Academic literature on the topic 'Photography – Technological innovations'

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.

The carte de visite of ‘The Lord Chief Justice of England’ (Sir Alexander James Edmund Cockburn, 12th Baronet) by London Stereoscopic and Photographic Company that dates from the early 1870s is an object that provokes and challenges ways of thinking about the judiciary and visual culture and research on the judiciary more generally. It demands that consideration be given to a history of the relationship between the judiciary, photography and mass media that has been hidden from history by the long shadows of cameras in courts research. It provides an opportunity to consider how the technological innovations that turned photography into a mass media phenomenon impacted upon the making, distribution and use of pictures of judges.

The relevance of the study is to try to make sense of the changes in photography. The problem of research is the lack of a position in modern cultural studies on the essence of photography. The problem is methodological. The aim of the study is to study approaches to photography and their evolution. Research methods are associated with philosophical and cultural analysis of the problem. There are several approaches to studying photography. The author chooses those of them that will reveal the problem of changing the relationship to the essence of photography in the cultural and philosophical aspect. Susan Sontag says that photography takes on the importance of social ritual and is perceived as an instrument of self-approval. Andre Rouille defines the place of photography in modern culture and speaks of it as a certain cultural phenomenon, art technology. Here, Rouille contrasts his theoretical grounds with the views of Roland Barth. Rouille says that photography has universality, a total manifestation in culture, Bart, on the contrary, claims that photography is an object, the photograph itself contains an object that the photograph displays. Based on different views on the problem of the essence of photography, the author proposed a number of figure of merit by which it will be possible to trace the evolution of scientific approaches to the study of photography. Thus, three main figure of merit were developed, the first of which considers photography as part of culture. Photography becomes woven into the modern cultural layer, thanks to technological innovations. It ceases to be perceived as a separate document, but is seen by each user as an integral part of everyday life. The new digital culture dictates changes in the field of visual language. On the other hand, photography also remains part of art, this is the second criterion. The creative methods of artists, photographers are expanding significantly in modern art, photography is becoming part of many artistic practices. The third criterion is related to the philosophical understanding of the essence of photography. Many researchers aim to identify the primary basis of the photographic image. The findings of the study are related to the fact that photography is experiencing essential changes in connection with the advent of digital culture. Photography takes on the shade of a social element, which allows it to be part of a person's everyday culture. There is a significant transition from a document to a certain element of public relations. Its active manifestation in mass culture, social networks speaks of the importance of photography for modern culture. Ideas about photography are associated with the socio-cultural context of its existence. Susan Sontag in the second half of the 20th century spoke of photography as an integral part of social relations, today photography is perceived as a tool for constructing the worldview of modern man, it is said about her influence on aesthetics, the formation of a different reality.

Popular culture has critiqued ‘vertical video syndrome’, or video shot on smartphones in the portrait rather than landscape orientation, as something aesthetically unpleasing which should be avoided. But the design of smartphones seems to encourage shooting vertical video. This article examines the aesthetic desirability of vertical videos through applied media aesthetics. It traces the history of horizontal film and television orientations, as well as the image-centric orientation model found in still photography. It argues that vertical video, rather than a syndrome to be avoided, instead takes advantage of the technological innovations and embodied pleasures offered by the smartphone to rupture the visual paradigms and create a new visual aesthetic for phone-based moving images.

Interpenetration of ideas, culture, economics, raw materials and etc. are causing globalization in our society. This trend is also assisted by the growing technological innovations. Society is increasingly turning to digital tools to provide fast communications, access to information and goods through the global network, especially needed during the pandemic. In terms of art, these factors contribute to shifting the range from classical means of expression to contemporary art forms focused on digital media. Historically, the discovery of photography in the 19th century radically changed art. Painting frees itself from the function of reflecting objective reality and seeks new means of expression and meaning. In the early 20th century, new trends in the avant-garde art seek to depict intangible things away from visible reality such as the inner world of the artist, emotions, symbols, music, time and more. One of the brightest trends - Cubism is a typical example. It seeks a way to show objects rationally from several sides simultaneously - three-dimensional, but unfortunately it is limited by the means of expression - the two-dimensional surface of the canvas. Digital technologies today have a solution to this problem. They provide digital tools that completely change painting. The canvas no longer exists in the familiar way in which the artist works. It is becoming history. With the invention of VR glasses, the boundaries of visible reality and imagination in art have been removed to enter a new virtual world. Tilt Brush technology goes one step further, giving the opportunity to the artist to create 3D images with a brush in hand while moving in the virtual world he creates. Canvas doesn’t exist, it is a virtual digital world three-dimensional arising from the imagination of the artist and existing only through the eyes of the pink VR glasses. Here comes the question, will technology displace the artist's hand? Keywords: Digital Art, Art, Virtual Reality (VR), Tilt Brush, Technological Innovations, Net Art, Non-Fungible Tokens (NFT), Artificial Intelligence

Due to globalization, corporations had to adapt themselves to a new reality, generating, thus, a situation of continuous improvement, so as to be able to maintain their position in the marketplace. Therefore, it’s necessary to analyze the real importance of both radical and incremental innovations within organizations. In this sense, the present article approaches “key” concepts in relation to innovation and its consequences regarding competitiveness of companies or industries. The method used was the study of the Fujifilm corporation case. The technological innovation in the photographic material industry was evaluated, as well as the effective changes which this new technology brought to the corporation. This study is based on a theoretical frame of reference and interviews made through a semi-structured questionnaire. The main conclusions indicate that the most effective form Fuji lm found to remain competitive was investing on research and development, on continuous improvement process and on incremental innovation of the fourth color layer technology, which utilizes the concept of light reproduction, in a similar way as the human vision perceives an image.

Incumbent companies sometimes innovate and attempt to revitalise old technology-based products, in decline after technological change, by improvements of their technical performance and/or extensions of their lifetime into the market. The name of this innovation approach is "sailing ship effect," the acceleration of innovation in the old technology in response to the threat from the new. However, in theory firms could achieve revitalisation even by an alternative innovation approach based on the development of completely new products. The article reports an illustrative case study: the innovation approach of some of the main incumbent organisations in photography industry after the emergence of digital cameras. In this case, incumbent companies developed and launched film scanners, new technology-based products aimed at supporting users of old analog cameras after the rise of digital imaging. The article contributes to the extant literature about innovation approaches for old products' revitalisation by analysing how established firms can achieve this goal with completely new technological products. The approach of technology reverse is proposed.

Este trabalho apresenta uma discussão acerca de relações estabelecidas entre a fotografia e a arte contemporânea, a partir de um viés em que a produção artística dialoga com a produção fotográfica de âmbito familiar. A fotografia é assumida como um processo mediador culturalmente construído, levando em conta aspectos de sua conformação tecnológica, bem como de seus usos sociais, ambas dimensões consideradas preponderantes para a produção de significado para estas imagens. Para estabelecer estas relações através de uma perspectiva interdisciplinar, o texto busca integrar pontos de vista de áreas do conhecimento que contribuíram para um entendimento mais complexo da fotografia em seu diálogo com a sociedade, com a tecnologia, com a história e com as artes visuais. Finalmente, elencamos algumas obras dos artistas contemporâneos Nan Goldin, Rosângela Rennó e Sascha Pohflepp que evidenciam estas relações entre as artes visuais e os instantâneos do cotidiano familiar, seja através da imagem fotográfica, da materialidade da fotografia ou dos novos circuitos de circulação e novas práticas oriundas das tecnologias digitais.
This work presents a discussion of relations between photography and contemporary art, where the artistic production dialogue with the photography in the family field. the photograph is assumed as a mediating process culturally constructed, taking into account its technological aspects, as well as their social uses, both dimensions considered preponderant for the production of meaning to these images. to establish these relationships through an interdisciplinary perspective, the text seeks to integrate views of areas of knowledge that contributed towards a more complex comprehension of photography in his dialogue with society, with the technology, with the history and the visual arts. finally, we list some works of contemporary artists nan goldin, rosangela rennó and sascha pohflepp that demonstrate these relationships between the visual arts and snapshots of daily family life, either through the photographic image, the materiality of the photograph or the new circuits and new practices coming of digital technologies.

All industries occasionally experience technological shocks or 'discontinuities.' These discontinuities may be competence-enhancing or competence-destroying. Competence-destroying discontinuities threaten to render existing capabilities obsolete and lead to 'eras of ferment' in which the new technology competes with the old one. At the same time, several designs within the new technology struggle for dominance. Managers faced with such a situation need to make several important decisions, perhaps the most important of which involve the selection of technologies to adopt or develop. Existing competencies and market positions provide strong constraints on the objective of meeting evolving customer expectations. The decisions are expensive and fraught with risks. Naturally, a better understanding of how technologies tend to evolve and why particular designs become dominant, while others, equally plausible ones, do not, would help managers make more informed decisions and avoid costly mistakes or even the prospect of lock-out.
This primary aim of this dissertation was the development of a better theoretical understanding of this complex process. Relying primarily on archival data, narratives were constructed around four cases of radical technology shifts in the photographic industry. When woven with existing theoretical insights, these narratives yielded a new perspective on technology dominance. It proposes that contrary to the popular perception that customers eventually adopt technologies that meet their needs 'better,' the success or failure of a new technology is dependent on the extent to which its proponent can build it into the emerging institutional context. This involves opening the design up to embody the interests of key stakeholders as well as structuring the field. At the same time associations and linkages are created between the technology and existing structures. "Enrolling" institutions in this manner stabilizes the nascent technology, reducing its disruptiveness and creating positive externalities around it. How long the design stays dominant depends upon its position in the industry architecture (Christensen, 1997). If it is positioned as an obligatory passage point (Latour, 1987), it is likely to stay dominant for much longer than if it is simply the foremost technological solution to the central problem.

Esta tese apresenta uma nova abordagem para a discussão da Representação da Luz na fotografia do Cinema. Para além do entendimento corrente que conceitua o Cinema como linguagem, pretendeu-se mostrar que é, sobretudo, a Luz, e o uso que se faz dela, o principal fundamento da fotografia do Cinema. Uma vez que o Cinema é uma atividade de caráter sociocultural, que é estruturada por forças históricas, sociais, culturais, econômicas e tecnológicas, mas que por sua vez modela e se soma às forças estruturantes da sociedade, pode-se inferir que há uma dialética permeando os processos de produção, reprodução, recepção e difusão da Luz codificada do Cinema. Para entabular a discussão da Luz como linguagem, foram estabelecidos três eixos norteadores, a partir dos quais se buscou compreender a interdependência existente entre as representações, as ações e o coeficiente de transparência da fotografia cinematográfica que, de forma relacional, possibilitam diferentes graus de inteligibilidade e concorrem para que o intercâmbio entre o Cinema, as pessoas, e a materialidade do mundo, se efetive. Na primeira parte da tese, chamada de Eixo X - Referencialidade, composta pelos dois primeiros capítulos, tratou-se da Luz, a partir de dois aspectos: o primeiro, mais amplo, apresentou a Luz como um elemento indissociável da vida humana e da Cultura; o segundo, pretendeu estabelecer a relação entre a representação da Luz em imagens artísticas e a fotografia do Cinema. As referências visuais históricas, oriundas de outras modalidades artísticas, especialmente da pintura e do teatro, formaram a base visual, de onde se originou boa parte das referências fotográficas e dos diferentes usos da Luz, no Cinema. Portanto, a Luz do Cinema tem predecessores. Na segunda parte, tratou-se do chamado Eixo Y – Ação, que foi desenvolvido no terceiro capítulo. Aqui, sob a égide de pensadores como Max Weber, Hannah Arendt, Clifford Geertz, e os do Interacionismo Simbólico, a ênfase da discussão recaiu no elemento de novidade que a ação introduz, nos modelos de codificação da Luz estabelecidos pela cultura. Desta forma, a ação atualiza e dinamiza a linguagem. Na terceira e última parte da tese, nomeada de Eixo Z – Transparência, composta pelo quarto e quinto capítulos, tratou-se de mostrar como e por que a Referencialidade e a Ação, de forma articulada, influenciam, do ponto de vista de sua construção técnica, material, significativa e sígnica, a representação da Luz no Cinema. O conceito de transparência cultural foi cunhado e aplicado, na tentativa de se demarcar esta inter-relação. Do ponto de vista teórico-metodológico, esta tese filia-se ao paradigma interpretativo, de cunho qualitativo. Além das referências bibliográficas, e de textos e artigos procedentes da Internet, utilizou-se, largamente, imagens de diferentes linguagens artísticas, assim como foram produzidas imagens fotográficas, filmográficas e videográficas, que se configuraram como importantes fontes para efeito de análise, nesta tese.
Our thesis introduces a new approach to the debate on the Representation of Light in Film photography. In addition to the current consensus that posits Film as language, we have strived to demonstrate that above all Light, and the manner in which it is used, is the main foundation of Film photography. Inasmuch as Film is a sociocultural activity, structured by historical, social, cultural, economic and technological forces, but in turn shapes and joins society’s structuring forces, one can infer the dialectics permeating the processes of production, reproduction, reception and diffusion of Light coded in Film. With a view to addressing the debate of Light as language, three guiding axes were established, from which we sought to determine the existing interdependence among representations, actions and the transparency coefficient of film photography which, in relating to one another, provide different degrees of intelligibility and contribute to the realization of the exchange among Film, people and the material nature of the world. In the first part of our thesis, titled Axis X – Referentiality, comprising the first two chapters, Light is approached from two points of view: the first one, from a broader perspective, introduces Light as an indissociable element of human life and of Culture; the second one aims to establish the relationship between the representation of Light in artistic pictures and Film photography. Visual historical references, arising from other art forms, especially painting and theater, form the visual basis, from which a large parte of photographic references and different uses of light in Film originate. Thus it can be said that Light in Film has its predecessors. In the second part, we addressed the so-called Axis Y – Action, developed in the third chapter. With the support of thinkers such as Max Weber, Hannah Arendt, Clifford Geertz, and those from Symbolic Interactionism, the focus of the debate fell upon the new element introduced by action, within the codified models dictated by culture. Action thus updates and brings dynamics to language. In the third and last part of the thesis, called Axis Z – Transparency, encompassing the fourth and fifth chapters, we sought to demonstrate how and why Referentiality and Action, in an articulated manner, influence, from a technical, material, meaning and sign construction standpoint, the representation of Light in Film. The concept of cultural transparency was coined and applied, in an attempt to define this interrelation. From a theoretical and methodological point of view, our thesis subscribes to the interpretative paradigm, which has an qualitative characteristic. In addition to the bibliographical references, and to online texts and articles, we made extensive use of images from different artistic languages, as well as produced photographic, film and video images, which became important sources for analysis within our thesis.

This chapter takes the decade of the birth of cinema, the 1890s, as a vantage point and tackles the question of how, by that time, the slum has become a topic of high visibility in various media. The author identifies the notion of ‘remediation’ (Bolter and Grusin) as this era’s key paradigm, because clichéd slum imagery and sensationalist stories (of violent crime, immorality, abject poverty etc.) travel around 1890 across (old and new) media, from the stage to the cinema, from photo books to magic lantern shows. The chapter focuses thereby on the ‘documentary impulse’ (Gunning) to disclose urban pauperisation, which emerges together with the photographic apparatus and the reform movement. Accordingly, the chapter’s case example, a famous reformist photo book / magic lantern lecture which promotes the urgent need to improve the housing conditions in New York’s notorious neighbourhood Five Points, How The Other Half Lives (Riis 1890), illustrates how reform movement, technological innovation and remediation go hand in hand. The chapter finally draws comparisons to a contemporary transmedia project, The Places We Live (Bendiksen 2008), in order to demonstrate the (dis-)continuities between nineteenth and twenty-first century documentary photography of slums.

I set out to explore cinema in terms of its potential function as a medium of the sublime. Burke and Kant’s accounts of the sublime are employed to examine their correlation with cinema’s technological, formal, and receptive repertoire. This encompasses intrinsic features such as cinematography’s innovation of putting in motion photographic images, aspects of the montage, the aesthetic potential of the camera as cinema’s central organ of expression and perception, sound effects, and multimedia interplay as well as external features of cinema which constitute the medium as a concrete space for cinematic experiences. To what extent do these various features provoke, facilitate, mediate, or participate in a sensory and affective overpowering of the viewer?

Demonstrates the importance of the magic lantern to Joyce’s ‘media-cultural imaginary’ and the cinematicity of his techniques and themes. The lantern provided a major cultural and technological context giving birth to film. Despite appearing to ‘bar’ its influence, Dubliners alludes widely to lantern motifs, genres and techniques, explaining how Joyce’s innovations appear modernistically cinematic before film developed equivalent techniques. Chapter 1 demonstrates the fundamental part lanternism played in Joyce’s ekphrastic method: in projection effects and multi-layered intrusions of images from one context into another, but also in ‘dissolving views’ transitioning in space, time and consciousness. Lanternism sheds light on Joyce’s use of ‘flashback’ form several years before film editing, because it represented ‘multi-spatiotemporality’ by superimposing or inserting images visualising thoughts or fantasies, presenting dynamic narrative transformations in photographic ‘life-model’ sets, the predecessors of film features but also a parallel influence on Joyce. The lantern also had a reputation as a ‘technology of the uncanny’, Joyce evoking its ‘phantasmagoria’ for the uncanny vision climaxing Dubliners, a verbal ‘dissolve’, in which a moving ghost world replaces mundane reality. Thus Dubliners’ cinematicity references film’s inheritance from lanternism and anticipates its narrative futures.

Abstract: The relationship between Le Corbusier and the visual arts (drawing, photography and cinema) is deep and complex and, although the subject of numerous publications and research since the late 60s, still arouses much interest, as evidenced by the many events organized in the last years - "Le Corbusier. Vue sur la mer ", Maison La Roche, Paris, 2012; "Construire the image: Le Corbusier et la Photographie", Musée des Beaux-Arts, the Chaux-de-Fonds, 2013; or the recent "Le Corbusier and photography", IUAV, Venice, May 2015-. The paper, starting out from the researches already developed, proposes a further reflection on the relationship between the Swiss architect and the photography, paying particular interest to the shooting made in first person. The study analyzes the different approaches and the different subjects photographed in the course of his life and it is proposed to include the work of Le Corbusier in the broader cultural context of the twentieth century, a period in which the relationship between architecture and visual communication, thanks to the many possibilities offered by technological innovations, it becomes increasingly close and inevitable. Resumen: La relación entre Le Corbusier y las artes visuales (dibujo, fotografía y cine) es profunda y articulada y, aunque es objeto de numerosas publicaciones y investigaciónes desde el finales de los años 60es, todavía despierta mucho interés, como lo demuestran los diversos eventos realizados en los últimos años - “Le Corbusier. Vue sur la mer”, Maison La Roche, Parìs, 2012; “Construire l’image: Le Corbusier et la photographie”, Musée des Beaux-Arts, la Chaux-de-Fonds, 2013; o la más reciente “Le Corbusier e la fotografia”, IUAV , Venezia, mayo 2015-. El articulo, a partir desde investigación ya desarrollado, propone una reflexión más sobre la relación entre el arquitecto suizo y la fotografía, prestando especial interés a las realizata en primera persona. El estudio analiza los diferentes enfoques y diferentes sujetos fotografiados en el curso de su vida y se propone de insertar la obra de Le Corbusier en el contexto cultural más amplio del siglo XX, un período en el que la relación entre la arquitectura y la comunicación visual, gracias a las muchas posibilidades que ofrecen las innovaciones tecnológicas, se vuelve cada vez más estrecha e inevitable. Keywords: Le Corbusier; photography; representation of architecture. Palabras clave: Le Corbusier; fotografia; representaciones de la arquitectura. DOI: http://dx.doi.org/10.4995/LC2015.2015.947

ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.