Relevant bibliographies by topics / Photography Australia

Academic literature on the topic 'Photography Australia'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Photography Australia"

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Anderson, Fay. "Chasing the Pictures: Press and Magazine Photography." Media International Australia 150, no. 1 (February 2014): 47–55. http://dx.doi.org/10.1177/1329878x1415000112.

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For over a century, press and magazine photography has influenced how Australians have viewed society, and played a critical role in Australia's evolving national identity. Despite its importance and longevity, the historiography of Australian news photography is surprising limited. This article examines the history of press and magazine photography and considers its genesis, the transformative technological innovations, debates about images of violence, the industrial attitudes towards photographers and their treatment, the use of photographs and the seismic recent changes. The article argues that while the United States and United Kingdom influenced the trajectory of press and news photography in Australia, there are significant and illuminating differences.
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Palmer, Daniel. "“Asian” photography in Australia." photographies 14, no. 1 (January 2, 2021): 109–18. http://dx.doi.org/10.1080/17540763.2020.1856713.

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Anderson, Fay. "‘Photographing Lindy’: Australian press photography and the Chamberlain case, 1980–2012." Media International Australia 162, no. 1 (September 26, 2016): 7–18. http://dx.doi.org/10.1177/1329878x16665495.

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This article analyses the news photography surrounding a high-profile case of alleged matricide in Australia: the disappearance of 9-month-old Azaria Chamberlain, and the subsequent murder trial and eventual acquittal of her mother, Lindy. While the scholarship on the media’s conduct during Chamberlain’s ordeal has been exhaustive, the press photographers’ role has not been considered. Drawing on oral history interviews with newspaper photographers, this article explores the ways that the photographers’ workplace culture, gender, relationships and practices informed their approach. It argues that their images in isolation did not contribute to the demonisation of Chamberlain; the same photographs were used to project both innocence and guilt depending on the editorial interpretation. The article will provide new historical understanding about the photographic traditions and routines surrounding the Chamberlain case and crime photography more generally.
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Pickard, John. "Assessing vegetation change over a century using repeat photography." Australian Journal of Botany 50, no. 4 (2002): 409. http://dx.doi.org/10.1071/bt01053.

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Repeat photography is a technique of detecting changes in the landscape by comparing old and more recent photographs taken at the same place. Information gained is used to detect landscape change as one component of historical ecology. Understanding the causes of any change detected requires additional information. The technique was pioneered in vegetation ecology in Arizona and has since been applied in many other parts of the United States. After a description of the technique, the American experience is reviewed and the problems of detecting change and assigning cause are discussed. The relatively few Australian examples are briefly summarised. There are many limitations of repeat photography, but these can be controlled through a careful approach. Although repeat photography has rarely been used in Australia, it has significant applications in education, in understanding past changes and in helping to help predict future changes in vegetation.
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Lydon, Jane. "Photography and Critical Heritage." Public Historian 41, no. 1 (February 1, 2019): 18–33. http://dx.doi.org/10.1525/tph.2019.41.1.18.

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Historical photographs of Australian Aboriginal people were amassed during the colonial period for a range of purposes, yet rarely to further an Indigenous agenda. Today, however, such images have been recontextualized, used to reconstruct family history, document culture, and express connections to place. They have become a significant heritage resource for relatives and descendants. Images stand in for relatives lost through processes of official assimilation—or as this sad history is now known in Australia, the Stolen Generations. This article explores the potential healing power of the photos in addressing loss and dislocation, and emerging tools for supporting this process through reviewing the Returning Photos project outcomes.
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Hanrahan, P. F., C. A. D’Este, S. W. Menzies, T. Plummer, and P. Hersey. "A randomised trial of skin photography as an aid to screening skin lesions in older males." Journal of Medical Screening 9, no. 3 (September 1, 2002): 128–32. http://dx.doi.org/10.1136/jms.9.3.128.

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OBJECTIVES: We have previously shown that photographs assist in detection of change in skin lesions and designed the present randomised population based trial to assess the feasibility of photographs as an aid to management of skin cancers in older men. SETTING: 1899 men over fifty, identified from the electoral roll in two regions in New South Wales (NSW), Australia, were invited by mail to participate. METHODS: A total of 973 of 1037 respondents were photographed and randomised into intervention (participants given their photographs) or control groups (photographs withheld by investigators). At one and two years from the time of photography, all participants were advised to see their primary care practitioner for a skin examination. Those in the intervention group were examined with their photographs and those in the control group without their photographs. RESULTS: The results indicated that the practitioners were more likely to leave suspicious lesions in place for follow up observation (37% v 29%) (p=0.006) and less likely to excise benign non pigmented lesions (20 v 32%). There was little difference in excision rates for benign pigmented lesions (21% v 23%). Lesions excised were more likely to be non-melanoma skin cancer (58% v 42%) from patients who had photographs compared to those without photographs (p=0.005). The use of skin photography resulted in a substantial savings due to the reduced excision of benign lesions. CONCLUSIONS: These results suggest that it would be feasible to conduct a large scale randomised trial to evaluate the value of photography in early detection of melanoma and that such a trial could be cost effective due to the reduced excision of benign skin lesions.
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Grace, Helen. "Everyday Australia: An etho-prosaic photography." History of Photography 23, no. 2 (June 1999): 123–28. http://dx.doi.org/10.1080/03087298.1999.10443811.

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Downer, Christine. "Photography in Australia: A select bibliography." History of Photography 23, no. 2 (June 1999): 192–97. http://dx.doi.org/10.1080/03087298.1999.10443822.

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Maynard, Margaret. "Fashion and Air Travel: Australian Photography and Style." Costume 51, no. 1 (March 2017): 103–20. http://dx.doi.org/10.3366/cost.2017.0007.

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The expansion of commercial air travel in Australia after the Second World War caused significant changes to women's fashion and its marketing in this country. The developing technology of aeroplanes as commercial carriers meant European clothes and ideas reached Australia increasingly rapidly. A long-term sense of stylistic inferiority diminished and the sometimes unquestioning acceptance of imported style was challenged. As post-war retailers expanded their product range, they sought possibilities to market Australian designed and made garments both in Europe and the US. Using co-marketing with the airline industry in particular, retailers began to foster a new confidence amongst middle-class women that by wearing local attire they could participate in a worldwide network of stylish production and consumption. For a brief period, Australian, US and European-made fashions were in serious competition. This article suggests promotional images featuring the connectivity between the technology of air transport and fashion after the Second World War mark a discrete moment in the representation of women in this country as mature and stylishly dressed global travellers, prior to a vigorously emerging youth market by the mid-1960s. It also posits the idea that, although representational stereotypes of Australian women as homemakers remained intact, the use of technological settings of airline travel in fashion photography created a new and cosmopolitan narrative that ran counter to the ideal of domesticity.
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Quanchi, Max. "‘Record of my journeyings in the Coral Sea’: Randolph Bedford’s 1906 album of the Solomon Islands." Journal of New Zealand & Pacific Studies 8, no. 1 (May 1, 2020): 39–56. http://dx.doi.org/10.1386/nzps_00014_1.

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Albums and scrapbooks are rarely the focus of research. This article examines the motivation and context for a unique and rare album compiled by a ‘special correspondent’ – George Randolph Bedford, an aspiring Federal politician, journalist and writer – who visited the Solomon Islands in 1906 on a personal fact-finding mission. His scrapbook contains 212 photographs and a series of articles on the Solomon Islands that he had published in illustrated weekend newspapers in Australia in 1906 and early 1907. The Australian colonies had just federated, Britain had just passed control of Papua to Australia and, in the New Hebrides, Britain and France were about to announce a condominium had been formed. Tonga, Niue and the Cook Islands were also the subject of imperial manoeuvring. In Queensland, Kanakas were being sent home as the labour trade was abolished. The scrapbook is therefore a window on to imperial diplomacy, colonial expansion and Australian visions of a relationship with the Pacific, the boom in illustrated newspapers, early photography and personal ambition to become an expert on the islands.
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Dissertations / Theses on the topic "Photography Australia"

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Boddy, Adrian. "Max Dupain and the photography of Australian architecture." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36005/25/__qut.edu.au_Documents_StaffHome_StaffGroupR%24_rogersjm_Desktop_36005_Vol1_Digitised%20Thesis%20Vol%201%20Compressed%20%20Boddy.pdf.

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This thesis considers Max Dupain (1911-1992) and his contribution to the development of architectural photography in Australia. Through his continuous and prolific output over six decades of professional photography Dupain greatly stimulated awareness of and interest in Australian architecture. Before Dupain began specialising in the field, little consistent professional architectural photography had been practised in Australia. He and some of his close associates subsequently developed architectural photography as both a specialised branch of photography and - perhaps more significantly - as a necessary adjunct to architectural practice. In achieving these dual accomplishments, Dupain and like-minded practitioners succeeded in elevating architectural photography to the status of a discipline in its own right. They also gave Australians generally a deeper understanding of the heritage represented by the nation's built environment. At the same time, some of the photographic images he created became firmly fixed in the public imagination as historical icons within the development of a distinctive Australian tradition in the visual arts. Within his chosen field Dupain was the dominant Australian figure of his time. He was instrumental in breaking the link with Pictorialism by bringing Modernist and Documentary perspectives to Australian architectural photography. He was an innovator in the earlier decades of his professional career, however, his photographic techniques and practice did not develop beyond that. By the end of the 1980s he had largely lost touch with the technology and techniques of contemporary practice. Dupain's reputation, which has continued growing since his death in 1992, therefore arises from reasons other than his photographic images alone. It reflects his accomplishment in raising his fellow citizens' awareness of a worthwhile home-grown artistic tradition.
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Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.

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This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.

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Master of Visual Arts
The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Ballard, Bernadette Ann. "The Seeing machine : photography and the visualisation of culture in Australia, 1890-1930 /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00000833.

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Gaskins, William G. "On the relationship between photography and painting in Australia, 1839-1900." Thesis, Gaskins, William G. (1991) On the relationship between photography and painting in Australia, 1839-1900. PhD thesis, Murdoch University, 1991. https://researchrepository.murdoch.edu.au/id/eprint/52768/.

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The change from symbolism to imitative art in the late medieval period, and the confirmation of this in post- Renaissance art and art philosophy, served as a paradigm for painters until the mid nineteenth century. The pursuit of supreme objectivity in art, as seen through the camera obscura together with the questioning of the prevailing notions concerning the origins of natural phenomena, inevitably led to a reappraisal of what constituted 'beauty'. The birth of aesthetics endorsed the position of art as the most important medium of representation of the natural wilderness as the handiwork of the Creator but also confirmed the fallibility of the hand of man. Thus the concept of fixing the image of the camera obscura by a means other than drawing became an obsession at the turn of the nineteenth century and was resolved by the idea of 'sun-painting', 'heliography' or, as the first primitive, but workable, process was named, 'photogenic drawing'. The appearance of the first photographs sent a shock through the art community. If 'instant art' could be practised by anyone then the livelihood of artists was in jeopardy and it was necessary to reconsider what constituted 'good art'. But painters in particular saw advantages in the photograph as an 'objective copy' of Nature, one that could, itself, be copied at leisure, accurately. In this way problems of perspective, form, tone and detail were easily resolved. However, those practising the new medium began to adopt a semiosis of painting and photography became recognised not only as a new 'art' but also an art which, as a result of its indexical nature, in the Peircean sense, authenticated the subject. The utilitarian pragmatism of the early nineteenth-century colonist served to delay the introduction of photography to Australia until the process had been perfected, but it was then enthusiastically used to document progress, achievement and an environment which startled those 'back home'. However, the power of authentication surpassed representation and this enabled the unscrupulous to manipulate the photograph in order to exaggerate natural phenomena where this, in turn, served to heighten national pride in the new land. Thus the photograph became the tool of painters, illustrators and engravers in their efforts to authenticate fictionalised images of enterprise and production. But the introduction of photography had caused art critics to question the philosophy of verisimilitude in art and thus the epistemological basis of painting. Issues such as 'imagination' and the mediating role of the artist eventually challenged the post-Renaissance doctrine of imitation, but photography had already influenced painting irreversibly, not only through its use as a tool for painters, but also through the development of a 'photographic oeuvre' or style which was adopted by the first Australian 'school' of painting centred upon the artists' camps at Heidelberg in Victoria.
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Deas, Megan Elizabeth. "Imagining Australia: Community, participation and the 'Australian Way of Life' in the photography of the Australian Women's Weekly, 1945-1956." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148424.

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While the cultural history and practices of press photography in Australia have gained scholarly attention in recent years, the contribution of other forms of photography published in magazines—including editorial, advertising and readers’ photographs—to burgeoning concepts of nationhood has been largely overlooked. This thesis examines the role of photography in visualising a post-war ‘imagined community’ in a study of The Australian Women’s Weekly magazine, the highest-circulating weekly publication in the country, between the end of the Second World War in 1945 and the introduction of television in 1956. In its examination of these photographs, the thesis asks: What narratives of national identity were evident in the photographs? What subject matter and framing techniques were frequently employed to construct a national photographic language? And what does this reveal about the values the Weekly’s publisher and editors attached to being Australian? I argue that the Weekly was not passively depicting or reflecting a national community and its ‘Way of Life’, but that it actively constructed an Australian identity through the thousands of photographs it published, while simultaneously instructing its readers what good citizenship looked like—and how to perform their belonging to the nation. Visual analysis of over 200 photographs highlights the predominant narratives during the period, including an emphasis on the practice of family photography to reinforce ideals of urban, family life as centred within the modern home. Representations of immigration and Aboriginal Australians, the repetition of photographs of families participating in community events, and a valorisation of the rural worker’s relationship with the land were intertwined with the concepts of ordinariness and of the ‘Australian Way of Life’. These core ideals were deployed to enable multiple and potentially oppositional narratives to coexist on the pages of the magazine. Analysis of a series of readers’ colour travel photographs published in the later years of the study foregrounds the Weekly’s encouragement of its readers as collaborators by providing them with an opportunity to demonstrate their performance of national identity. The magazine thus became a platform through which readers contributed to the visual narrative of Australianness, via the medium of photography as a form of participatory citizenship. The thesis foregrounds the implementation of a high-speed printing press in 1950 as a turning point at which readers saw a significant increase in the publication of colour photographs of native flora and fauna, and specifically photographs of ordinary Australians within the landscape. I argue that Alice Jackson and Esme Fenston, the Weekly’s editors during the period of study, positioned it as the mediator of knowledge about Australia, and constructed a relationship with readers based on notions of intimacy and authority. Situated within the multidisciplinary field of visual culture, and drawing from photography studies, visual anthropology, cultural history and media studies, the thesis highlights the cultural work of photography in the process of imaging, and imagining, post-war Australia.
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Quartermaine, P. N. "'Speaking to the eye' : Painting, photography and the popular illustrated press in Australia, 1850-1900." Thesis, University of Exeter, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379670.

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Price, Alun John. "Cultures Of Practice Within Design: An Exploration Of The Differences And Similarities Between Photography And Painting As Representational Practices." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1451.

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Contemporary designers and photographers face many challenges as the profession rapidly develops. This is especially the case in in the Western Australian context. A review into the recent history of the Western Australian design profession is evidence that designers and photographers are consistently shifting between commercial and self-expressive practice. However, the urge to keep up with technological advancement has masked conscious development of this shift, which is a key to self-realisation and improvement for a designer and photographer. This lack of conscious questioning limits holistic development in design practice. This research reflects on myself as a designer developing a response to the significant convergence of media that developed during my career. The research led to an understanding of the development of design as a practice and its connections to art, especially painting. This exploration of the differences and similarities between photography and painting, as representational practices that impact upon the values of a practitioner, seeks, in part, to understand photography using paint. This research is a broad investigation that sets out to reveal aspects of these relationships, and to raise questions that will form the basis of more in depth studies.
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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.

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Gigler, Elisabeth. "Indigenous Australian art photography an intercultural perspective." Aachen Shaker, 2007. http://d-nb.info/990542270/04.

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Books on the topic "Photography Australia"

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Whelan, Kathleen. Photography of the Age: Newspaper photography in Australia. Sydney, NSW: Hale & Iremonger, 1993.

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Picturing Australia: A history of photography. North Ryde, NSW, Australia: Angus & Robertson, 1988.

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Panoramic journey through Western Australia. Hamilton Hill. Perth, W.A: Simon Nevill Publications, 2011.

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Newton, Gael. Shades of light: Photography and Australia, 1839-1988. Canberra: Australian National Gallery, 1988.

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McPherson, Mark, Louise Clements, and Leigh Robb. Hijacked III: Australia /United Kingdom. Cottesloe, W.A: Big City Press, 2012.

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Printing, London College of. BA Photography dissertation 1989: Australia: The fatal attraction. London: LCP, 1989.

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Alan, Davies. The mechanical eye in Australia: Photography 1841-1900. Melbourne: Oxford University Press, 1985.

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Peter, Stanbury, and Tanre Con, eds. The mechanical eye in Australia: Photography 1841-1900. Melbourne: Oxford University Press, 1986.

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Duncan, Ken. The wild frontier Western Australia: Photography by Ken Duncan & Steve Fraser. Wamberal, NSW, australia: Panographs Publishing, 2012.

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(Australia), National Portrait Gallery. Mirror with a memory: Photographic portraiture in Australia. Parkes, Canberra, A.C.T: National Portrait Gallery, 2000.

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Book chapters on the topic "Photography Australia"

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deCourcy, Elisa, and Martyn Jolly. "Australia." In Empire, Early Photography and Spectacle, 63–96. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003104780-4.

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Lydon, Jane. "Happy Families: Unesco’s Human Rights Exhibition in Australia, 1951." In Photography, Humanitarianism, Empire, 117–31. London; New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Pl, [2016] | Series: Photography, history: Routledge, 2020. http://dx.doi.org/10.4324/9781003103813-7.

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Lydon, Jane. "Blind Spots or Bearing Witness: Antislavery and Frontier Violence in Australia." In Photography, Humanitarianism, Empire, 57–76. London; New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Pl, [2016] | Series: Photography, history: Routledge, 2020. http://dx.doi.org/10.4324/9781003103813-4.

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Ponsford, Megan. "Photographic reportage and the colonial imaginary." In The 1935 Australian Cricket Tour of India, 160–84. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003263456-8.

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Drew, Richard A. I., and Meredith C. Romig. "Materials and methods." In The fruit fly fauna (Diptera: Tephritideae: Dacinae) of Papua New Guinea, Indonesian Papua, Associated Islands and Bougainville, 5. Wallingford: CABI, 2022. http://dx.doi.org/10.1079/9781789249514.0003.

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Abstract Large numbers of dacine specimens were collected throughout Papua New Guinea by trapping and host fruit sampling. Steinertype fruit fly traps, baited with cue lure, methyl eugenol or vanillylacetone (zingerone), were set in many localities over a wide range of ecosystems. In most cases, the traps were serviced on 2-week cycles for at least 1 year. Samples of rainforest and cultivated fruits were collected in some provinces. All specimens collected were preserved in a dry state and sent to R.A.I. Drew at Griffith University, Brisbane, Australia, for microscopic identification and curation. Data and photographs of Bactrocera longicornis were received from the Museum Nationale d'Histoire Naturelle, Paris, France. The subgeneric classification used herein follows Drew and Hancock (2016) and Hancock and Drew (2006, 2015, 2016, 2017a,b,c,d,e, 2018a,b,c, 2019).
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Giblett, Rod. "Shooting the Sunburnt Country, the Land of Sweeping Plains, the Rugged Mountain Ranges: The Role of Australian Landscape and Wilderness Photography in Promoting Environmental Sustainability and in Forming a New National Identity." In Landscapes of Culture and Nature, 106–21. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230250963_7.

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Couchman, Sophie. "Chinese Australian Brides, Photography, and the White Wedding." In Locating Chinese Women, 45–75. Hong Kong University Press, 2021. http://dx.doi.org/10.5790/hongkong/9789888528615.003.0003.

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Despite ‘unchanging tradition’ being a key characteristic of the white wedding, the cultural practices that make up the white wedding have evolved and become integrally linked to the creation of the wedding photograph. From the late nineteenth century, increasing numbers of women, including Australians with Chinese heritage, were married and photographed in white. This chapter analyses Chinese-Australian wedding photographs from the 1890s to the 1940s within larger global movements in fashion and culture. It suggests that by marrying in white, Chinese-Australian women were not assimilating into Western, Christian cultural practices that already existed, but that they, alongside other women in Australia, China, Hong Kong and around the world, were building something new – the global phenomenon of the white wedding.
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"Subediting and Photography." In Court Reporting in Australia, 91–107. Cambridge University Press, 2005. http://dx.doi.org/10.1017/cbo9780511481246.007.

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Scott, Rowena H. "Sustainability in Photography Can Change the World." In Practice, Progress, and Proficiency in Sustainability, 39–53. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5856-1.ch003.

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Photography plays important, but undervalued and misunderstood, roles in how modern urban humans relate to nature and how nature is mediated to us, forming our perceptions and national identity. Typically landscape photography depicts nature aesthetically as sublime, picturesque and beautiful. Photographs have been powerful raising awareness of sustainability and communicating political messages. The chapter reviews the influence of two great Australian wilderness photographers, Olegas Truchanas and Peter Dombrovskis, as well as Edith Cowan University's (ECU) Photography for Environmental Sustainability Competition. In conjunction with World Environment Day, the university invited students to submit photographs that showcase the principles and practices of environmental sustainability. This chapter describes the history, purposes and impact of photography and the competition. Starting as an engagement partnership between the environment coordinator, academics and the Perth Centre for Photography, it is now an international competition across Australia and New Zealand, not exclusive to photography students, hosted by Australasian Campuses Towards Sustainability (ACTS).
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Saethre-McGuirk, Ellen Marie. "An i for an Eye: The Collective Shaping of Experience in the Age of Machine-Mediated Art." In Truth in Visual Media, 58–76. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474467.003.0003.

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This chapter concerns the way in which the incessant and exponential use of photography in social media, as a means to form and visually communicate experiences, not only permeates our lives, but also shapes our experience of the world. On the basis of the visual research outputs and findings in the form of the exhibition Norwegian Sublime: Landscape Photography in the Age of the iPhone (Frank Moran Memorial Hall Gallery, Brisbane, Australia), this chapter is an in depth look at our contemporary aesthetic experience of nature and the world around us, through photography and Instagram in particular. Drawing on Susan Sontag and Alva Nöe, this chapter discusses how the digital, social media landscape and our addiction to it does more than merely amplify dissociative seeing. It makes dissociative seeing a new normal.
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Conference papers on the topic "Photography Australia"

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Poikolainen Rosén, Anton, Maria Normark, and Mikael Wiberg. "Relating to the Environment Through Photography." In OzCHI '20: 32nd Australian Conference on Human-Computer-Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3441000.3441026.

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Bixler, Joel N., Allen Kiester, Zachary N. Coker, and Bennett L. Ibey. "Applications for compressed ultrafast photography to biological imaging and sensing." In Biophotonics Australasia 2019, edited by Ewa M. Goldys and Brant C. Gibson. SPIE, 2019. http://dx.doi.org/10.1117/12.2540049.

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Saeed, Fawad. "Digital Image Processing of High Resolution Aerial Photograph of Shallow Marine Sanctuary, Victoria, Australia." In 2006 International Conference on Advances in Space Technologies. IEEE, 2006. http://dx.doi.org/10.1109/icast.2006.313823.

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Noriah Bidin, Rabia Qindeel, and Yaacob Mat Daud. "High-speed photographic study on plasma induced by focusing IR laser." In 2006 Australian Conference on Optical Fibre Technology (ACOFT). IEEE, 2006. http://dx.doi.org/10.1109/acoft.2006.4519332.

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Jones, Christian Martyn, and Claudia Baldwin. "Using emotion eliciting photographs to inspire awareness and attitudinal change." In the 21st Annual Conference of the Australian Computer-Human Interaction Special Interest Group. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1738826.1738859.

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Kazak, Sibel, Jill Fielding, and Lucia Zapata-Cardona. "Investigation Cycle for Analysing Image-Based Data: Perspectives From Three Contexts." In Bridging the Gap: Empowering and Educating Today’s Learners in Statistics. International Association for Statistical Education, 2022. http://dx.doi.org/10.52041/iase.icots11.t8d1.

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A traditional data investigation cycle includes problem posing, planning and collecting data, analysing data, and making conclusions. This research studies the data investigation cycle for analysing image-based data. In three independent research projects, students at different educational levels and from different countries were provided photographic data of families and their environments around the world from the Dollar Street project. Data collected included classroom video-recordings (Australia), individual student interviews (Colombia), and pre-service mathematics teachers’ interviews (Turkey). Analysis focused on the sequence of actions that helped students when attempting to pose and answer questions based on the data set. Findings suggested a similar, iterative sequence of actions across all cohorts: context and data set familiarisation, variable identification/generation, problem posing and planning, data organisation and analysis, and drawing conclusions.
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Guedes, Pedro. "Healing Modern Architecture’s Break with the Past: Musings around Brazilian Fenestration." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3990prwvx.

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This paper focuses on the role of Brazilian architects in emancipating Modern Architecture from overly limiting orthodoxies. In particular, this study follows direct, if weak influences across the Pacific to Australia and stronger ones across the South Atlantic to Southern Africa, where Brazilian ideas found fertile ground without being filtered through Northern Hemisphere mediations. Official delegations of architects from Australia and South Africa went to Brazil seeking inspiration and transferable ideas achieved mixed success. Central to the theme of this essay is a recently discovered and unpublished manuscript. It is the work of Barrie Biermann who, upon graduation from the University of Cape Town sailed across to Brazil in 1946 to gain first-hand knowledge of the architecture that had achieved worldwide renown through the 1943 Brazil Builds exhibition at the Museum of Modern Art in New York (MoMA). Biermann’s close observations and discussions with several of Brazil’s leading architects helped him develop a fresh narrative that placed recent developments in a continuum linked to Portuguese colonial architecture that had taken lessons from the ‘East’. Published in a very abridged form in a professional journal in 1950, it lost much of the charm of the original, which, in addition to imaginative theoretical speculation, is enriched by evocative, atmospheric sketches, water colours and photographs. This study shows that South-South connections were quite independent and predated the influence of ‘scientific’ manuals of ‘how-to build in the tropics’ that proliferated from metropolitan centres in the mid-1950s, preparing for decolonization but perhaps also motivated by ambitions of engendering other forms of dependence. Brazilian ideas and examples of built work played an important role in bringing vitality to some of the architectures of Africa. They also engaged with crucial issues of identity and the production of buildings celebrating values beyond the utilitarian.
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Court, Kenneth E. "Extended Cruising The Second Time Around." In SNAME 7th Chesapeake Sailing Yacht Symposium. SNAME, 1985. http://dx.doi.org/10.5957/csys-1985-005.

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Some years ago, in 1975, I presented a paper and a slide show at an earlier sailing yacht symposium in Annapolis. The subject was a four-year, 28,000 mile cruise I had made in the years 1965 - 1968 most of the way around the world: Hawaii and the South Pacific, New Zealand, Australia's Barrier Reef, the Indian Ocean, the Red Sea, the Mediterranean, including the Greek Islands, an Atlantic crossing to Barbados from the Canary Islands, the Caribbean, and home to the Chesapeake. The paper I wrote then was entitled "Extended Cruising: An Overview" and contained sketches and data from my logs. It was same 55 pages long and talked about many facets of cruising from my vantage point, primarily as seen from the decks of Mamari, the 28 foot ketch I had bought in New Zealand. Lest Mamari 's size appear too small, which perhaps would make me seen heroic, recognize that in displacement and accomodations Mamari was the equivalent of a 33 foot boat. To dispel one other misconception, be advised that I normally sailed with a crew of two, sometimes more, and only sailed two legs single-handed, of about 500 miles each, one from Tonga to Fiji in the Pacific, the other in the Gulf of Suez and from Port Said to the Greek Islands. The 1975 paper reflected my background as a naval architect, combined with my experience as a sailor. I told of things I learned from others. I analyzed log data, presented photographs, drawings and tables, and wrote a series of "yarns" such as sailors spin about their travels. The paper is touched with a flavor of the sea, a flavor of talk over run or coffee in a snug anchorage or on a shared night watch. That 1975 paper makes good reading, and much of the information is still valid. It could be reprinted and if there is enough interest l will do so (contact me). This present paper is a brief look at my experiences on a series of sailing trips, but in particular a one year voyage in a 37 foot yawl from Turkey to the Chesapeake via the West Indies in 1980-81. The paper answers the question posed at the 1975 symposium, would I do the trip again? Then, I thought so, but could not be sure, now my reply is, "of course."
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Reports on the topic "Photography Australia"

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HRH the Prince of Wales' Visit to Australia June 1920 - Overseas pressmen accompanying the Prince of Wales photographed talking with Denison Miller (middle). Reserve Bank of Australia, September 2021. http://dx.doi.org/10.47688/rba_archives_pn-002048.

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