masing. Photography is an Art: A Disaproval towards Roger Scruton's Analysis on the Legitimacy of Art Value of a Photograph. This paper aims to disprove Roger Scruton's argument about the validity of the artistic value of a photograph. Scruton argues that photography is not a work of art. Photography is simply a mechanical action in producing a picture, not a representation but merely a causal event, not an imaginary image, but only a copy. Photography presupposes the ease of art creation. Scruton's statement is further reinforced by the phenomenon of technological development that has forgotten the aesthetic side and only entirely devoted to the action of the machine. The excessive emphasis on the benefits of reduplication, instant processing, and photographic automation makes photography lose its place in the art world. However, the issue of art is a matter of taste. Photography remains an art by seeing the intense relationships created between an object and a photographer in a photograph. This intense relationship is reflected in the process, imagination, and creativity of the photographer in producing a photograph. Painting and photography are arts according to their own taste.
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Lam, Anita, and Matthew Tegelberg. "Witnessing glaciers melt: climate change and transmedia storytelling." Journal of Science Communication 18, no. 02 (March 4, 2019): A05. http://dx.doi.org/10.22323/2.18020205.
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The Extreme Ice Survey (EIS) is an exemplary case for examining how to effectively communicate scientific knowledge about climate change to the general public. Using textual and semiotic analysis, this article analyzes how EIS uses photography to produce demonstrative evidence of glacial retreat which, in turn, anchors a transmedia narrative about climate change. As both scientific and visual evidence, photographs have forensic value because they work within a process and narrative of witnessing. Therefore, we argue that the combination of photographic evidence with transmedia storytelling offers an effective approach for future scientific and environmental communication.
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Andergassen, Lisa. "Digging Up the Narrative: Forensic Practices between Objectivity and Interpretation." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 48–51. http://dx.doi.org/10.47659/m1.048.art.
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Photography traditionally generates a truth-claim, while at the same time undermining it by holding the potential of being altered or staged. Since the rise of digital techniques, we are facing different (and easier) ways to manipulate pictures, leading to the notion of the digital photograph as generally mutable and therefore not trustworthy. But as there have been more and easier ways to “manipulate” photographs, so has there been an increase in the ways to detect them. Which today puts digital forensics in the position of re-establishing “reality” as a referential point by tracing every step of the process of alteration, turning the dubitative image into one that is doubt-free once its metadata has been analysed. But is this the whole story? By addressing digital forensic practices that have been used within the investigation of the Abu Ghraib torture scandal, I am showing that the hidden narrative of photographic production can be dug up by using forensic methods, but not without creating a new narrative.
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Slyusarev, Sergey. "A Photographic Process Using Easily Available Reagents." Journal of Chemical Education 97, no. 12 (October 22, 2020): 4420–24. http://dx.doi.org/10.1021/acs.jchemed.0c00467.
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Pawlik, H. D., R. S. Eachus, R. C. Baetzold, W. G. Mcdugle, and M. T. Olm. "Defects in the silver halide photographic process." Radiation Effects and Defects in Solids 157, no. 6-12 (January 2002): 553–62. http://dx.doi.org/10.1080/10420150215813.
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McHugh, Susan. "Video Dog Star: William Wegman, Aesthetic Agency, and the Animal in Experimental Video Art." Society & Animals 9, no. 3 (2001): 229–51. http://dx.doi.org/10.1163/156853001753644390.
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AbstractThe canine photographs, videos, and photographic narratives of artist William Wegman frame questions of animal aesthetic agency. Over the past 30 years, Wegman's dog images shift in form and content in ways that reflect the artist's increasing anxiety over his control of the art-making process once he becomes identified, in his own words, as "the dog photographer". Wegman's dog images claim unique cultural prominence, appearing regularly in fine art museums as well as on broadcast television. But, as Wegman comes to use these images to document his own transition from dog photographer to dog breeder, these texts also reflect increasing restrictions on what I term the "pack aesthetics," or collaborative production of art and artistic agency, that distinguish some of the early pieces. Accounting for the correlations between multiple and mongrel dogs in Wegman's experimental video work and exclusively Weimaraner-breed dogs with human bodies in his recent work in large-format Polaroid photography, this article explores how Wegman's work with his "video dog star," his first Weimaraner dog Man Ray, troubles the erasure of the animal in contemporary conceptions of artistic authority.
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Grigsby, Darcy Grimaldo. "Negative-Positive Truths." Representations 113, no. 1 (2011): 16–38. http://dx.doi.org/10.1525/rep.2011.113.1.16.
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Opening with a consideration of the role played by Richard Avedon's photograph of William Casby in Roland Barthes's Camera Lucida, this essay examines Sojourner Truth's precocious and knowing use of the technology of photography. Inscribed with the caption "I Sell the Shadow to Support the Substance," Truth's inexpensive cartes-de-visite functioned as a form of paper currency during the years immediately following the Civil War. As a chemical process, photography transformed precious metals into paper images; as an optical registration of light and shadow, photographic negatives turned white into black and black into white, a reversal noted by Oliver Wendell Holmes in an essay that suggests that racial difference informed understandings of the new medium.
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Binazzi, Marta. "Fotografie e istituzioni museali: il sistema della doppia copia e l’accumulo dei fondi. Le Regie Gallerie di Firenze, 1860-1906." Rivista di studi di fotografia. Journal of Studies in Photography 5, no. 10 (December 14, 2020): 10–35. http://dx.doi.org/10.36253/rsf-12245.
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Beginning in the late 1850s, photographic companies reproducing artworks kept in the Royal Galleries of Florence were required to submit copies of their work to the Ministry of Public Education and the museum’s director. This paper shows that while photographers obeyed the rule, their photographs were stored away and left mostly unused for over two decades before the process of creating a proper collection began in the 1880s. Countering traditional histories of how photographic collections were constituted, this paper analyzes bureaucratic practices of documentation and questions the status of photographs in 19th century museums.
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Ploderer, Bernd, and Tuck Wah Leong. "Manual engagement and automation in amateur photography." Media International Australia 166, no. 1 (November 10, 2017): 44–56. http://dx.doi.org/10.1177/1329878x17738829.
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Automation has been central to the development of modern photography and, in the age of digital and smartphone photography, now largely defines everyday experience of the photographic process. In this article, we question the acceptance of automation as the default position for photography, arguing that discussions of automation need to move beyond binary concerns of whether to automate or not and, instead, to consider what is being automated and the degree of automation couched within the particularities of people’s practices. We base this upon findings from ethnographic fieldwork with people engaging manually with film-based photography. While automation liberates people from having to interact with various processes of photography, participants in our study reported a greater sense of control, richer experiences and opportunities for experimentation when they were able to engage manually with photographic processes.
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Salam, Junaidi. "EKSPLORASI CETAK FOTOGRAFI VANDYKE PADA MATERIAL KULIT." Narada : Jurnal Desain dan Seni 6, no. 3 (December 19, 2019): 387. http://dx.doi.org/10.22441/narada.2019.v6.i3.004.
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As part of the fashion material repertoire, leather has a lot of travel in the exploration and development of material functions, both technological development and the development of aesthetic basic material fashion products, so designers often use this material to increase the high economic value in the fashion industry. old print photography has indeed been abandoned a lot over the times and advances in photographic technology, but in retrospect, it has revived the passion for the search for unique aesthetic values of the old photographic processes and characteristics. This study focuses on experiments with Vandyke's photographic printing on leather material, especially in producing character and the application of photographic aesthetics into fashion material. This research is driven by a number of basic assumptions about the possibility of Vandyke printing applied to leather material, as well as efforts to produce realistic visual motifs in the style of retrospective photography techniques. While the effort that can be done is to determine the variable composition of chemicals in the Vandyke process towards the characteristics of the leather material that has been determined in a laboratory experiment.
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Purnamasari, Putu Rahayu, I. Nyoman Putu Budiartha, and Ni Made Puspasutari Ujianti. "Perlindungan Hukum terhadap Hak Cipta Karya Fotografi yang Digunakan tanpa Izin." Jurnal Konstruksi Hukum 1, no. 1 (August 27, 2020): 203–8. http://dx.doi.org/10.22225/jkh.1.1.2159.203-208.
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Photo is the result of an image taken by a camera through a photographic process carried out by a photographer and protected as one of the copyright works in the Prevailing Laws, namely the Copyright Law No. 28/2014. Violations against copyright works often occur, but there are still many photographers who do not understand or even know about copyright and the legal provisions governing and protecting it and do not register their creations with the Directorate General of IPR. So the problem that can be investigated is how the legal protection of the rights of the creator of photographic works and what legal remedies can the creator take on the work of photography that is used without permission by other people. This study aims to determine the level of legal protection for the rights of photographic creators as well as to find out the legal actions taken by the creators of photographic works that are used without the permission of others. The method used is legal research that is normative through a statutory approach as well as a conceptual approach, and the sources of legal materials used are primary and secondary legal materials with literature collection techniques which are analyzed in descriptive analytical form. Based on the results of research and analysis, it can be concluded that the copyright of photographic works is to provide protection for photo art works and to provide economic rights for the creators or copyright holders and moral rights for the creators. The route outside the court and the court route are two legal routes that can be taken in making legal remedies.
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Bayu Pramana, I. Made. "Photography As A Bridge To Intercultural Interaction In Bali During The Netherland Indies Colonial Period Of The 1920-1930S." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 2 (November 19, 2019): 54–58. http://dx.doi.org/10.31091/lekesan.v2i2.888.
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This article presents the process of commencing inter-cultural interactions and artistic collaboration between Balinese and western photographers through photography. In the beginning, the photography project only showed visual record of the Kings, the royal family along with the royal government apparatus in Bali. Beginning with Gregor Krause, a colonial doctor who practiced photography, the others photographers then began exploring nature, culture, art and Balinese society into recording their photographic works. The activity then continued to be an artistic collaboration between westerners as photographers and Balinese as photo models. Not only that, the collaboration also extends to the incorporation of many western cultural elements into photography properties. In addition, the models that appear in photographic works are not only from the royal community, but begin to spread to ordinary residents, artists and their environment. Through the bridge of photography, many western artists combine their ideas with Balinese artists to design and create works of art in the needs of photographic documentation. The collaborative work then attracted tourists to Bali to enjoy the exotica of Bali which was first collaborated by western photographers and writers.
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Fudala, Caroline, and Rebecca M. Jones. "The Chemistry of Mordançage, a Historic Photographic Process." Analytical Chemistry 91, no. 22 (October 17, 2019): 14482–88. http://dx.doi.org/10.1021/acs.analchem.9b03205.
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Skilton, Anni. "Photographic sequence- drainage process of a myxoid cyst." Journal of Visual Communication in Medicine 41, no. 1 (January 2, 2018): 24–25. http://dx.doi.org/10.1080/17453054.2018.1389261.
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Pilarczyk, Ulrike. "Chalutzim—Zionist Photography in Germany and Palestine in the 1930s: A Comparative Analysis of Images." Leo Baeck Institute Year Book 64, no. 1 (October 12, 2019): 91–114. http://dx.doi.org/10.1093/leobaeck/ybz009.
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Abstract This article reconstructs and compares photographic perspectives on the historical phenomenon of preparing German-Jewish youth for emigration from Germany, and their subsequent training in Palestinian kibbutzim in the framework of the hachshara and the youth aliyah. It considers the photographers’ status, differentiating between professional photography and the work of amateurs, and investigates the use and addressees of these images. The image analysis that underlies this study examines facets of the photographic and pictorial conception of chalutzian youth, including motifs, style, and atmospheres. In the process, photography is classified as a unique historical image source, in which the conditions of the time inscribe themselves even beyond personal and political intentions, interests, and contexts of usage. The image analysis also aims to reconstruct the specific, visually represented individual and collective experiences of the producers and addressees of photographic images in Germany and Mandatory Palestine.
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Colner, Miha. "Human Figure as an Object: Vanja Bučan, photographer." Instinct, Vol. 4, no. 1 (2019): 28–32. http://dx.doi.org/10.47659/m6.028.rev.
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The article analyzes the artistic process of the Berlin-based photographer Vanja Bučan, who always manages to maintain at least some recognizable expression despite her varied approaches. Her works are visually rich, carrying complex meanings and associations. She chooses not to directly reflect the collective and the individual everyday life but depicts universal existentialist motifs where the social perspective is usually shown through metaphors and allegories. The centerpiece of her work is the relationship between culture and nature and between humans and their environment, as well as the ontology of image in mass media circulation. Her photography requires a considerable degree of cerebral activity and intuition in order to sense some of the fundamental questions of humankind in the Anthropocene. Keywords: Anthropocene, art photography, photographic mise-en-scene, representation of nature
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Rycroft, Nathan, Kristin Radcliffe, and Jelle Atema. "A photographic method for lobster morphometry aimed at site discrimination." Canadian Journal of Fisheries and Aquatic Sciences 70, no. 11 (November 2013): 1658–65. http://dx.doi.org/10.1139/cjfas-2013-0103.
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Current data suggest that lobster (Homarus americanus) populations are less homogenous than once believed. In an effort to better discriminate morphologically among lobsters from different sites, we developed a photographic method using ImageJ and compared it with commonly used “hand” measurements. We standardized the measuring process using a strap-down board for both dorsal and ventral photographs with a camera mounted at a fixed position above the lobster. Discriminant analysis showed that both hand and photographic methods were useful in discriminating lobsters — both males and females — from three different sites. Additionally, the photographic method improved reproducibility and resolution, it reduced measurement time at the dock, and it created a permanent record for later verification, additional statistical analyses, and observer training.
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Levine, Robert M. "Faces of Brazilian Slavery: The Cartes de Visite of Christiano Júnior." Americas 47, no. 2 (October 1990): 127–59. http://dx.doi.org/10.2307/1007369.
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Photographs probably expanded more horizons and redefined more ways of knowing the world than any other product of nineteenth-century technology. The first daguerreotypes appeared in the Western Hemisphere merely months after the triumphal announcement of Daguerre's process by the French Academy in 1839. In the next three decades, millions of photographic images were produced. Three distinct categories predominated: studio portraits, scenic views for collectors and, after the early 1850s, photographic images transferred to woodcuts and, later, lithographs for publication as line sketches in illustrated newspapers and magazines. Photographic “science” complemented neatly the elite's striving for ways to affirm the region's material progress. Photographers played a vital role in presenting to the world a vision rooted in the aspirations of the dominant members of society.