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1
Guyot, Adrien. "Âges d’or et fausses nostalgies : Entre imaginaire vintage et déjà vu. Une analyse du discours nostalgique dans la culture populaire contemporaine." Convergences francophones 6, no. 2 (May 23, 2020): 123–30. http://dx.doi.org/10.29173/cf564.
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Le concept de faux souvenir n’est en rien nouveau; son existence remonte aux balbutiements de la psychanalyse et de la psychologie clinique. La photographie de famille présente à cet égard une situation d’énonciation toute particulière. En effet, même lorsque le référent (la personne photographiée) n’a guère de souvenirs de l’occasion en soi, la codification, le sens de l’image, le lien de connaissance, la réappropriation mémorielle de l’événement, aussi artificiels soient-ils, peuvent être établis par le biais d’un récit externe.
Une manipulation du même acabit est à l’origine du succès des séries Stranger Things, Riverdale et Chilling Adventures of Sabrina qui usent d’un imaginaire vintage et déjà vu pour bercer dans une douce nostalgie toute une génération de téléspectateurs bien trop jeunes pour en saisir pleinement les références.
2
Muzzarelli, Federica. "Voyeurism and erotic stereotypes in fashion photography: Modernity and postmodernity from the Countess of Castiglione to Helmut Newton." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 189–204. http://dx.doi.org/10.1386/fspc_00078_1.
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Voyeurism and desire are drives linked ontologically to the identity of the photographic and fashion system. Photographing someone is always an act of voyeuristic possession of something that belongs to another, or at least to the surrounding reality that one seeks to ‐ fetishistically ‐ appropriate. But the voyeuristic exercise of photography lives and is nourished by stimulating the exhibitionism of what is in front of the machine’s lens, thus completing and giving meaning to each other. When the context being photographed is fashion, the conditions of insistent voyeurism and intense desire (of emulation, projection, appropriation) become one with the very meaning of the image. In fact, moving from behaviour to the object, most of fashion’s photographic tradition can be traced back to an atmosphere of soft winking and erotic fantasy of the look. In this article, we take into consideration two well-known events that are generically associated with voyeurism and eroticism of the photographic image and fashion, reading them as a parable of the history of the male gaze of women’s bodies: from the triumph of the stereotype in the modern age to its sudden upheaval in the postmodern age. The first case is that of the Countess of Castiglione, who from the mid-nineteenth century was already able to demonstrate how photography could solidify male erotic imagery and, in so doing, present fashion as the style and attitude of an era. In contrast, we find Helmut Newton, famous and acclaimed fashion photographer and exceptional interpreter of the excesses of the eighties, able to bring that male erotic imagery to such exaggerations in the use of codes to make it almost harmless, cooling it.
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Vissers, Nathalie, Pieter Moors, Dominique Genin, and Johan Wagemans. "Exploring the Role of Complexity, Content and Individual Differences in Aesthetic Reactions to Semi-Abstract Art Photographs." Art and Perception 8, no. 1 (March 4, 2020): 89–119. http://dx.doi.org/10.1163/22134913-20191139.
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Artistic photography is an interesting, but often overlooked, medium within the field of empirical aesthetics. Grounded in an art–science collaboration with art photographer Dominique Genin, this project focused on the relationship between the complexity of a photograph and its aesthetic appeal (beauty, pleasantness, interest). An artistic series of 24 semi-abstract photographs that play with multiple layers, recognisability vs unrecognizability and complexity was specifically created and selected for the project. A large-scale online study with a broad range of individuals (n = 453, varying in age, gender and art expertise) was set up. Exploratory data-driven analyses revealed two clusters of individuals, who responded differently to the photographs. Despite the semi-abstract nature of the photographs, differences seemed to be driven more consistently by the ‘content’ of the photograph than by its complexity levels. No consistent differences were found between clusters in age, gender or art expertise. Together, these results highlight the importance of exploratory, data-driven work in empirical aesthetics to complement and nuance findings from hypotheses-driven studies, as they allow to go further than a priori assumptions, to explore underlying clusters of participants with different response patterns, and to point towards new venues for future research. Data and code for the analyses reported in this article can be found at https://osf.io/2fws6/.
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Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (October 2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.
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This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory theory, the article shifts these debates forward by adopting the concept of ‘assemblage’. The article concentrates on the aesthetics of photographs produced by Armenian photographic studios in Istanbul during the late nineteenth century and their relationship to the present through the work of contemporary artists Klitsa Antoniou, Joanna Hadjithomas, Khalil Joreige and Etel Adnan as well as photographic exhibitions organised by the Centre for Asia Minor Studies, Athens, Greece.
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Molnar, Michael. "Freud & Co." Psychoanalysis and History 8, no. 2 (July 2006): 255–66. http://dx.doi.org/10.3366/pah.2006.8.2.255.
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A previously unknown photograph of the old Emanuel Freud with his youngest daughter Bertha inspires an attempt to salvage what can be rescued of these lost lives and reminds us that history is always incomplete. Emanuel's appearances in Freud's dreams exemplify the dream-like aspects of the photographic image, which momentarily highlights particular aspects of the sitter while neglecting others. Examining photographs for documentation involves a reappraisal of the language of historical evidence.
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Cartwright, Lisa. "On the Face of the Photograph, and the Moving Image: Geopolitical Affect in the Speculative Landscapes of Connie Samaras." Journal of Visual Culture 17, no. 2 (August 2018): 238–52. http://dx.doi.org/10.1177/1470412918783833.
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This article introduces the concept of geopolitical affect in landscape photography and video, focusing on two series by the US artist Connie Samaras: V.A.L.I.S. (2004-5) and Edge of Twilight (2011–2018). The article draws on the cybernetic affect theory of the mid-century US psychologist Silvan S Tomkins as well as the artist’s own concept of speculative landscape and critique of identity politics to consider surface, movement, and the face in landscape photography. As well, a photographic and audiovisual theory of geopolitical drive and affect, based on the work of Tomkins, is proposed.
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Kimle, Patricia Anne, and Ann Marie Fiore. "Fashion Advertisements: A Comparison of Viewers' Perceptual and Affective Responses to Illustrated and Photographed Stimuli." Perceptual and Motor Skills 75, no. 3_suppl (December 1992): 1083–91. http://dx.doi.org/10.2466/pms.1992.75.3f.1083.
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The perceptual and affective responses of 44 women to actual illustrated and photographed fashion advertisements during focused interviews were explored. Content analysis methods identified categories of response; frequency of response categories for the two media were compared using Fisher's z tests. Significant differences in perceptual responses included greater visual interest created by the use of color in photographs, greater interest in layout and design features of the illustrations, and interest in characteristics of the models in the photographs. Affective response differences included greater preference for photographic advertisements and the garments in them. Contrary to suggestions from professionals in fashion advertising, no significant differences were found in viewers' perceptions of information about the products in the advertisements or perceptions of meaning and aesthetic response.
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Alley, Thomas R. "Visual Detection of Body Weight Change in Young Women." Perceptual and Motor Skills 73, no. 3 (December 1991): 904–6. http://dx.doi.org/10.2466/pms.1991.73.3.904.
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To assess whether small changes in body weight can be visually detected, college students (58 women and 42 men) were asked to select the less heavy person shown in two photographs for each of 33 young women. All of these women had been photographed twice in a standardized pose and attire, separated by an 8-wk. interval during which most of them lost weight. These pairs were presented in varying orders to control for the order and side of presentation. One photograph was reliably selected as the lighter person for 64% of the pairs, but the picture selected was in fact lighter only 57% of the time. The accuracy of selecting the lighter photograph was not correlated with the percent weight change for the person shown in the pairs of photographs. The results suggest that small changes in women's weight may not have a significant perceptual effect, particularly for male perceivers.
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Fawns, Tim. "Blended memory: A framework for understanding distributed autobiographical remembering with photography." Memory Studies 13, no. 6 (February 13, 2019): 901–16. http://dx.doi.org/10.1177/1750698019829891.
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This article offers a framework for understanding how different kinds of memory work together in interaction with people, photographs and other resources. Drawing on evidence from two qualitative studies of photography and memory, as well as literature from cognitive psychology, distributed cognition and media studies, I highlight complexities that have seldom been taken into account in cognitive psychology research. I then develop a ‘blended memory’ framework in which memory and photography can be interdependent, blending together as part of a wider activity of distributed remembering that is structured by interaction and phenomenology. In contrast to studies of cued recall, which commonly feature isolated categories or single instances of recall, this framework takes account of people’s histories of photographic practices and beliefs to explain the long-term convergence of episodic, semantic and inferential memory. Finally, I discuss implications for understanding and designing future memory research.
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Bohm-Duchen, Monica. "Chasing Shadows." European Judaism 56, no. 1 (March 1, 2023): 22–39. http://dx.doi.org/10.3167/ej.2023.560103.
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Abstract Drawing on the influential concept of postmemory first mooted by Marianne Hirsch, and on the links between photography and mortality first explored by Susan Sontag and Roland Barthes, this article analyses the work of ten largely UK-based visual artists who, as members of the so-called second generation (namely, the descendants of Holocaust survivors and refugees), make use of the photographic medium to engage creatively and conceptually – and often in a conspicuously gendered way – with the legacy of their families’ traumatic histories. Some of the artists (Halter, Tucker) base their handcrafted imagery directly on pre-war family photographs; others (Winckler, Brunstein, Petzal, Gorney, Kerr, Davidmann) incorporate actual photographs, past and present, into mixed media artworks, frequently manipulating and even doing violence to them. Others again (Garbasz) use photographs taken in the present to reach out to an inaccessible past, while yet others (Markiewicz) employ a more abstract and allusive approach to the medium.
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Barasch, Alixandra, Kristin Diehl, Jackie Silverman, and Gal Zauberman. "Photographic Memory: The Effects of Volitional Photo Taking on Memory for Visual and Auditory Aspects of an Experience." Psychological Science 28, no. 8 (June 26, 2017): 1056–66. http://dx.doi.org/10.1177/0956797617694868.
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How does volitional photo taking affect unaided memory for visual and auditory aspects of experiences? Across one field and three lab studies, we found that, even without revisiting any photos, participants who could freely take photographs during an experience recognized more of what they saw and less of what they heard, compared with those who could not take any photographs. Further, merely taking mental photos had similar effects on memory. These results provide support for the idea that photo taking induces a shift in attention toward visual aspects and away from auditory aspects of an experience. Additional findings were in line with this mechanism: Participants with a camera had better recognition of aspects of the scene that they photographed than of aspects they did not photograph. Furthermore, participants who used a camera during their experience recognized even nonphotographed aspects better than participants without a camera did. Meta-analyses including all reported studies support these findings.
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Hurst, Rachel Alpha Johnston. "Collapsing the Surfaces of Skin and Photograph in Cosmetic Minimally-Invasive Procedures." Body & Society 24, no. 1-2 (April 5, 2018): 175–92. http://dx.doi.org/10.1177/1357034x18766289.
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This article proposes that cosmetic minimally-invasive procedures – Botox injections, soft-tissue fillers, microdermabrasion, chemical peels and laser treatments – are an under-researched area and provide a number of promising paths for skin studies research. I argue that cosmetic minimally-invasive procedures collapse the difference between the surfaces of the photograph and the skin – the primary surfaces of cosmetic surgery – more successfully than cosmetic surgical procedures. More precisely, I maintain that the difference between photograph and skin is collapsed in two ways: first, through narrating the transformation of the skin’s surface in a way that more closely matches the photographic promises of the cosmetic surgery industry; and, second, by depicting the surgical penetration of the skin through advertising photography. The article concludes by suggesting that further investigation into cosmetic minimally-invasive procedures could offer a new way to think about relationships between ‘normative’ and ‘non-normative’ skin modification practices.
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Yang, Xiaolan. "The Role of Photographs in Online Peer-to-Peer Lending Behavior." Social Behavior and Personality: an international journal 42, no. 3 (April 15, 2014): 445–52. http://dx.doi.org/10.2224/sbp.2014.42.3.445.
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My purpose in this study was to evaluate the role of photographs in online peer-to-peer lending behavior. I recruited 92 college students to rate trustworthiness or emotion by viewing the photographs of borrowers on a peer-to-peer lending platform. Following this, I showed 209 college students an advertisement with a photograph and asked how much money they would be willing to lend the person in the photograph. The lending amount was higher for advertisements with a photograph rated trustworthy than for a photograph rated untrustworthy, and higher for advertisements with a photograph rated happy than for a photograph rated sad. These results indicate that judgments of both trustworthiness and happiness as perceived in photographs play an important role in lending behaviors.
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Sándor, Alexandra Valéria. "The Psychosocial Impact of Modifying Face and Body Photographs in Social Media." Journal of Advanced Research in Social Sciences 3, no. 2 (December 30, 2020): 41–46. http://dx.doi.org/10.33422/jarss.v3i2.504.
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Social media usage has become widespread in the past decade, and studying its far-reaching impacts requires an interdisciplinary approach. This pilot study takes the first step in discovering the psychosocial impact of specific media content, modified face and body photographs, and the act of modifying in this context with a mixed-method assessment. The analysis is based on structured interviews with ten social media users with various demographic traits (such as gender, age, or education) who were presented eight pairs of "before-and-after modification" photographs and completed the Beck Depression Inventory (BDI) to assess a possible relationship between modified face and body photographs in social media and depression. All the participants encountered such face and body photographs that they considered "modified". The definition of modification was "retouching, editing, using filters or any kind of digital altering mechanism". Seventy per cent of users admitted that they took the opportunity to modify photographs of their face and body. The average Beck score of the image modifiers was 7.14, while non-modifiers' was 2.33. Thirty per cent of the interviewees probably had mild depression or were in a mildly depressive state during the data collection based on their Beck scores; all were image modifiers exposed to modified pictures. Besides the fully structured interviews with social media users, half-structured interviews were also recorded with four experts – a social psychologist, a clinical psychologist, a plastic surgeon, and a professional photographer – to gain a deeper understanding of this complex topic and contribute to further, more extensive research on this area.
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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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Behrman, Bruce W., and Lance T. Vayder. "The Biasing Influence of a Police Showup: Does the Observation of a Single Suspect Taint Later Identification?" Perceptual and Motor Skills 79, no. 3 (December 1994): 1239–48. http://dx.doi.org/10.2466/pms.1994.79.3.1239.
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This experiment investigated whether a police showup or presentation of a single suspect to a witness has a biasing effect on later identification at a lineup. All of the subjects viewed a videotape of a simulated crime, ostensibly real and photographed by a surveillance camera. After a short delay, approximately half of the subjects were shown a single photograph of an innocent suspect and told that he had been apprehended by the police. Five to seven days later, all of the subjects, including those who had not observed the showup, viewed a photographic lineup of six people. The proportion of subjects choosing the innocent suspect from the lineup was significantly higher in the group who had viewed the showup than in the control group who had not observed it. Of those subjects who had observed the showup and made a choice from a subsequent lineup, approximately 40% identified the innocent suspect as the perpetrator. These results indicate that a showup procedure is a biasing method of identification.
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Garin, Manuel, and Daniel Pérez-Pamies. "Power and satire in the front-page images of Mariano Rajoy: visual motifs as political humour." European Journal of Humour Research 9, no. 3 (November 1, 2021): 65–91. http://dx.doi.org/10.7592/ejhr2021.9.3.534.
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This article explores the use of photography and visual motifs as forms of political humour in contemporary media. By studying the representation of former Prime Minister of Spain Mariano Rajoy in the front pages of three Spanish newspapers (El Mundo, El País and La Vanguardia) between 2011 and 2017, the paper identifies and questions the liaisons between power and satire present in the so-called “serious” press, focusing on how different photographic traits concerning layout, composition and gestures reflect ideological choices. This photographic satire developed by printed media is then framed within a figurative tradition that goes back to Spanish royal portraiture, from Velázquez to Goya, which employs common strategies for the visual depiction of power, including satirical and humorous attributes to push specific political agendas. This examination, based on the quantified study and the visual analysis of more than 7,500 front pages, is part of the national research project Visual Motifs in the Public Sphere: Production and Circulation of Images of Power in Spain, 2011-2017. In order to determine a useful procedural approach to satirical expressions in photographs, defining which front pages invoke a remarkable satirical content, this article also presents a comparative study and a categorisation based on formal (im)balances related to the concepts of visual motif and humour.
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Magalhães Naves, Ludmila, and Ilsa do Carmo Vieira Goulart. "PHOTOGRAPHY: THE POTENTIAL OF IMAGE AS ILLUSTRATION TOOL IN CHILDREN'S LITERATURE BOOKS." Revista Interdisciplinar Internacional de Artes Visuais 9, no. 1 (June 28, 2022): 19–33. http://dx.doi.org/10.33871/23580437.2022.9.1.19-33.
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From the conception of photographic art as a visual text, which narrates, informs and promotes interactions, this article aims to reflect on the potential of photography as an illustrative tool. Thus, it is understood that a literary work illustrated from photographic images allows the expansion of interpretative and dialogical limits between the reader and the work. Adele Enersen's work When my baby dreams was chosen for the investigation, a narrative composed of scenarios created manually using homemade artifacts and captured through the photographic record. Under a qualitative approach, the bibliographic research methodology was chosen, which took place through an interpretative analysis that allowed us to observe the means and instruments used in the composition of the work. As a theoretical basis, it relies on the studies of Santaella (2012), Flusser (2000) and Manguel (2001) on materiality, photography and literature as well as other authors that contemplate the themes. In this perspective, we seek to expand the principles of photographic materiality and identify the potential of its use as a literary illustration. It is concluded that storytelling combined with photographic illustrations contributes significantly to the reading comprehension and involvement of the reader, highlighting the materiality of the photographic image as an important characteristic of the literary illustration technique.
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Dinardo, Lisa, and David Rainey. "Recognizing Faces in Bright and Dim Light." Perceptual and Motor Skills 68, no. 3 (June 1989): 836–38. http://dx.doi.org/10.2466/pms.1989.68.3.836.
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32 undergraduates viewed 10 photographs of faces for 3 sec. each in a brightly or dimly illuminated room. Then they viewed 40 photographs in the same light, including the original 10, and identified each photograph as new or old. Subjects recognized significantly more photographs in the bright illumination condition, possibly because that condition allowed for more processing of information.
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Garry, Maryanne, and Matthew P. Gerrie. "When Photographs Create False Memories." Current Directions in Psychological Science 14, no. 6 (December 2005): 321–25. http://dx.doi.org/10.1111/j.0963-7214.2005.00390.x.
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Photographs help people illustrate the stories of their lives and the significant stories of their society. However, photographs can do more than illustrate events; in this article, we show that photographs can distort memory for them. We describe the course of our “false-memory implantation” research, and review recent work showing that photographs can sometimes increase—while other times decrease—false memories. First, we discuss research showing that a doctored photo, showing subjects taking a completely fictitious hot-air-balloon ride, can cultivate false memories for that experience. We hypothesize that the photograph helps subjects to imagine details about the event that they later confuse with reality. Second, we show that although photographs are indeed powerful sources of influence on memory, they are not necessarily as powerful as narrative. In fact, in certain circumstances, photographs might constrain imagination. Third, we discuss research showing that true photographs can also cultivate false memories. Finally, we present recent work showing that photographs can create false memories for current events.
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Bloom, Paul, Bruce M. Hood, Ute Leonards, and Katherine Donnelly. "Implicit Voodoo: Electrodermal Activity Reveals a Susceptibility to Sympathetic Magic." Journal of Cognition and Culture 10, no. 3-4 (2010): 391–99. http://dx.doi.org/10.1163/156853710x531258.
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AbstractAlthough young children might be uncertain about the nature of certain representations, most modern adults would explicitly maintain that photographs have no ongoing physical connection the objects that they depict. We demonstrate here in three studies that destruction of a photograph of a sentimental object produces significantly more electrodermal activity than destruction of photographs of other control objects. This response is not attributable to anxiety about being observed whilst destroying the picture, nor is it entirely due to simple visual association ‐ the same response occurs when the photograph does not resemble the object. We suggest that this effect may reflect a tacit acceptance of “sympathetic magic”.
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Agalakova, Anna Sergeevna. "Photography as a Practical Psychologist's Tool." Herald of Omsk University. Series: Psychology, no. 2 (July 28, 2020): 44–51. http://dx.doi.org/10.24147/2410-6364.2020.2.44-51.
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The article compares approaches to using photography as a tool of a practical psychologist: phototherapy; therapeutic photography; photo-art-therapy; creative self-expression therapy. The main techniques that use photography for psychological help are described, the psychological functions of photography are indicated. The article describes the method of phototherapy in the framework of a psychological project «PhotoProYavlenie» («Photo as manifestation»).
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Eyre, Sarah, and Xanthe Hutchinson. "Re-touched." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 205–10. http://dx.doi.org/10.1386/fspc_00079_1.
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Re-touched is a collaborative project by collage artist Sarah Eyre and fashion photographer Xanthe Hutchinson. Both artists share an interest in the female body, particularly the notion of pleasure in display and gaze between women and the body. The body of work that forms Re-touched combines photographic and collage methods in order to embody a sense of sensuality through the opening up and enfolding of the female form, on set and through the process of collage. The artists position their work within a framework of feminist theory that questions the binary thinking around the gaze. They draw on the writing of Laura U. Marks to bring a haptic quality to their photographic and collage interventions to the image, and in inviting the viewer to be touched by their images. Through this series of photographic collages, they have established a visual and tactile approach that utilizes the body, is collaborative and re-figures the power structures between model, photographer and viewer. Their images offer a way of rethinking and reshaping representations of the female nude.
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Greene, Ernest, and Scott C. Fraser. "Observation Distance and Recognition of Photographs of Celebrities' Faces." Perceptual and Motor Skills 95, no. 2 (October 2002): 637–51. http://dx.doi.org/10.2466/pms.2002.95.2.637.
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Subjects were tested to assess the distance at which they could recognize the faces of celebrities (more specifically, a set of 44 portrait photographs of movie and television actors). The set of test photographs was shown initially at a distance of 200 ft. and then closer in increments of 20 ft. When the actor in a given photograph was identified, either by name, character role, or by the movie or television show in which the actor had starred, the recognition-distance was recorded and the photograph was removed from the test set. Those which were not recognized (even at the closest distance) were not included in the data summaries or statistical analysis. In calculating recognition-distance for each photograph, the values were adjusted to reflect the distance at which recognition would have occurred if all the faces were of normal size. The upper limit for recognition, as defined by the distance above which only 10% of the faces are identified, was just over 160 ft. for women, and just under 200 ft. for men. There was also a significant difference in mean recognition distance between women and men. The large range of recognition-distance (across photographs and across subjects) argues that the distance is not controlled primarily by the feature detail provided in a given photograph or by the discrimination and recall skills of the observer. More likely it is a function of diverse memory associations, so that the distance at which each photograph is recognized will depend on such factors as frequency and recency of exposure, perceived attractiveness, and how much the subject admires the celebrity.
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Axelsson, Östen. "Towards a Psychology of Photography: Dimensions Underlying Aesthetic Appeal of Photographs." Perceptual and Motor Skills 105, no. 2 (October 2007): 411–34. http://dx.doi.org/10.2466/pms.105.2.411-434.
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With the aim to contribute to the development of a psychology of photography, this study examined what attributes are the major determinants of aesthetic appeal of photographs. Two interlinked experiments were conducted with 564 photographs having a wide range of motifs. Exp. 1 consisted of sorting by aesthetic appeal and adjective generation. In Exp. 2, attribute scaling was collected. Multidimensional scaling analysis of the photographs yielded three dimensions identified with the aid of attribute scales combined with measures of the manifest content of the photographs. The three dimensions were Hedonic Tone–Familiarity, Absence of color, and Expressiveness–Dynamics. The present results suggested that participants' familiarity with the photographs, the types of photographs (Color or Black & White), and the photographs' dynamics all affected participants' judgments of aesthetic appeal. Hedonic Tone and Expressiveness apparently mediated the participants' judgments.
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Schwan, Stephan, Daniela Bauer, Lorenz Kampschulte, and Constanze Hampp. "Representation Equals Presentation?" Journal of Media Psychology 29, no. 4 (October 2017): 176–87. http://dx.doi.org/10.1027/1864-1105/a000166.
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Abstract. In two experiments, the notion was tested that real objects receive more attention and are better remembered than respective photographs of objects. Both objects and photographs were presented behind glass in display showcases in a museum and, hence, were largely equivalent in terms of providing visual information. The results of Experiment 1 indicated that participants pay more attention to real objects than to respective photographs. In addition, Experiment 2 indicated that participants retrieve more memory details about an object if they have seen it as a real object in comparison with a respective photograph. This study provides the first evidence that observers take the different ontological status of photographs and real objects into account, processing the former less elaborately than the latter. More specifically, the present findings are compatible with an early-stage model, which assumes that attribution of authenticity is done heuristically at an early stage, thereby influencing the amount and depth of subsequent stages of information processing, including inspection time and cognitive elaboration.
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Lin, Chyong-Ling, Jin-Tsann Yeh, and Pei-Chen Lan. "A Coming-Out Party for Women: Empowerment Through Bridal Photography." Social Behavior and Personality: an international journal 40, no. 2 (March 1, 2012): 339–51. http://dx.doi.org/10.2224/sbp.2012.40.2.339.
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A wedding is a part of a series of ceremonies and image construction events designed to create the ideal. Bridal photographs no longer show newlyweds and their families in rigid poses. Diverse wedding costumes, modeling, and visual consumption aesthetics can overwhelm the newlyweds as they become the critical focal point in a strategy of product differentiation. Instead, personalized and entertaining visual consumption has become very popular. In this study the consumers of bridal photography and bridal salons are the target population; we probe the aesthetic values on which are based the evolution of traditional female stereotypes and male-female power structures. Results indicate that female role portrayal is based not only on standard social and cultural perspectives, but also on self-image. Women take the leading role in bridal photographs, signalling their independence in playing the bride role, but also showing the value of self-reward as a marketing tool. Consumption in modern bridal photography is based on self-image realization and the collectively shared culture of the new bride.
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Mathes, Eugene W., Clarissa Arms, Alicia Bryant, Jeni Fields, and Aggie Witowski. "Do Men Believe That Physically Attractive Women are More Healthy and Capable of Having Children?" Psychological Reports 96, no. 3_suppl (June 2005): 1002–8. http://dx.doi.org/10.2466/pr0.96.3c.1002-1008.
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The purpose of this research was to test the hypothesis that men view physical attractiveness as an index of a woman's health and her capacity to have children. 21 men and 26 women from an introductory psychology course were shown photographs from 1972 of men and women college students, judged in 2002 to be attractive or unattractive. Subjects were asked to rate the photographed individuals' current health, the probability that they were married, the probability that they had children, and whether they had reproductive problems. The hypothesis was generally supported; the men rated the photographs of attractive women as healthier, more likely to be married, and more likely to have children.
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Valentino, Mary Ann, James W. Brown, and W. A. Cronan-Hillix. "Aesthetic Preference and Lateral Dominance." Perceptual and Motor Skills 67, no. 2 (October 1988): 555–61. http://dx.doi.org/10.2466/pms.1988.67.2.555.
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Aesthetic preferences for photographs with the main focal content either to the left or right of the photograph's center were examined in right- and left-handed subjects. Verbal responses or manual responses were required. In one experiment with 261 introductory psychology student-subjects, left-handers more often preferred photographs with the more important part on the left (“left-geared”) than did right-handers. Exp. 2, involving 84 right-handed student subjects, showed that left-geared photographs presented on the left side were preferred more often than left-geared photographs presented on the right side, and left-geared photographs presented on the left side were more often chosen when a left-handed manual response was required. Interactions between handedness, position of the stimulus, language hemisphere, and response mode make it extremely difficult to ascertain whether the right hemisphere is really more involved in aesthetic decisions.
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Stamps, Arthur E. "Perceptual and Preferential Effects of Photomontage Simulations of Environments." Perceptual and Motor Skills 74, no. 3 (June 1992): 675–88. http://dx.doi.org/10.2466/pms.1992.74.3.675.
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To determine how well photomontages simulate real environments, 58 respondents were asked to identify which parts of 12 photographs of urban scenes had been simulated. Less than 14% of the responses were correct identifications of photographic alterations. The data support the hypothesis that the respondents could not distinguish real from altered environmental components in photographs. In addition, to assess whether the photomontage technique affected preference judgments, preference data were obtained for three scenes shown as slides, slides of prints, and slides of altered prints. An analysis of variance indicated that the three media accounted for 4.8% of the variance in preference, while the scenes accounted for 44% of that variance.
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Grogan, Sarah, Zoe Williams, and Mark Conner. "The Effects of Viewing Same-Gender Photographic Models on Body-Esteem." Psychology of Women Quarterly 20, no. 4 (December 1996): 569–75. http://dx.doi.org/10.1111/j.1471-6402.1996.tb00322.x.
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This study was designed to investigate the effects of viewing same-gender photographic models on women and men's body-esteem. Women and men completed body-esteem scales before and after viewing pictures of same-gender photographic models (experimental group) or landscapes (control group). Women scored significantly lower than men on the body-esteem scale [ F(1, 90) = 58.5, p < .001]. Women [ F(1, 90) = 8.70, p < .05] and men [ F(1, 90) = 4.17, p < .05] in the experimental group showed a significant decrease in body-esteem after seeing the photographs and the controls showed no significant change [women F(1, 90) = 0.57; men F(1, 90) = 0.00]. Results suggest that upward comparisons are made by women and men when viewing attractive same-gender models.
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Foley, Mary Ann. "Effects of Photographic Reviews on Recollections of the Personal Past: A New Perspective on Benefits and Costs." Review of General Psychology 24, no. 4 (September 19, 2020): 369–81. http://dx.doi.org/10.1177/1089268020958686.
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Empirical studies of the power of photographs on recollections of the personal past have produced a complicated set of results, with reports of both costs and benefits on recollection accuracy. The purpose of the selective review offered in the current paper is to cast in new light this complicated pattern of findings by calling for close attention to the acts of looking, including the timing of the looking in relation to acts of remembering. Incorporating a broad range of scholarly perspectives, the current article’s interdisciplinary component points to specific features of photograph-looking experiences that warrant further study. The current review provides an overview of benefits in memory for event and event details, indexed by enhancements in recall and recognition measures. The overview of costs includes reductions in the amount remembered as well as changes in belief about event occurrences. Reconstruction accounts of the basis for these effects follows the analysis of benefits and costs. The new perspective in the current review leads to intriguing directions for future research involving content of photographs, the ways they are obtained, and aspects of the photograph review experience.
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Butler, Jeff, Burt Pryor, and Mary Grieder. "Impression Formation as a Function of Male Baldness." Perceptual and Motor Skills 86, no. 1 (February 1998): 347–50. http://dx.doi.org/10.2466/pms.1998.86.1.347.
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A computer-morphing procedure was used to produce a “full cranial hair” photograph for comparisons of perceptions by 96 undergraduates of a photograph of a naturally bald 30-yr.-old man on 13 dependent measures derived from 30 semantic differential scales. Analysis showed the full-hair condition was rated significantly more dominant, dynamic, and masculine than the bald condition. While the model was also perceived as younger in the full-hair condition, there was no difference in mean ratings of attractiveness between photographs.
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Zhu, Lei, Lloyd S. Davis, and Anna Carr. "A picture is not always worth a thousand words: The visual quality of photographs affects the effectiveness of interpretive signage for science communication." Public Understanding of Science 30, no. 3 (January 5, 2021): 258–73. http://dx.doi.org/10.1177/0963662520982535.
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Photographs are widely used to visualise science. However, the influence of visual quality of photographs on the effectiveness of science communication is often disregarded and seldom tested. This study examines how the visual quality of photographs affects science communication on interpretive signage within Xixi National Wetland Park, China. Results show that a high-quality photograph on the signage significantly increased the following affective and cognitive aspects of communication: (1) a visitor’s intention to read the signage, (2) enjoyment of reading the interpretive information, (3) understanding and (4) recall of the information on the signage. This study offers empirical evidence for the benefits of using high-quality photographs to visualise science. To improve the effectiveness of science communication in interpretive products, we argue that the quality of the selected photographs should be considered seriously.
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Baers, Michael. "Concerning intent, interpretation, memory and ambiguity in the work of an informal collective working on the Western Sahara conflict." Memory Studies 12, no. 3 (June 2019): 294–306. http://dx.doi.org/10.1177/1750698019836190.
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In October 2016 I made my first visit to the refugee camps of Western Sahara’s Saharawi people near the Algerian town of Tindouf. This was an opportunity to advance my research on the work of an “informal collective” who work with a collection of photographs belonging to Moroccan soldiers, seized by SPLA (Saharawi People’s Liberation Army) over the course of 15 years spent fighting Moroccan forces. In this essay, I conceptualize the relationship between two disparate practices centering around photography—that of the Saharawi’s political organization, the Front Polisario, and the work undertaken by this informal collective. The latter’s work involves exploring the ontological coordinates of these photographs in a dialogical setting. Besides probing the many resonances between the group’s work and the Polisario’s treatment of the photographs of Moroccans in their possession, this essay is also concerned with the relationship between the conflict and its medial representation.
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Schouwstra, Sanneke J., Johan Hoogstraten, Catharina A. Hartman, and Marlies E. A. Stouthard. "Robustness of the Photo Anxiety Questionnaire: Changing the Sequence of Stimuli and Photographs." Psychological Reports 78, no. 2 (April 1996): 447–57. http://dx.doi.org/10.2466/pr0.1996.78.2.447.
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In a split-ballot experiment ( N = 458) we tested, first, to what extent the logical presentation of the Photo Anxiety Questionnaire forces respondents into the usual response pattern, that is, a higher reported anxiety on items mentioning a time closer to dental treatment. Secondly, we tested whether subjects use the nonverbal response scale or merely use the position of the photographs on the scale when answering the questions. The original questionnaire had the highest reliability and was least influenced by response bias. Changing the order of the photographs on the response scale did not alter the response pattern, implying that subjects do react to the intensity displayed in the photographs and not just to the position of the photograph on the scale. Because changing the order of the items altered the response pattern only marginally, the response pattern usually found does not seem to be the direct consequence of the logical presentation of the Photo Anxiety Questionnaire.
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Shannon, Micheal L., and C. Patrick Stark. "THE INFLUENCE OF PHYSICAL APPEARANCE ON PERSONNEL SELECTION." Social Behavior and Personality: an international journal 31, no. 6 (January 1, 2003): 613–23. http://dx.doi.org/10.2224/sbp.2003.31.6.613.
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Previous research suggests that physical appearance variables may play a role in employment hiring decisions. This study examined the influence of two physical appearance variables, beardedness and attractiveness, on personnel selection. Fifty undergraduate participants were given the task of evaluating and selecting between nine equally qualified male job applicants applying for a fictitious management trainee position. A photograph was attached to each of the nine applications. Photographs differed systematically on level of beardedness and attractiveness. Results indicated that the level of attractiveness of the photographs significantly affected the evaluation of the application to which it was attached, but did not significantly affect the subjects' final selection decision. Level of beardedness of the photographs was not found to have a significant effect on evaluation of the applications. However, there was a trend in the data that suggested that bearded applicants, although evaluated equally with nonbearded applicants, were selected for management positions at lower rates. Implications and limitations of these results are also examined.
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Boshyan, Jasmine, Lisa Feldman Barrett, Nicole Betz, Reginald B. Adams, and Kestutis Kveraga. "Line-Drawn Scenes Provide Sufficient Information for Discrimination of Threat and Mere Negativity." i-Perception 9, no. 1 (January 2018): 204166951875580. http://dx.doi.org/10.1177/2041669518755806.
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Previous work using color photographic scenes has shown that human observers are keenly sensitive to different types of threatening and negative stimuli and reliably classify them by the presence, and spatial and temporal directions of threat. To test whether such distinctions can be extracted from impoverished visual information, we used 500 line drawings made by hand-tracing the original set of photographic scenes. Sixty participants rated the scenes on spatial and temporal dimensions of threat. Based on these ratings, trend analysis revealed five scene categories that were comparable to those identified for the matching color photographic scenes. Another 61 participants were randomly assigned to rate the valence or arousal evoked by the line drawings. The line drawings perceived to be the most negative were also perceived to be the most arousing, replicating the finding for color photographic scenes. We demonstrate here that humans are very sensitive to the spatial and temporal directions of threat even when they must extract this information from simple line drawings, and rate the line drawings very similarly to matched color photographs. The set of 500 hand-traced line-drawing scenes has been made freely available to the research community: http://www.kveragalab.org/threat.html .
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Angkustsiri, Kathleen, Paula Krakowiak, Billur Moghaddam, Terrance Wardinsky, Jerald Gardner, Nareg Kalamkarian, Irva Hertz-Picciotto, and Robin L. Hansen. "Minor physical anomalies in children with autism spectrum disorders." Autism 15, no. 6 (May 24, 2011): 746–60. http://dx.doi.org/10.1177/1362361310397620.
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Objective: There is clinical heterogeneity among the autism spectrum disorders (ASD). The presence of dysmorphology (minor physical anomalies; MPAs) is one possible tool for defining a clinically relevant subset in ASD. This study employs an adaptation of Miles and Hillman’s (2000) classifications by using photographs to identify a subgroup with significant dysmorphology among children with ASD, typical development (TYP), and developmental delay (DD). Method: Children with ASD, DD, and TYP between 2 and 5 years old were part of the CHARGE Study. Pediatric specialists blinded to diagnostic group classified photographs based on the number of MPAs present: ‘dysmorphic’ if >3 and ‘nondysmorphic’ if <3 MPAs. Results: Photographs for 324 children were included. Significantly more children with ASD were classified as dysmorphic compared to TYP children ( p = .007). In children with ASD, seizures were more prevalent in those rated dysmorphic ( p = .005). Frequencies were similar between ASD versus DD ( p = .19) after removing those with known syndromes. Conclusion: Photographic assessment can be used to detect generalized dysmorphology in children who are often difficult to examine. This has clinical relevance, as children with multiple MPAs can be identified through the use of photographs and prioritized for investigation of brain abnormalities and underlying genetic disorders.
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Nikro, Norman Saadi. "Memory within and without the photographic frame: Wadad Halwani’s The Last Picture… While Crossing." Memory Studies 12, no. 3 (June 2019): 279–93. http://dx.doi.org/10.1177/1750698019836189.
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Wadad Halwani’s short documentary film, The Last Picture…While Crossing (2009), is in the main about the late Odette Salem, whose two children were disappeared in September 1985, during the civil war in Lebanon (1975-1990). This essay discusses how Halwani adapts photographs and previously made video footage to situate Salem as a site of memory. While the film constitutes a memorial practice to tell a story of Salem and her activist milieu, it works to situate memory of her plight as an ethical modality of address and response. In doing so, the film exposes a public audience, both actual and potential, to Salem’s and Halwani’s circumstances and their arduous efforts in engaging their circumstances. The argument foregrounds memory as a circumstantial tension between the significance and resonance of photographs, in respect to circulations of photographic reproductions and exhibitions as modalities of public exposure.
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Dobińska, Gabriela, and Angelika Cieślikowska-Ryczko. "A Photograph as Material for Analysis and as a Creative Act. Visual Methods in Social Studies - Reflections and Dilemmas." Creativity. Theories – Research - Applications 7, no. 1 (January 1, 2020): 123–46. http://dx.doi.org/10.2478/ctra-2020-0008.
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Abstract The paper focuses on the issues of implementing visual methods in social sciences. The following discussion consists of three fundamental parts. The introduction contains a description of theoretical and methodological dilemmas characteristic of the implementation of visual data, namely primarily photographic material, in social studies. The subsequent part is a characterization of the author’s research strategy, oriented towards organizing the fieldwork of probation officers using the photographic walk method. The strategy was inspired by the tenets of visual grounded theory. In the final part, the authors present selected conclusions associated with the possibilities and limitations of the developed research strategy. Key issues included in the final section of the paper refer to questions connected with plasticity of narration and image, the role of the researcher as creator and interpreter of photographs, and the process of objectification of empirical material. Using the potential of the photographic walk to fulfil the objective, the authors implemented visual and mobile methods. Collected empirical data includes nine transcripts of long conversations, based on an informal disposition card, a set of 1,500 photographs taken during the walks, as well as field notes. The paper presents reflections, dilemmas, difficulties and observations connected with the implementation of the selected strategy, which showed multidimensionality of conducted studies at the stage of development, organization, analysis and construction of theoretical statements.
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Anderson, James R., and Martin J. Doherty. "Preschoolers' Perception of other People's Looking: Photographs and Drawings." Perception 26, no. 3 (March 1997): 333–43. http://dx.doi.org/10.1068/p260333.
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Children aged 3–4 years were tested for their ability to decide which of two photographs or drawings of a face depicted the act of fixating on a target object; in each control photograph or drawing the same face and object were present without fixation. Performance was above chance on both stimulus types, but low enough to call into question conclusions from previous research. The same children were also tested on their ability to discriminate between photographs/drawings depicting two faces fixating the same object (joint visual attention) and the same two faces fixating different objects. While discrimination of joint visual attention depicted in drawings was as good as discrimination of fixation in the single-face tasks, the ability to reliably choose between a photograph of two people attending to a common object and a control photograph was significantly poorer. The results suggest that, while young infants and children may be highly sensitive to face-on gaze, even well into the fourth year of life children arc unable consistently to interpret (1) direction of non-self-directed gaze in static faces and (2) joint visual attention by others.
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Mandal, M. K., and S. Palchoudhury. "Decoding of Facial Affect in Schizophrenia." Psychological Reports 56, no. 2 (April 1985): 651–52. http://dx.doi.org/10.2466/pr0.1985.56.2.651.
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12 schizophrenics and 12 nonpatient controls were asked to classify 8 photographs depicting 6 facial emotions each into categories of similar emotions and to pronounce the name of the emotion expressed in each photograph when multiple-choice alternatives were prompted. Patients had considerably more difficulty on the latter task than the former while controls were unaffected. Fearful faces were poorly recognized by both groups. Overall, controls were significantly better than schizophrenics in identifying all facial emotions.
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Coronel, Jose M., and Iván Rodríguez Pascual. "Let Me Put It Another Way: Methodological Considerations on the Use of Participatory Photography Based on an Experiment with Teenagers in Secondary Schools." Qualitative Research in Education 2, no. 2 (June 28, 2013): 98–129. http://dx.doi.org/10.4471/qre.2013.20.
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This article reflects on the use of participant photography as a methodological component of a qualitative research study into student intercultural relations in four secondary schools in Spain. Forty boys and girls took part and we selected over 400 photographs they had taken. The article draws attention to the importance of student ‘voices’ to show the interaction processes and the value of participatory photography as an approach that encourages their participation beyond the traditional interviews and field observations. The results acknowledge the value of photography to reflect the relationships among adolescents. However, while the experiment was positively rated by the participants, the study recognises the risks taken and the achievements, constraints, dilemmas and difficulties encountered by the investigators carrying out the research.
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Gula, Cheryl A., and A. Daniel Yarmey. "Physical Appearance and Judgment of Status as Battered Women." Perceptual and Motor Skills 87, no. 2 (October 1998): 459–65. http://dx.doi.org/10.2466/pms.1998.87.2.459.
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160 undergraduate students were given a set of 10 photographs or 10 videotaped recordings of women and informed that some of the women were victims of spousal abuse. Half of the participants were asked to select one individual who seemed most likely or least likely to be a battered woman. Participants then sorted another set of photographs or videos of 10 other battered and nonbattered women into the categories according to their guessed status. Analysis showed that certain women were consistently chosen as exemplars of battered or nonbattered women. Categorizations did not correspond with the women's actual status. No reliable differences in category selections or sotrings were found between photographed and videotaped presentations of the battered and nonbattered women.
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Mago, Zdenko, Łukasz P. Wojciechowski, Magdaléna Balážiková, and Amiee J. Shelton. "Learning by Playing. A Case Study of the Education in Photography by Digital Games." Journal of Education Culture and Society 14, no. 1 (June 20, 2023): 465–79. http://dx.doi.org/10.15503/jecs2023.1.465.479.
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Aim. The study aims to explore the current state of digital game-based learning to reflect the extent, possibilities, opportunities, and limitations of its implementation in the specific field of education as visual art, especially photography. Method. The explorative study employed the method of theoretical analysis of available literature and other secondary sources related to the issue, and subsequently applied the method of an illustrative (descriptive) case study. Results. Photo modes of commercially available digital games, originally intended to increase the players’ retention and participation, have led to the birth of a new art form, virtual photography. The technology of photo modes in a larger variety of recent games has made virtual photography available to significantly more players. Photo modes provide artistic control and creative options alongside a whole catalogue of lenses, camera parameters, and other features, reducing the financial burden associated with the purchase of photographic equipment. Furthermore, photo modes offer more than just a substitutable alternative to traditional photography, as added artistic value is found within virtual worlds. Conclusions. Despite some limitations regarding the overall implementation of digital game-based learning in photography classrooms, photo modes of commercially available digital games are a suitable tool for educational efforts in photography through both self-development and measurement of outcome-based learning.
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Eisler, Riane. "Remembering And Honouring David Loye." Interdisciplinary Journal of Partnership Studies 9, no. 2 (October 28, 2022): 8. http://dx.doi.org/10.24926/ijps.v9i2.5128.
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The following article is a personal tribute dedicated to evolutionary systems scientist, psychologist, and poet, David Loye. The article contains a collection of personal photographs of David Loye and partner, Riane Eisler alongside a poem written by Loye and the published obituary following his passing.
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Okura, Yutaka, Robert C. Ziller, and Hiroshi Osawa. "The Psychological Niche of Older Japanese and Americans through Auto-Photography: Aging and the Search for Peace." International Journal of Aging and Human Development 22, no. 4 (June 1986): 247–59. http://dx.doi.org/10.2190/2wh1-k0a1-6tbw-99q5.
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In an effort to understand aging cross-culturally, photography as a universal language was used to perceive the perceiver. Persons averaging seventy-three years of age from Japan and the United States were asked to describe “Who are you?” by taking (or having someone else take) six photographs. A content analysis of the photographs showed that older Japanese appear to be inward oriented (inside own territory, gardens, residence) and aesthetically oriented, while older Americans were more oriented toward other people. The results were interpreted in terms of differences in the search for peace. Peace is sought through self-harmony in the orient, but through social harmony in the Occident.
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Mather, George. "Artistic Adjustment of Image Spectral Slope." Art & Perception 2, no. 1-2 (2014): 11–22. http://dx.doi.org/10.1163/22134913-00002018.
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The Fourier spectral slope of 31 artworks was compared to the spectral slope of closely matched photographic images. The artworks were found to display a relatively narrow range of spectral slopes relative to the photographs. Two accounts for this range compression were investigated. The first proposes that the band-pass nature of the visual system’s psychophysical ‘window of visibility’ is responsible. Simulation of this effect by application of an appropriate spatial filter to the original photographs could not explain the range compression, unless one assumed a consistent relation between the visual angle subtended by the scene at the artist’s eye, and the scene’s spectral slope (such that scenes with a steep slope subtended larger angles than scenes with a shallow slope). The second account involves more complex ‘artistic’ filtering which smoothes out textural details while preserving edges. Application of two such filters to the photographs was able to reproduce the spectral slope range compression evident in artworks. Both explanations posit a central role for the artist’s visual system in adjusting image spectral slope, which can be modelled using visual filters.
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Alexander, Randell. "Medical Evaluations Then and Now." Journal of Interpersonal Violence 32, no. 6 (July 19, 2016): 826–52. http://dx.doi.org/10.1177/0886260516657354.
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The role of medicine for children suspected of having been sexually abused has advanced significantly since the 1980s. Newer tests such as DNA and nucleic acid amplification have added to the detection of perpetrators and disease, respectively. Non-acute examination physical findings are seen in only 5% to 10% of instances. Physical findings regarding the hymen and anus have been found to often be normal variants—findings that some used to regard as signs of sexual abuse. Newer considerations for clinicians include Internet child pornography, human trafficking, and use of video/photographic recording. New technologies such as high definition digital photography and telemedicine help to document abuse in a much improved way than existed several decades ago. Nevertheless, the basic approach of careful history-taking remains a bedrock for the diagnosis of child sexual abuse.