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Journal articles on the topic 'Photography, Artistic'
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1
Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 43–57. http://dx.doi.org/10.7202/044587ar.
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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.
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Stamenković, Miloš. "Sports photography and its artistic dimensionality." Fizicko vaspitanje i sport kroz vekove 8, no. 2 (2021): 119–33. http://dx.doi.org/10.5937/spes2102119s.
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Sports photography is a powerful visual tool that can be used to promote sports, athletes and recreational physical activities. Her main role is to present sport as an art. In that respect, good sports photography also implies the recorded moment of the athlete in a specific movement position, which is unusual and which cannot be seen on television. When it comes to the promotion of professional sports, sports photography occupies a significant place in the sports press and sports magazines. On the other hand, sports photography also promotes recreational sports, which is intended for all those who want to do sports for themselves and their own health. Sports photography has the power to present important sports and recreational events to readers in a simple way, without large and dry texts. Good sports photography refers to the composition, angle, light, dynamics and color contrast, i.e. the relationship between warm and cold tones. Also, sports photography depends on good photographic equipment, knowledge and experience of a sport photojournalist. Sports photojournalists always try to present quality and interesting sports photographs in the most professional and high-quality way, which in an artristic way convey ''visual information'' of sports events to loyal readers and sports fans. It is very important to understand that sports photography is not only sports, but also artistic. Therefore, the aim of this paper is to present sports photography and its artistic dimension.
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Vellanki, Vivek. "Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research." Cultural Studies ↔ Critical Methodologies 22, no. 2 (December 28, 2021): 132–42. http://dx.doi.org/10.1177/15327086211045976.
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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.
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Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.
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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research
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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 1987): 510–18. http://dx.doi.org/10.2307/1159896.
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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa. The information presented here is based on ten years of searching for nineteenth-century photographs made by Sierra Leonean photographers. To locate these pictures, I have visited Freetonians and viewed their family portraits and photograph albums, interviewed contemporary photographers throughout Sierra Leone, and researched in the various colonial archives in England to locate photographs preserved from the period of colonial rule. I have discovered that a community of African photographers has worked in the city of Freetown since the very invention of photography. The article reviews the first phase of this unique photographic tradition, 1850–1918, and focuses on several of the African photographers who worked in Freetown during this period.
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Choi, Jeongho, and Dukhwan Kim. "A Study on the Reality and Artistic Value of Realistic Photography." Asia Europe Perspective Association 21, no. 2 (June 30, 2024): 135–49. http://dx.doi.org/10.31203/aepa.2024.21.2.135.
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This study explores the essence and evolution of photographic art, focusing on the debate surrounding the reality and artistic value of realistic photography. It examines the progression of photography from a mere recording tool to an independent art form and analyzes how the advent of the digital age has expanded the modes of expression and artistic value of photography. The study systematically reviews the technological advancements and artistic expressions from the invention of early photography to modern digital photography. The study emphasizes that the reality of photography is not a simple replication of reality but a reconstructed reality through the photographer’s subjective interpretation and creative intervention. Based on Susan Sontag's theories, it discusses the social, cultural, and personal interpretations of photographic images and explores the impact of digital technology on the truthfulness and ethics of photography. The significance of this study lies in its reevaluation of the artistic value of photography and the presentation of new artistic possibilities in the digital age. It suggests the integration of factual accuracy and creativity, the delivery of social messages, and the creative use of digital technology as essential for the advancement of photographic art. It also highlights the importance of comprehensive photography education. In conclusion, the artistic value of realistic photography can be secured through the harmony of factual accuracy and creativity. Continuous exploration of new artistic possibilities, reflecting the changes brought by the digital era, is essential. Through this, photographic art will evolve into richer and more diverse forms, playing a crucial role in conveying social messages.
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Mukhin, Andrei Sergeevich. "Transformation of images in the context of constructing photographic reality." Vestnik of Saint Petersburg State University of Culture, no. 1 (54) (2023): 24–30. http://dx.doi.org/10.30725/2619-0303-2023-1-24-30.
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The article is devoted to the analysis of image morphology in photography. The figurative structure is considered as three-part: an optical image (image), an aesthetic image (impression) and an artistic image (understanding). The author argues the need for an artistic image in order for photography to become art. Excessive desire for spectacular visual forms, which are achieved through the technical tools of the photographer and thanks to computer processing, is criticized. Affecting expressive means of photography are not an unconditional value, they can create an aesthetically attractive product, but leave the photographic reality without meaning and meaningful depth. The study touches upon the problem of a new visual aesthetics that has come into our world thanks to computer technology and the almost complete automation of the process of obtaining a photographic image. In modern conditions of information-machine civilization, a person only feeds on the illusion of creativity, while, however, entrusting digital technologies with all the main stages of image creation. A mechanistic, albeit often perfect, optical image in the minds of mass culture bearers is perceived as self-sufficient and does not require artistic and philosophical understanding. The creative search of the photographer is hampered by patterns, standards and clichés, which are naturally inherent in photography as a kind of technical and cultural activity.
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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.
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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
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Kvietkauskas, Mindaugas. "From Shulhoyf to Montparnasse: Cultural Collage in Moshé Vorobeichic's Photography Book The Ghetto Lane in Wilna (1931)." Colloquia 48 (December 30, 2021): 170–93. http://dx.doi.org/10.51554/coll.21.48.11.
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This article discusses the artistic genesis of the first avantgarde photography book in Lithuanian art history, The Ghetto Lane in Wilna (1931) by Moshé Vorobeichic-Moï Ver (Moshe Raviv, 1904–1995), and aims to conduct the first in-depth reconstruction of Vorobeichic’s early biographical and creative period in Vilnius in the 1920s in the local Jewish and multicultural milieu. The research is based on archival materials from Lithuanian state archives and the Raviv family archives in Israel. Vorobeichic, who was born in 1904 in Zaskavichy (currently in Belarus), made his artistic debut in Vilnius in 1923, and studied at the Faculty of Fine Art at Stephen Bathory University from 1923 to 1925. He continued his art studies at the Bauhaus school in Dessau (1927 to 1929) and, from 1929 in Paris at the École Technique de Photographie et de Cinématographie. From 1930 onwards, the photographer used the artistic pseudonym Moï Ver, under which his avant-garde photography book Paris, hailed as a masterpiece of the genre, was published by Editions Jeanne Walter in 1931. During the same period, Vorobeichic participated in Jewish cultural life in Vilnius, and was involved in the early stages of the formation of Yung Vilne, the acclaimed literary and artistic group of interwar Yiddish Modernism. The article aims to identify the cultural contexts in which Moï Ver’s artistic world-view and avant-garde style started to develop. The reconstruction of these contexts makes it possible to identify new semantic aspects in his avant-garde photography book The Ghetto Lane in Wilna, and to rethink its artistic concept. In this way, the cross-cultural semantics of Moï Ver’s photographic collages of Jewish Vilnius will emerge.
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Aziz, Abdul, John Felix, and Candy Reggi Sonia. "EKSPLORASI VISUAL SITU CANGKUANG DALAM FOTOGRAFI SENI." Capture : Jurnal Seni Media Rekam 9, no. 1 (March 8, 2018): 1–11. http://dx.doi.org/10.33153/capture.v9i1.2052.
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The facilities and services provided by photographic technology have made it easier for people to photograph. So photography is no longer a strange thing in the society. Photography has been able to replace manual illustrations, with its many advantages, such as the similarities and details of the objects it records. Photography is also necessary as a means of communication and photographic messages can also be a means of expression. When photography enters the arts, photography can provide dimensions that touch technical aesthetic aspects, as well as conceptual and thematic discourses. Exploration Situ Cangkuang will be the choice of visual objects Researchers in the creation of artistic photography. This is a form of aesthetic expression of researchers to make a real contribution to the awakening of art treasures that touch the aspect of tourism. The research method used is the qualitative descriptive method. In this method, the researcher performs a visualization and a photographic display supported by a subjective observation result.Keywords: Photography, art, visual, and Situ Cangkuang
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Colner, Miha. "Miroslav Zdovc: Contextualising the Archive." Život umjetnosti, no. 111 (July 2023): 132–45. http://dx.doi.org/10.31664/zu.2022.111.10.
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In this paper a case study of constructing a photographic archive in a museum context, and the ways of contextualising seemingly marginal and insignificant photographic material, is being showcased and analysed. The focal point of the paper is the personal photographic archive of Miroslav Zdovc (1929–2009), a prominent Slovenian professional photographer as well as an artist using photography who, however, did not receive a deserved place in local and regional history of photography and art. Therefore, his extensive body of work that has nearly disappeared from the public eye is now in the process of being reviewed and re-evaluated. His extensive archive consists of diverse materials: personal imagery, documentary photographs, documents of artworks, and (his own) photographic artworks. The paper thus presents the project in the making in which the curators of Božidar Jakac Gallery – Museum of Modern and Contemporary Art, Kostanjevica na Krki have been conducting the process of cataloguing, evaluating and finally showcasing his immense body of work. It also brings forward the most significant elements of his artistic practice that spanned from the 1950s to the 1990s, and which was changing and developing in accordance with the concurrent tendencies in photography and art.
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Arana, Almudena, María Dolores Rodriguez Laso, María Ángeles Olazábal, and Maite Pérez-Alonso. "CONTEMPORARY ARTISTIC PHOTOGRAPHY." Studies in Conservation 49, sup2 (September 1, 2004): 215–44. http://dx.doi.org/10.1179/sic.2004.49.s2.046.
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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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Rusli, Edial. "IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI." REKAM: Jurnal Fotografi, Televisi, dan Animasi 12, no. 2 (January 20, 2017): 91. http://dx.doi.org/10.24821/rekam.v12i2.1426.
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AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karena semakin sulituntuk membedakan foto asli atau palsu, bahkan sebuah foto asli bisa saja dikatakan sebagaihasil manipulasi. Penciptaan imajinasi visual fotografi ini dihasilkan dari suatu olah daya pikirmanusia. Dalam proses tersebut dibutuhkan suatu kreativitas dari penggabungan imaji-imajisebelumnya atau sekarang ini untuk diimajinasikan. Pemaknaan akan bergeser dari imaji visualfotografi menjadi imaji visual fotografi yang baru. Proses artistik imajinasi visual ini diciptakandengan didasarkan pada artistik yang berdasarkan imajinasi, artistik berdasarkan imajinasi danartistik didasarkan pada kombinasi antara kenyataan dan imajinasi. Penciptaan Imajinasi visualfotografi merupakan daya untuk mengonstruksi ataau menggabungkan kembali dari berbagaiimaji-imaji atau foto- secara imajinatif dan kreatif dengan persepsi yang menyertainya untukmenjadi imaji baru yang utuh, logis, dan mungkin terjadi dengan menggunakan teknik danefek fotografi. Proses mengonstruksi membutuhkan suatu kemampuan berimajinasi untukmenggabungkan dan menyatukannya untuk menjadi satu kesatuan (unity) yang utuh dalam satupermukaan gambar/imaji secara ekspresif dan imajinatif melalui proses estetis yang kreatifberdasarkan ciri personal penciptanya. Dengan demikian, hasil dari proses konstruksi tersebutsudah tidak tampak lagi imaji sebelumnya dan pemaknaannya sudah bergeser menjadi karyaimaji dengan pemaknaan baru.AbstractImage to Photography Visual Imagination. Visual image of photography is a visual recordingmedia which is objective and representative in revealing the truth when recording a reality. Thetechnology revolution led to the change in photography, from analog photographic technologyas one of the media for promoting truth or evidence and as media representing truth to thedigital technology which allow people to manipulate digital images through software. Digitaltechnology has made the truth in a photograph is no longer absolute. In the end, photographyas an images recording tool representing truth is doubted. It is getting harder and moredifficult to distinguish the original or fake photo, even an original photo can be said as aresult of manipulation.The creation of visual imagination photography is produced by thepower of human thought. The process requires a creativity of merging the previous or recentimages to imagine. The meanings will be shifted from visual image photography into a newvisual image photography. Visual imagination of the artistic process is created on the basisof artistic imagination, artistic imagination and artistic are based on a combination of realityand imagination.The creation of visual photography imagination is a power to construct orrecombine from multiple images or pictures imaginatively and creatively with the perceptionto be a whole new image, logical, and may occur with the use of techniques and photographiceffects. The process of constructing requires an ability of imagining to combine and unitethem into a single unit as a unity which is intact on s single surface of the picture/image,expressively and imaginatively through an aesthetic creative process based on the personalcharacteristics of the creator. By doing so, the construction process will no longer visible onthe former image and the meaning will shift into an image with a new meaning.
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Laroche, Hervé. "Observation as photography: A metaphor." M@n@gement 23, no. 3 (September 30, 2020): 79–99. http://dx.doi.org/10.37725/mgmt.v23i3.5513.
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From its invention in the middle of the 19th century to the present date, photography has generally been considered as a highly reliable means for capturing data about a wide range of objects and for a huge variety of purposes. Though debated, photography’s relationship with reality is specific and powerful. Because of its long and rich history, photography has encountered many problems and challenges observation methods and practices in management studies. Taking photography as a metaphor for observation in general, this article explores the successive steps of a research project relying on observation. Taking photographs is capturing data; reading photographs is analyzing and interpreting data; and showing photographs is presenting the findings in publications. For each stage of the process, various issues are discussed, drawing on the scientific, forensic, artistic, or vernacular uses of photography. Particular attention is accorded to key examples in the history of photography. This article is an invitation to reflect on observational methods and practices in a non-demonstrative, heuristic manner.
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Simanjuntak, Mardohar Batu Bornok. "The Concept of Emergence in Non-Temporal Photography: A Non-Dualistic Approach." MELINTAS 39, no. 3 (March 22, 2024): 263–81. http://dx.doi.org/10.26593/mel.v39i3.7823.
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The problem of temporality in photography has invoked a continuous debate concerning the artistic nature of this medium. Previously taken as a different way of seeing, the time signature in a photograph became debatable along with the development of digital photography. Photography’s status as the undisputed evidence of the truth is then no longer relevant. This changes the flow of discourse to a more philosophical one. However, the debate does not provide adequate defence concerning the role of photography in the digital era. The Platonic dualistic approach, especially the Cartesian one, is responsible for this regress. Immanuel Kant introduces transcendental causality to re-examine the Cartesian legacy. This Kantian approach needs to be developed further. Stephen Hawking’s cosmological model of Quantum Field Theory (QFT) working in anti-de Sitter space (ADs) offers a better explanation on this Kantian transcendentalism. The research shows that the non-temporality of photographic images is irrelevant with the development of the medium because Hawking’s approach fits the transcendental interaction proposed by Kant. This article concludes that photography is independent from temporal demands, and that the advancement of photography lies in its potential to pursue non-duality interactions.
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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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Soyref, Polina G. "The Test of Photography." Koinon 3, no. 2 (2022): 86–105. http://dx.doi.org/10.15826/koinon.2022.03.2.018.
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This article aims to substantiate the interpretation of photography as a tool, artifact, and practice using the concept of test. The concept of test is chosen due to its complex semantic and functional meanings: to test is to check for durability, to find the truth; to be tested is to gain experience. In line with the double meaning o the genitive — we test the photograph, and the photograph tests us — (mutual, bidirectional testing), the article introduces the following headings: “The Test of Strength”, “The Test of the Viewer”, “The Test of the Gaze”, “Body Experience: Tested by the Gaze”, “The Test of Language”, and “The Test of Credibility”. The author’s position is to shift the focus from talking about photography as such to the possibilities of experience that it offers. The implementation of the approach relies on the dual nature of photography: the technical side of the genesis of the photographic image and photographic dualism of studium and punctum (R. Barth). Photography is at the junction between the subjective view of the choice of frame, and the technical registration of reality, which excludes the subject from the process of this registration. This juxtaposition of the subjective and the non-subjective in photographic practice determines the research topics presented in this article. The photographic image remains completely autonomous, not connected to human intervention, and this statement contributed to the introduction of the concept of the solid frame, which has the maximum potential for effect. A solid frame is an independent artifact that can last in the perception and memory of the viewer and create its field of meaning. The nature of the viewer’s particular fascination with photography is explored. The properties of photography —the claim to persuasiveness and the actual power of “lasting” photography — allow us to influence those looking at it (it doesn’t matter if it is the viewer or the photographer): we know that “it was”, we are in the field of the artifact that goes beyond its actual borders, we experience its content beyond cultural, artistic, linguistic boundaries. Photography turns out to be a practice that actualizes, intensifies, or transforms the experience of interacting with reality, a tool that allows us to experience it more intensely than in everyday life.
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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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Yaman, Hakan. "The Perception and Views of Photographers on Artistic Photography in Turkey." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 77–84. http://dx.doi.org/10.15294/harmonia.v18i1.14667.
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The purposes of this study are to know generally the perception and view of photographers on artistic photography in a purposeful sample in Turkey. Participants were purposefully selected (purposive sample) from the community of photographers because it would represent diverse photographers in Turkey. The survey included 19 questions and divided into three parts. Findings of our study revealed that most of the participants were at their middle-age, male, married, university graduates, private sector employed, DSLR users, amateur/ traveling-landscape-portrait photographers, and they shoot their photos to be happy, to document anything, and for spending time (Hobby). They mainly thought that photos should be taken for documentary reasons. The creativity is mainly dependent on perspective (or photographic seeing). Good photography could be achieved with good photographic technique, a good photo is relying on the influence to the spectator, photo critics/reading should be mainly based on technique, the most influential movement is realism, artistic photography will improve, photography in future will improve, and some are participating in photographic projects. The results show that good grounds exist in Turkey to shape artistic photography for the needs of the 21st century.
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Guk, Alexey A. "Cultural and Aesthetic Dynamics of Photography as a Form of Contemporary Art." Observatory of Culture 21, no. 2 (April 19, 2024): 149–57. http://dx.doi.org/10.25281/2072-3156-2024-21-2-149-157.
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Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary artists of the conceptual possibilities of photography. It was mainly the photographic documentation of process-action forms of contemporary art. The same period saw the birth and formation of the main artistic strategies and creative methodologies of art-photography: adherence to documentaries, the use of staging (directing), the introduction of seriality (typology), the combination of word and image. The second stage (1980s — 1990s) of art-photography functioning is characterized by further development and enrichment of established artistic tendencies and the emergence of new practices in which photographic material expands its subject matter and claims the role of a text that problematizes (thematizes) the represented reality. The development of art-photography at the third stage (2000s to the present) is determined by two main factors: the processes of digitalization and oscillation of contemporary culture and art, which leads to the transformation of the “mode of truth” of the photographic image and the strengthening of the importance of the aesthetics of the individual photographic frame. At the level of practice, this is expressed in the creation of photographic pictures where reality and fantasy images merge into a single whole and become indistinguishable. This effect was reinforced by printing photographs of enormous size and exhibiting them in museum spaces and galleries. Nowadays, art-photography, while remaining a form of contemporary art, seeks to go beyond it and acquire signs of aesthetic self-sufficiency.
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YURGENEVA, ALEXANDRA L. "Replicability in Art Photography: From Pictorialism to NFT Art." Art and Science of Television 18, no. 2 (2022): 13–38. http://dx.doi.org/10.30628/1994-9529-2022-18.2-13-38.
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The article deals with the idea of uniqueness as an obligatory feature of a work of art in relation to artistic photography. The work is of an overview nature, it notes the methods of giving photographs the features of originality, which emerged at different stages during the century-long history of artistic photography. Earlier studies never focused on the fact that photographers were constantly artificially limiting the technical reproducibility of their works. Addressing this issue defines the novelty of this work. Such a limitation was demanded by an approach in which photographic images had been evaluated from the perspective of traditional art, which affected not only determination of their aesthetic value, but also the legal aspect. And yet, at the turn of the 19th and 20th centuries, the presence of machine nature in photography became a stumbling block in the development of legislative norms on the copyright for pictorialists. The entry of photography into the art market environment gave it the obligation to limit the number of copies based on commercial considerations. The relevance of the study lies in the issues of replicability in digital art, its acquisition and sale. I attempt to interpret the phenomenon of the blockchain system as a concept influencing new ways of understanding and evaluating digital photography in light of its history. The emergence of the NFT format is considered as a moment of overcoming the attitude towards the replicability of artistic photography as a problem rather than its natural property. A suggestion is made that the emergence of a virtual artistic environment has the potential to harmonize this long-standing conflict, and also raises the question of the need for new legal norms in this area.
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Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany." Science in Context 17, no. 4 (December 2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.
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ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy (1938, 198)
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Хиневич, Р. В., В. О. Скляренко, and О. О. Слітюк. "PERSPECTIVE AS A MEANS OF COMPOSITIONAL EXPRESSIVENESS IN ARTISTIC PHOTOGRAPHY." Art and Design, no. 3 (February 3, 2023): 9–18. http://dx.doi.org/10.30857/2617-0272.2022.3.1.
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The aim: determination of the features of the use of perspective in artistic photography as a means of compositional expressiveness. Analysis of geometric and optical aspects of the visual characteristics of different types of perspective in photographic art.
Methodology. A comparative analysis of compositional methods of conveying volume and depth of space in artistic photography is applied. Methods of systematization and generalization were used to determine the specific features of different types of perspective in photo art.
Results. The peculiarities of the concept of perspective in photography are considered. The common features of works of painting and photo art in the context of conveying the depth and volume of the depicted space are determined. The analysis of the main types of perspective – linear, tonal, aerial, optical and spherical – was performed, using the example of their use in artistic photography. The influence of the perspective construction of the picture on the visual perception of the image and its content is determined. The role of technical means and their parameters in constructing the perspective of a photographic frame is clarified.
Scientific novelty. The main methods of displaying the volume and depth of space in a photo image when using different types of perspective are defined. The geometric and optical regularities of perspective as a pictorial means in art photography are revealed.
Practical significance. Information on the use of different types of perspective in artistic photography has been studied and systematized. Recommendations are provided for the selection of geometric and optical parameters of the frame for the transmission of visual information in works of photographic art. The obtained results can be used in the educational process in the preparation of bachelors specializing in photo-video design.
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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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Kazakevych, Gennadii. "Ethnographic photography by Jozef Kordysz (1824-1896)." Text and Image: Essential Problems in Art History, no. 2 (2023): 133–62. http://dx.doi.org/10.17721/2519-4801.2023.2.10.
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The paper explores the personality and artistic endeavours of Jozef Kordysz, a professional photographer of Polish-Ukrainian background who worked in Kamianets-Podilskyi and Kyiv during the late nineteenth century. Kordysz is renowned for his photographic expeditions in Podolia and Kyiv regions, as well as his trip to the zone of the Russo-Turkish war (1877-1878). Despite belonging to the Polish nobility and having close ties to the nationally conscious Ukrainian intelligentsia in Kyiv, Kordysz hardly identified himself with either Polish or Ukrainian national projects. His interest in ethnographic photography appears to be purely commercial in nature. Unfortunately, the most significant part of Kordysz’s photographic heritage is preserved in private collections and museums in Russia and has never been properly published. Due to the Russian aggression against Ukraine, the original materials are currently unavailable for Ukrainian scholars. Considering the exceptional value of these photographs for the history of Ukraine, the editorial board has decided to publish those photographs by Jozef Kordysz that are available on Russian Internet resources. The paper deals with the «Ethnographic Album of Little Russia» (1875), which includes pictures of Ukrainian peasants that Kordysz took during the 1860s in Kyiv region (the original album is preserved in the State Historical Museum in Moscow).
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Foster, David William. "The antarctica photography of Adriana Lestido." INTERIN 25, no. 1 (December 6, 2019): 187–97. http://dx.doi.org/10.35168/1980-5276.utp.interin.2020.vol25.n1.pp187-197.
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During early 2012, the Argentine photographer Adriana Lestido spent two months undertaking photography on the Argentine Peninsula of Antartica. Hers is the first systematic photography of the region, and it demonstrates the attempt to capture visually the fully range of that landscape. Our customary imaginary of the Antarctic landscape is very impoverished, one of ice and white snow, with some scattered fauna. Lestido’s systematic project reveals, by contrast, complex patterns of shifting climatic process and how shadow and light are far more complex than the conventional imaginary holds. A Guggenheim Foundation fellow, Lestido, who is known for her uncompromising photography of urban feminist social subjectivity, has, in a new phase of her work, turned to landscape photography and her Antarctica photographs constitute an highly original artistic undertaking to visualize how we might expand our understanding of the natural environment.
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Bajraghosa, Terra, Budi Irawanto, and Seno Gumira Ajidarma. "Family Photography as Object and Practice in Independent Comics in Indonesia." International Journal of Creative and Arts Studies 10, no. 2 (December 5, 2023): 133–48. http://dx.doi.org/10.24821/ijcas.v10i2.11166.
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One small element that is rarely put in the comics’ scene setting is photographic imagery, commonly a portrait of a person or a family photograph. It is assumed that once a family photograph is presented in a comic, it definitely has a particular function. This study will examine how the family photograph as an object and practice is depicted and present the signification of the story meaning in independent comics. The research object is a drawing that represents a family photograph in a panel, or series of panels – consecutive or non-consecutive -in the independent comic "Pupus Putus Sekolah" (2022) and “Phagia” (2016) as the case study. This research uses a comic studies approach based on qualitative methods. The first analysis process is to pay attention to the presence of family photographic images in comic stories. In the following analysis stage, family photographs are treated as an object defined by social practices based on a semiological/discursive approach, especially the Doing Family Photography approach introduced by Gillian Rose. The study revealed that photographic images in independent comics were shown using the same artistic drawing style as the characters and objects in the story. The inclusion of family photographs in comics aims to present a portrayal of the 'evidence,' 'truth,' and 'indexicality' as the genuine authenticity of the photographed moments in photography while also serving as a symbolic picture in storytelling. The readers' comprehension of the indexical nature of the family photograph is inherently linked to the manner in which the photographic imagery is portrayed and organized with other elements in the sequential composition of comics.Foto Keluarga sebagai Objek dan Praktik dalam Komik Independen di Indonesia Abstrak Salah satu elemen kecil yang jarang dimasukkan ke dalam adegan komik adalah citra fotografi, biasanya potret seseorang atau foto keluarga. Diasumsikan jika foto keluarga disajikan dalam komik, pasti memiliki fungsi tertentu. Penelitian ini akan mengkaji bagaimana foto keluarga sebagai objek dan praktik digambarkan dan menyajikan signifikasi makna cerita dalam komik independen. Objek penelitian adalah gambar yang merepresentasikan foto keluarga dalam sebuah panel, atau rangkaian panel—berurutan atau tidak berurutan—dalam komik independen "Pupus Putus Sekolah" (2022) dan "Phagia" (2016) sebagai studi kasus. Penelitian ini menggunakan pendekatan studi komik berdasarkan metode kualitatif. Tahap analisis pertama adalah memperhatikan citra fotografi keluarga dalam cerita komik. Pada tahap analisis berikutnya, foto keluarga diperlakukan sebagai objek yang didefinisikan oleh praktik sosial, berdasarkan pendekatan semiologis/diskursif, terutama pendekatan Doing Family Photography yang diperkenalkan oleh Gillian Rose. Studi ini mengungkapkan bahwa gambar fotografi dalam komik independen ditampilkan menggunakan gaya gambar yang sama dengan karakter dan objek dalam cerita. Pencantuman foto keluarga dalam komik bertujuan untuk menyajikan penggambaran 'bukti', 'kebenaran', dan 'indeksikal' sebagai keaslian asli dari momen yang difoto dalam fotografi sekaligus berfungsi sebagai gambaran simbolis dalam bercerita. Pemahaman pembaca tentang sifat indeksikal foto keluarga secara inheren terkait dengan cara di mana citra fotografi digambarkan dan diatur dengan unsur-unsur lain dalam komposisi komik yang berurutan.
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Smith, Timothy. "The (Un)Capture of Cappanawalla: Vital Materiality and Collaborative Artistic Emergence." Research in Arts and Education 2024, no. 2 (June 19, 2024): 64–75. http://dx.doi.org/10.54916/rae.141657.
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This visual essay recounts a photography excursion that unexpectedly evolved into a transformative artistic encounter on Cappanawalla mountain in rural Ireland. What started as a systematic and detached approach of photographic framing and capture, took on a dramatic shift toward an exertion of unknown forces disrupting the human role as artist-photographer. Various nonhuman actants exerted their vital materiality as thing-power forces and collaborators in the creation of images along Cappanawalla. This experience provoked a radical reframing of artistic creation as a distributive agency of authorship among the vital materiality, in which the human is just one creative actant among many.
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Xue, Xinyi. "Photography in the Late Qing Dynasty: A Comparative Study." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 1–15. http://dx.doi.org/10.54097/ehss.v8i.4218.
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Photography was introduced to China in the early 1840s. The early Western photographers in China were mainly driven by artistic pursuit or curiosity of the Orient. This paper argues that the artistic value of photography was higher and the purpose of photography was simpler during the first years of its introduction to China than the late nineteenth century when photography was increasingly associated with colonialism. The situation of Western photography in China changed profoundly in the latter decades of the nineteenth century: photography began to serve colonialism, and photographers became accomplices of the colonizers. In addition, this paper also addresses the experience of Zou Boqi, the first Chinese photographer, who combined traditional Chinese knowledge with Western science and produced the first Chinese camera in 1844. Both Chinese and Western photography have evolved as the technology advanced over time. However, Chinese and Western photographers differed greatly in their techniques, motivations, and choices of subject.
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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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Damarjati, FX. "RELASI SUBJEK, OBJEK, DAN NILAI PADA PENCIPTAAN KARYA FOTOGRAFI SENI NICO DHARMAJUNGEN." Jurnal Dimensi Seni Rupa dan Desain 19, no. 2 (February 28, 2023): 235–52. http://dx.doi.org/10.25105/dim.v19i2.16454.
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In the discourse of fine arts, photography is a medium for expressing the expression of its artists whose practice has been similar to other processes of art creation. Expressive photography has become more subjective than other genres such as journalistic and commercial. It is this difference that makes expression photography an interesting discourse to research from the creation process, the embodiment of the work to the presentation technique. An important element in the process of embodiment of expressive photography is the relationship between the subject, object and the value of the artist’s thoughts. The subject as a photographer/creator/artist undergoes aesthetic and artistic experiences that are heavily influenced by his own history, formal education in art schools, experience of undergoing continuous photography practice, experience of observing and seeing the development of photography both in Indonesia and western country. It is this influence that makes the subject become more mature in choosing objects so that they have value and meaning for their photography career journey as well as being wiser in choosing the stories implied in their photographic works of art. In this study, the figure of Nico darmajungen was deliberately chosen considering the criteria above in accordance with his figure. Moreover, his photography styles have brought about a change in the paradigm of photography in Indonesia. The conclusion of this study is that the aesthetic experience experienced by artists and spectators becomes a major stage before works of art are created. Aesthetic experience has stimulated the brain to create works in accordance with the artistic experience that is practiced. The stages that occur subconsciously but are always repeated in the creation of a work of art seem to be a bridge to read an artist’s creative process.Keywords: Art Photography, Nico Dharmajungen, Art Objects, Art Value, Art Subjects
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Xiong, Xiao Jie. "Research on the Application of Computer Virtual Image Technology in Artistic Photography." Advanced Materials Research 846-847 (November 2013): 1355–58. http://dx.doi.org/10.4028/www.scientific.net/amr.846-847.1355.
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The principles of using computer parallel calculation method carries out in-depth analysis and research for computer art photography virtual imaging technology, and carries out image processing experiments for the artistic image rendering, we can get better art photography image processing effect. Combined with photography image virtual image mathematical model, this paper designs a computer program of photography image art rendering, and carries out art rendering for a landscape painting, we can get ideal art modification effect. Finally, this paper begins to calculated results for the parallel computing of art photography rendering, the calculation is found that the parallel computing is less time-consuming than general algorithm and with the increase of pixel time-consuming increased gently, it doesnt appear large fluctuations. For an image of the same resolution to carry on data processing, the general algorithm takes 55 seconds to complete the task. For parallel computing, it needs to3 seconds to complete, greatly saving time and computer resources, and providing the theory reference for the development of artistic photographys virtual image technology
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Kusuma, Sigit Setya. "Colour Splash untuk Model Perempuan dalam Fotografi Ekspresi." REKAM: Jurnal Fotografi, Televisi, dan Animasi 12, no. 1 (November 21, 2016): 43. http://dx.doi.org/10.24821/rekam.v12i1.1383.
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AbstrakPenciptaan karya fotografi ini berjudul “Colour Splash untuk Model Perempuan dalam Fotografi Ekspresi”. Tujuan penciptaan karya fotografi ini untuk: (1) mendeskripsikan visualisasi respons colour splash dengan percikan air dan ledakan holi powder untuk objek model perempuan dalam karya fotografi ekspresi; (2) menjelaskan faktor yang mendukung sehingga karya colour splash dan objek perempuan menarik jika divisualisasikan menjadi karya fotografi ekspresi; dan (3) menjelaskan alasan colour splash dengan percikan air dan ledakan holi powder untuk objek perempuan menjadi daya tarik apabila dijadikan karya fotografi ekspresi. Metode yang digunakan dalam penelitian ini adalah metode observasi, dengan cara pengumpulan data, yaitu mengadakan pengamatan langsung terhadap suatu objek dalam suatu periode tertentu dan dengan merekam hal-hal tertentu yang diamati. Metode ini dilakukan dengan menjabarkan apa yang ingin disampaikan disertai dengan eksplorasi dan eksperimen terhadap objek, lokasi, alat, dan teknik yang akan dipakai dalam fotografi colour splash. Hasil dari penciptaan karya fotografi ini adalah penulis secara detail menjadi tahu tentang proses kreatif penciptaan karya fotografi seni. Bahwa ledakan warna dan percikan air yang berwarna bisa didukung oleh objek perempuan yang mampu menghasilkan foto yang bernilai artistik sekaligus menjadi pengalaman seni yang baru. AbstractColor Splash for Female Models in Fine Art Photography. This creation of photography is entitled “Color Splash for Female Models in Fine Art Photography”. The aims of this creation are (1) describing visual response towards color splash with water splash and holi powder explosion on the female models in the context of fine art photography; (2) explaining supportive factors which are able to make the female objects and the color splash look interesting visually in fine art photography; and (3) explaining the reasons why color splash with water splash and holi powder on the female objects become attractive in fine art photography. The method used in this research was the observatory method by means of collecting data, which were conducting direct observation of an object in a certain period of time and recording them. This method was conducted by describing everything which was needed to be delivered along with the exploration and experiment towards the objects, location, tools, and techniques used in color splash photography. This study resulting a deep knowledge of the creative process in fine art photography creation, that the color explosion and the colorful water splash could support the female photographic objects in order to create artistic photographs and whole new artistic experience.
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París Romia, Gemma. "Arte como Simulacro de una Realidad Lejana en la Obra de Gerhard Richter." Barcelona Investigación Arte Creación 8, no. 2 (June 3, 2020): 101. http://dx.doi.org/10.17583/brac.2020.3580.
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This paper investigates the links that the artist Gerhard Richter establishes between photography and painting throughout his artistic career, initiated on 60ths. Since then, Richter's goal has been to build images, whether pictorial or photographic, whether blurry or sharp, geometric, abstract or figurative. The world that Richter paints is made up of banal situations, by anonymous people, by familiar landscapes, and that makes us feel comfortable as spectators, because it seems that Richter is creating a file of known places, moments with which we can connect from our subjectivity. Most part of the images are blurry, so Richter is not painting photographs, but that he is building images, from photography and through painting. The richness of his artistic process is his position between photography and painting, between figuration and abstraction, between the subjective and the collective. Richter creates an extensive and varied register of different types of images, which are part of our everyday universe. Richter build those images on painting them or on collecting them, creating a simulated reality, a vast and aesthetic archive where we can find ourselves reflected, interrogated, seduced. The archive of images by Gerhard Richter invites us, in fact, to ask ourselves about our relationship with the world and with its representations.
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Polańska, Anna. "Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981." Porta Aurea, no. 17 (November 27, 2018): 179–217. http://dx.doi.org/10.26881/porta.2018.17.08.
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With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenomenon of Polish marine art in the case of photography has been strongly emphasized in the Gdansk photography environment. The traditional display of the maritime theme has been broken, and with the approval of the authorities. Shipyard workers and dockers joined to the effigy of the sea people (fishermen, sailors). Photographers began to enter the maritime economy and use the effects of cooperation with maritime institutions for artistic purposes. Thematic exhibitions on shipyards and ports were created showing the sea from a different point of view, from the perspective of land. Socio-political events related to Solidarity stopped the promotion of the sea through the image of a shipyard worker and a shipyard, which became icons of the struggle for freedom. The Gdansk photographic community after the socio-political crisis of the first half of the 1980s, has not yet rebuilt its leading position in the dissemination of the maritime theme in photography on a large scale. Maritime exhibitions still appeared, but mainly on the local level, and the sea was reduced to the landscape understood very traditionally. At the same time photographers of the younger generation were interested in completely different issues of the style and aesthetics of photography. Te slogan „face to the sea” ceased to correspond with new times.
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Olamide Seriki, Aisha. "Embodied Creative Practice as a method for cultural recovery." Arts, Culture & Development 1, no. 1 (June 22, 2024): 38–61. http://dx.doi.org/10.59236/artsculturedev.v1i1.15.
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We exist in the marriage of physical and spiritual remembrance. It is in these spaces that we identify with our physical and imagined bodies.’” (Saye, 2017, p. 42).” This paper weaves through my artistic journey, and my adoption of an embodied practice, as a methodology of recovering my voice and self, as a creative practitioner. This paper examines the photograph as an immortal object that transcends time and space, and highlights its capabilities in producing non-linear narratives, challenging fixed notions of time which underpinned the western colonial project. Through my analysis of works of the British Gambian Photographer Khadija Saye, and my photo project ‘Orí Inú’, I showcase the ritualistic process of photography, as a liberatory force of sustaining life, as well as its capabilities in carving a space of solidarity for the photographer and viewer. By focusing on Ìṣẹ̀ṣe (Yoruba Spirituality) and Spiritualist Photography, I demonstrate the power of photography in imagining speculative possibilities, that go beyond the normative understandings of marginalized bodies, and the rethinking of our vulnerable world.
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Kirby, Alun. "No maps for these territories: exploring philosophy of memory through photography." Estudios de Filosofía, no. 64 (July 30, 2021): 47–71. http://dx.doi.org/10.17533/udea.ef.n64a03.
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I begin by examining perception of photographs from two directions: what we think photographs are, and the aspects of mind involved when viewing photographs. Traditional photographs are shown to be mnemonic tools, and memory identified as a key part of the process by which photographs are fully perceived. Second, I describe the metamorphogram; a non-traditional photograph which fits specific, author-defined criteria for being memory. The metamorphogram is shown to be analogous to a composite of all an individual’s episodic memories. Finally, using the metamorphogram in artistic works suggests a bi-directional relationship between individual autobiographical memory and shared cultural memory. A model of this relationship fails to align with existing definitions of cultural memory, and may represent a new form: sociobiographical memory. I propose that the experiences documented here make the case for promoting a mutually beneficial relationship between philosophy and other creative disciplines, including photography.
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Prodanik, Nadezhda V. "Semantics and function of photography in the literary world of the novel “Idiot” by F.M. Dostoevsky." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2022): 74–80. http://dx.doi.org/10.20339/phs.4-22.074.
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The article examines the semantics and function of the photographic portrait of Nastasya Filippovna in the novel “The Idiot” by F.M. Dostoevsky’s; the symbolic nature and role of photography in the polyphonic world of the novel are determined. In the middle of the 19th century, this type of visual art was in the zone of increased attention and controversy; the reason for this was the possibility of replicating photographs and, accordingly, their non-unique nature. The purpose of the article is to understand how F.M. Dostoevsky responded to discussion about photography; to determine what meanings he put into this aesthetic sign, what function photography performs in the literary world of “The Idiot”. The research methodology is based on semiotic, historical, cultural and narrative approaches: photography is viewed as a semiotic element (a sign with semantics); as an element of a narrative constructions about the image of Nastasya Filippovna. The historical and cultural context makes it possible to clarify the attitude of contemporaries and F.M. Dostoevsky to the phenomenon of photography. In the course of the study, it was established that photography is a significant element of the artistic image of Nastasya Filippovna; important character traits of the heroine are revealed due to a photographic portrait: pride, the desire for personal significance, a sense of taste. Sharing the opinion of his contemporaries about the impermeability of a person's inner appearance to the camera, Dostoevsky makes photography a structural principle of the female image: a photographic portrait demonstrates the heroine’s external beauty, but hides her inner appearance. In the literary world of the polyphonic novel, photography forms the mystery of the Nastasya Filippovna’s image, its dialectical complexity and contradictoriness.
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Zhu, Yuwen. "PHOTOGRAPHY FESTIVALS AND FAIRS: SHOWCASING NEW IDEAS IN PHOTOGRAPHY." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (September 10, 2023): 68–78. http://dx.doi.org/10.36340/2071-6818-2023-19-4-68-78.
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This article assumes that photographic festivals and fairs can play a role in articulating and promoting new ideas in photography. As exhibition spaces, these public events guide and showcase new trends, perspectives and practices in the art of photography. They not only permit exhibiting the variety of photographic art forms, innovative ideas and the most cutting-edge practices, but also serve as a catalyst that stimulates the ongoing evolution of photography in a socio-cultural setting. Firstly, using specific examples of photo festivals and photo fairs, the article examines how they can showcase and guide new ideas in photography. It further explores how they reflect and foster innovation in photographic artistic thought by demonstrating recent trends in photography, capturing new socio-cultural tendencies, and reinterpreting iconic works. Furthermore, the article investigates how these photography exhibition spaces enable communication and exchanges between artists, curators, and viewers. Festivals and fairs present both the author and the viewer with new ways of understanding the art of photography and offer them new experience. The role of the viewer changes from passive to active: now, by participating in the discussion of the artwork, reflecting on it, the viewer becomes a catalyst for innovation. Finally, photo festivals and fairs have led to a transformation in the ways of viewing and creating, and changed the roles of viewer, artist and curator. Through innovative ways of exhibiting, such as virtual reality or multimedia technologies, they have stimulated the development of ways of viewing and understanding photography artworks. Hence, in this article, we delve into photography festivals and fairs as a sort of window through which we can observe the emergence, evolution, and propagation of new concepts, artforms, and practices of photography. At the same time, they foster innovative ideas and play a key role in the development of means of visual artistic expression and photographic practice. The objective of this study is to provide scholars, practitioners, and photography enthusiasts with a deeper understanding of photographic festivals and fairs and to shed light on how this medium can be used to develop and innovate the art of photography. Hopefully, this article will provide a new perspective and understanding of photography research and practice and contribute to the further development of the art of photography in the 21st century.
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Moctezuma Moreno, Nayeli Fabiola. "PHOTOGRAPHY AND MEMORY." Design/Arts/Culture 3, no. 1 (January 23, 2023): 26–32. http://dx.doi.org/10.12681/dac.31214.
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This paper intends to analyze the relationship between memory, aesthetics, and politics in Gustavo Germano Ausencias’s (Absences) series. The text will consist of three parts. In the first section, it is presented a brief journey from photography as a “mirror with memory” to photography as art. The second section reviews the political power of the image during the post-dictatorship. The third section makes a brief analysis of photography as artistic creation and memory builder, as well as its political function, through Gustavo Germano’s photographic essay Ausencias (Absences).
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Andrey S., Mukhin. "The synthesis of socio-cultural and technical-technological causality of realism in photography." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 66–74. http://dx.doi.org/10.30725/2619-0303-2022-1-66-74.
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The article presents the analysis of realistic images in photography as a concept and phenomenon. The author considers realism as a method that allows creating recognition of the surrounding world in photographic images. Reality is understood as reality, which is technically possible to record with photographic equipment. Much attention is paid to the development of photographic technology and its influence on the idea of realism in photography. The point of view is given, according to which the realism of the photographic image is conditioned by the liberal-democratic progress of society: the emergence of freedom of movement, mass tourism industry, leisure, hobbies, the appearance of affordable photographic equipment. Realism in the article is described in the categories of the literal presentation of reality, as photographic naturalism, tied to the optical perfection of the image. The development of amateur photography is interpreted in close connection with scientific and technological progress in the photo department, where design solutions are aimed at improving the optical performance of the image, but not at the possibility of artistic interpretation of the image. The mass amateur photographer and the modern user of digital equipment are considered in the article as conductors of a strictly limited model of understanding the realism of the image. This model is replete with figurative cliches and technical cliches, implemented not so much by the «photographer» himself, as by a computer program and its «ideas» about reality and realism.
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Pang, Wei. "Analysis of the Artistic Concept of Contemporary Photography." Highlights in Art and Design 2, no. 3 (May 3, 2023): 74–76. http://dx.doi.org/10.54097/hiaad.v2i3.8003.
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Contemporary photography art is the range of visual thinking and face the objective life and works to convey the creative ideas and the range of performance, embodies the stage and order of photography, but also thinking of art development, transmission of ideas and trend of thinking constantly under observation. This article from the contemporary photography art concept, briefly analyzes the main ways of creation of contemporary photography, discusses the status of contemporary photography in the concept of art in the future, and on the basis of the concept of photography this paper provided some suggestions.
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Dzwonkowska, Paulina. "Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 26–36. http://dx.doi.org/10.15503/jecs20101.26.36.
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The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.
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Kondratiev, E. A. "Punctum and Reinterpretation in Photography." Art & Culture Studies, no. 2 (June 2021): 38–59. http://dx.doi.org/10.51678/2226-0072-2021-2-38-59.
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The article discusses various theoretical approaches that develop the concepts of punctum and formless in relation to the photographic image. Their connection with the concept of “visual turn” in aesthetics and art theory is examined. Using examples from contemporary artistic and photographic practice, the author demonstrates the change in ideas about the boundaries of representation and ways of reinterpreting modern photography.
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Nestayko, Markiyan. "Photos of Julian Dorosh on the pages of Lviv periodicals on the example of a magazine “Literature and Art”." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 14(30) (December 2022): 346–59. http://dx.doi.org/10.37222/2524-0315-2022-14(30)-14.
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The article reveals to the peculiarities of photography as an artistic direction and a component of a periodical publication, highlights the characteristic features of photographs that are used as illustrations for journalistic texts. Special attention is focused on the development of photography in the first half of the last century. Illustrative photos of Julian Dorosh on the pages of Lviv periodicals, using the example of the “Literature and Art” publication, were analyzed on specific examples. On the basis of the analysis, the methods and forms of the transmission of color pictures with the help of black-and-white photographs are distinguished. Keywords: photography, Julian Dorosh, periodicals, visual art.
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Colner, Miha. "Bojan Salaj, photographer: The Ambivalent Eclecticism of Contemporary Photography." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 14–19. http://dx.doi.org/10.47659/m1.014.rev.
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The article that aims to analyse the artistic production of photographer Bojan Salaj is based on conversations and reviews of his archive. Among Slovenian photographers, Salaj is the one who has been seen as an embodiment of the decisive shift in perception of the photographic medium that occurred in the late 1980s and early 1990s. He has never worked as documentary photographer or photojournalist; his authorial practice has always been primarily focused on the context of exhibition and against unconventional solutions. Salaj is one of those photographers who are characterized by the deep reflection of the meaning and perception of image from different, mainly philosophical, viewpoints, while at the same time following the objectivistic principles of photography. At a glance, his practice is extremely eclectic and post-modern, which is due to the fact that he is not looking to find an individual and recognizable artistic voice; he dedicates his focus to individual projects, bringing into his work various different references and themes. Nevertheless, a central motive can still be perceived throughout his output. In the past 25 years, Salaj has mostly been attracted to the here and now; this includes the fundamental problems of representation of photography in mass media, iconography of power structures, models of construction of history, and ways of establishing national and cultural identities.
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Pfautsch, Anne. "Documentary Photography from the German Democratic Republic as a Substitute Public." Humanities 7, no. 3 (September 10, 2018): 88. http://dx.doi.org/10.3390/h7030088.
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This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photography, despite having had a different status to literature in the GDR, adopted similar traits and also functioned as part of a substitute public sphere. These photographers aimed to expose the existing gap between the propagandised and actual life under socialism. They embedded a moral and critical position in their photographs to comment on society and to incite debate. However, it was necessary for these debates to occur in the private sphere, so that artists and their audience would avoid state persecution. In this paper, I review Harald Hauswald’s series Everyday Life (1976–1990) to demonstrate how photographs enabled substitute discourses in visual ways. Hauswald is a representative of artistic documentary photography and although he was never published in the official GDR media, he was the first East German photographer to publish in renowned West German and European media outlets, such as GEO magazine and ZEITmagazin, before the reunification. In 1990, he founded the ‘Ostkreuz–Agency of Photographers’ with six other East German documentary photographers.
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Lund, Katrín Anna. "Co-Creating Nature: Tourist Photography as a Creative Performance." Humanities 12, no. 6 (November 29, 2023): 141. http://dx.doi.org/10.3390/h12060141.
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This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist, but also about social relations that the surrounding landscape partly directs and stages. It has also been argued that, as photographing tourists, we become ‘concerned with the artistic production of ourselves’. Photography is thus a practise that is relational and sensual and that cannot be reduced to the seeing eye. However, whilst emphasising the tourist as a creative being, the surrounding landscape has been left out as a stage and its active agency ignored. I address the complex, more-than-human relations that emerge in the photographs collected in Strandir. I argue that the act of photographing, as a performative practice, is improvisational and co-creative, and the material surroundings have a direct and active agency. As has been demonstrated, photography communicates ‘not through the realist paradigm but through lyrical expressiveness’ and, thus, it may be argued that tourist photography is a poetic practice of making, as it weaves together the sensing self and the vital surroundings in the moving moment that the photograph captures.
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Santo, Santo. "PERPADUAN SENI FOTOGRAFI DAN GAYA ART NOUVEAU." Jurnal Dimensi Seni Rupa dan Desain 15, no. 2 (February 1, 2019): 219. http://dx.doi.org/10.25105/dim.v15i2.5647.
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<strong>Abstract</strong><br />Feminine style inspiration in art media is built as one of the learning media in photography. The artistic concept of combining beauty / beauty with photography as one of the mediums of art. Photography is a medium that displays visual art, and artistic creation which are connected with the Art Nouveau style. Whereas, art nouveau is a design style featuring ornaments or decorations that embody a feminine impression. Through art nouveau photography, photography is displayed with digital techniques so that it can create a photography with a feminine impression.<br /><div> </div><div> </div><strong>Abstrak</strong><br />Inspirasi gaya feminim dalam media seni dibangun sebagai salah satu media pembelajaran pada fotografi. Konsep artistik dalam menggabungkan sebuah keindahan / kecantikan dengan media fotografi sebagai salah satu medium seni. Fotografi adalah sebuah medium yang menampilkan seni visual, melalui kreasi artistik melalui fotografi sebagai medium dalam penciptaan fotografi dihubungkan dengan gaya Art Nouveau, dimana art nouveau adalah sebuah gaya desain yang menampilkan ornament atau hiasan yang mewujudkan kesan feminim. Melalui fotografi gaya art nouveau ditampilkan dengan tehnik digital sehingga dapat mewujudkan fotografi yang menampilkan keindahan dengan kesan feminim yang dapat dinikmati.<br /><br />