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Journal articles on the topic 'Portrait photography'
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1
Darmadi, Indra. "Tinjauan Visual Subyek Foto dalam Karya Fotografi Potret Henri Cartie-Bresson dan Richard Avedon." Magenta | Official Journal STMK Trisakti 1, no. 01 (August 26, 2017): 83–91. http://dx.doi.org/10.61344/magenta.v1i01.10.
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Photography potrait is a photography field that highlight the character and traits of someone. In the world of photography there are two world leaders who are pioneers of photography in portrait photography, Henri Cartier-Bresson and Richard Avedon. Both have different theories in doing portrait photography. Conflicts that arise between the two is whether portrait photography should be done naturally or with posing. Of course, both have similarities photographic portraits, which portray someone in a work of portrait photography. This paper will discuss some of the work of portrait photography of Henri Cartier-Bresson and Richard Avedon, and compare the two works to find the answer to whether or not subjects to pose in a portrait photography.
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Allen, Joseph R. "Picturing Gentlemen: Japanese Portrait Photography in Colonial Taiwan." Journal of Asian Studies 73, no. 4 (November 2014): 1009–42. http://dx.doi.org/10.1017/s0021911814000990.
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This essay investigates the conditions of portrait photography in Taiwan during Japanese colonization. After a brief introduction to the theoretical issues concerning the indexical nature of the photograph, I consider the Japanese colonial photographic industry and its products (portraits) in three contexts: the state of photographic technology in the world at that time, the ideological machinery of colonization in Taiwan, and the wider phenomenon of colonial mimicry. In this consideration, I offer a diachronic analysis of photo albums and commercial directories that contain formal portraits of politically and economically influential (almost exclusively) men. Bringing these considerations together suggests an aspect of the colonial ideological machinery that has been underrepresented in other studies: the colonial portrait as a mask in several forms.
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Kotliar, Svitlana, and Iryna Zaspa. "Female Portrait in Photography Art: from Authenticity to Modernity." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 84–96. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235094.
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The purpose of the research is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. The research methodology consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, history of female portrait development in photography, empirical – study of relationships between female portraits of different times, comparative – comparison of modern and authentic portraits. In the course of cognitive synthesis and generalization of distinctive and similar features of female photo portraits of different times, special features of the female portrait were determined. Scientific novelty. For the first time, the history and formation of female photo portrait from authenticity to the nowadays were analyzed. The analysis was conducted based on photo portraits researches of different times. A detailed analysis of factors influencing the formation of this genre of photography was carried out. With the help of the theoretical analysis, the factors influencing the development of the female photo portrait were determined, its specifics and features were outlined. Conclusions. In the course of the article, we analyzed female portrait in photography and the concept of female beauty in different periods. With the help of the analysis of the history of development and formation of the female portrait photography genre, its role in the art of photography has been established. Peculiarities of female photo portrait as a genre of the art of photography were determined. Its peculiarity and importance have been proved. The factors influencing the concept of female beauty in photography, the development of female portrait and its features have been generalized.
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Blanchard, Antoine. "Microhistoire des portraits composites: Le cas Arthur Batut (1846-1918)." REVISTA DE HISTORIOGRAFÍA (RevHisto) 27 (November 27, 2017): 287. http://dx.doi.org/10.20318/revhisto.2017.3975.
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Résumé: A partir d’une enquête portant sur le cas du photographe francais Arthur Batut (1846-1918) qui s’est emparé de la technique du composite portraiture de Francis Galton, nous révélerons dans un premier temps l’importance considérable du portrait photographique dans la constitution, à la fin du XIXe siècle, d’une nouvelle image de soi particulière correspondant à une identité “physicalisée”. Pour ce faire, nous mettrons à l’épreuve les questions et la méthode de la microstoria. Dans un second temps, nous envisagerons la possibilité que la technique historiographique de la microstoria elle-même ne puisse se penser sans l’emergence d’un “regard photographique”.Mots-clés: Arthur Batut, histoire de la photographie, historiographie, microstoria, portrait, anthropologie visuelle.Abstract: This paper investigates the case of Arthur Batut, a 19th century French photographer from Labruguiere (Tarn), who employed a different perspective to reproduce the technique of the composite portraiture, invented by Francis Galton, the father of “eugenics”. We will first reveal the major implication of photography within the constitution of a new quantified and physicalized image of the self at the end of the 19th century by examining Batut’s photography, notably the microstoria method. Secondly, we will examine the possibility that the historiographical technique of microstoria itself would be implausible without the emergence of a “photographic look”.Key words: Arthur Batut, history of photography, historiography, microstoria, portrait, visual anthropology.
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Vogelsang, Helena. "A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.
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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography
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Wulan, Evi Retno. "Written Approval for Commercialization of Portrai Photography: A Study of Law No. 28 of 2014 in the context of Improving the Distro Business in Indonesia." IJEBD (International Journal of Entrepreneurship and Business Development) 5, no. 4 (July 31, 2022): 759–63. http://dx.doi.org/10.29138/ijebd.v5i4.1909.
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Purpose: The purpose of this research is to examine the rules of written approval for the Commercialization of Portrait Photography as contained in Article 12 Paragraph (1) of the Copyright Law No. 28 of 2014 in the context of Improving the Distro Business in Indonesia.
Design/methodology/approach: The type of legal research used is normative juridical research. The approach used in this research is the statutory approach and the conceptual approach. The sources of legal materials used in this doctrinal research consist of primary legal materials and secondary legal materials. The collected legal materials will be analyzed in a qualitative normative manner by reviewing, interpreting, and constructing statements contained in in-laws and regulations and other legal documents related to issues related to photo commercialization.
Findings: Given the increasing competition in the business world, many creative business actors make their productions interesting, one of which is done by making t-shirts with portraits of artists and public figures obtained from the photographer who took the photo shoot. For example, example, a photographer takes a photo of an artist and uses it to line up his photo studio by making advertisements or billboards for the artist's portrait in his photo studio and has obtained permission from the artist, then the photographer sells the results of his work to the person, who by that person takes the portrait of the artist in the photo. fit on t-shirts to produce and sell. In this case, the photographer and the person who bought the photographer's portrait (portrait photography) violated copyright because the commercialization of portrait photography contained in the t-shirt was carried out without written permission from the person being photographed, while the regulation of portrait commercialization in Law No. 28 the year 2014 concerning Copyright, permission or approval of the person being photographed is only limited to commercialization for advertising and billboards, even though there are economic benefits that the t-shirt seller gets from the sale of the t-shirt and in fact, the t-shirt sells because the buyer bought the t-shirt because of the artist's portrait. in the shirt.
Paper type: Research paper
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Alù, Giorgia. "Order and otherness in a photographic shot: Italians abroad and the Great War." Modern Italy 22, no. 3 (August 2017): 291–314. http://dx.doi.org/10.1017/mit.2017.34.
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This article explores the meaning of photographic portraits of First World War Italian migrants, in terms of the tensions that emerge from their visual codes and the extent to which the subject’s interior reality and individuality might emerge from the reassuring surface imagery of photography and war. By analysing photographs of Italian migrants who either joined Italy’s army or enrolled in their adopted country’s army, we can see how the ‘otherness’ of the war – its artificial face of idealised glory, honour, and ordinariness, as presented through the portrait’s aesthetic codes – supplants the ‘otherness’ of the migrant individual, that is, their ambivalent life in between different cultures, traditions and identities. Yet, beyond the physical and psychological annihilation of the modern war, the photographic portrait, with its fabricated order and ‘otherness’, becomes, for the migrant soldier, a means of giving coherence to his dislocated existence. The nostalgic visual codes of the photograph, however, evoke an order that is now denied by the destructive mobility and mobilisation of both migration and war.
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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918." Text and Image: Essential Problems in Art History, no. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.
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The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial practice for townspeople throughout the world. In the pre-WWI Kyiv dozens of ateliers produced photographic portraits in large quantities. While the urbanization and economic growth boosted migration activity and washed out traditional family and neighborhood networks, the photography provided an instrument for maintaining emotional connections between people. The author emphasizes the role of a professional photographer who acted as a maker of ‘memory artifacts’ for individuals and families and, therefore, established aesthetic standards for their private visual archives. It is stated that the professional photography played a noticeable role in modernization and westernization of Kyiv. With its relatively low barrier to entry, it provided a professionalization opportunity for women, representatives of the lower social classes or discriminated ethnic groups (such as Poles after the January Insurrection, and Jews). While working in a competitive environment, photographers had to adopt new technologies, improve business processes and increase their own educational level. At the same time, their artistic freedom was rather limited. The style of photographic portrait was inherited from the Eighteen and Nineteen-century academic art, so it is usually hard to distinguish photographic portraits made in Kyiv or in any other European city of that period. Body language of models, their clothing and personal adornments as well as studio decorations and accessories aimed to construct the image of successful individuals, faithful friends, closely tied family members with their own strictly defined social roles etc. The old-fashioned style of the early twentieth century portraiture shaped the visual aesthetics of photographic portrait that was noticeable enough even several decades later.
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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.
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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.
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Ensel, Remco. "Dutch Face-ism. Portrait Photography and Völkisch Nationalism in the Netherlands." Fascism 2, no. 1 (2013): 18–40. http://dx.doi.org/10.1163/22116257-00201009.
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This article takes its cue from an essay by Gerhard Richter on Walter Benjamin and the fascist aestheticization of politics. It examines the portrait photography of Dutch photographer W.F. Van Heemskerck Düker, who was a true believer in the ideology of a Greater Germany. He published a number of illustrated books on the Dutch Heimat and worked together with German photographers Erna Lendvai-Dircksen and Erich Retzlaff. When considering what type of photography was best suited to capture the photographic aesthetics of the fascist nation, the article argues that within the paradigm of the Greater German Heimat we find not so much a form of anthropometric photography, as exemplified by the work of Hans F.K. Günther, as a genre of Heimat portraits that was better equipped to satisfy the need to unify two crucial structural oppositions in fascist ideology, namely mass versus individuality, and physical appearance versus inner soul.
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Dwika, Nurtati, Emmi Siregar, and Irda Pratiwi. "PERLINDUNGAN POTRET UNTUK PROMOSI TANPA IZIN PIHAK TERKAIT BERDASARKAN UNDANG-UNDANG NOMOR 28 TAHUN 2014." JURNAL RECTUM: Tinjauan Yuridis Penanganan Tindak Pidana 2, no. 1 (January 7, 2020): 20. http://dx.doi.org/10.46930/jurnalrectum.v2i1.388.
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portrait are photography work with humans objects. And the portrait it self is regulated by copyright law. If a portrait is taken without the consent of the photographed, the photografer will be subject to law number 28 of 2014. if the portrait is used for promotion or published without the must permission of the photographer or the heir, the photografer must first ask permission of the photografer. If the photographer does not have permission to the photographed or the heirs to carry out commercial uses, procurement, distribution, etc., will be subject to article 115 of law number 28 of 2014 concerning copyright. The photographer will be charged with a maximum fine of Rp 500.000.000,00 (five hundred million rupiah). It would be better if a photographer who would take someone’s portrait for promotion would be better to ask permission of the portrait or ask permission from the heirs first
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Kupchynska, Larysa. "A portrait of Klymentii Sheptytskyi by artist Mykhailo Shalabavka." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 382–99. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-13.
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The article covers the life and creative development of one of the little known Ukrainian photographers and painters of the first half of the twentieth century, who was Mykhaylo Shalabavka. In order to disclose his biographical data in more detail, the information provided by modern researchers 399 has been supplemented with archival materials. Due to their analysis, first of all, M. Shalabavka’s letters to Metropolitan Andrey Sheptytskyi presented many new facts that characterize the artist’s participation in public life in the formation of the Ukrainian school of photography first in Lviv, his beliefs about further ways of its development. Emphasizing his active participation in public life, the article stated that he executed hundreds of photographs of national liberation competitions of the Ukrainian people of the early twentieth century, life and way of life of Boykivschyna, Hutsulschyna and Podillya, architecture of Lviv. Particular attention is paid to the photo portraits that brought the author glory. One of his most famous works, Portrait of Oleksa Novakivskyi, and little-known photographs of prominent representatives of the Greek Catholic Church of the twentieth century, discovered in the collections of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv named after, are analyzed in detail. It is substantiated that by performing portraits, M. Shalabavka worked according to the requirements of the time, which included the use of the traditions of the portrait genre of previous centuries. This has significantly influenced the artist’s works, securing them a proper place in the history of photography. Due to many years of work by photographer M. Shalabavka in the late 1930’s, he turned to painting, performed an oil painting «Portrait of Klymentii Sheptytskyi». He is one of the later artists and sums up his multidimensional experience. Keywords: Mykhaylo Shalabavka, Ukrainian photographers, history, life and way of life, portrait, Klymentii Sheptytskyi.
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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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Korolija-Crkvenjakov, Daniela, Snežana Mijić, and Željko Mandić. "Portraits on canvas from photos as a 19th-century portrait making technique." Zbornik Akademije umetnosti, no. 10 (2022): 115–29. http://dx.doi.org/10.5937/zbaku2210115k.
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The relationship between painting and photography has been dynamic since its invention in 1839. Seeking its place among the arts, photography was a useful tool for many. In this way portraits were made, which before the invention of photography were the privilege of higher social strata, and their production required spending long hours in a painting studio. With the advent of photography, portraits of individuals and entire families have become much more accessible to ordinary people, and the new technique has gained immense popularity. The possibility of getting portraits from photos as a status symbol was very tempting. In order to respond to such requests from clients, photographic studios teamed up with painters to create oil portraits painted from photography made on canvas. Such portraits became a substitute for classic painted portraits, but they were created faster and were less expensive. Often portraying important historical figures, they have found their place in museum collections. In addition to documentary value, they are also important for the history of art techniques, due to the specific way of production. Despite their popularity at the time of their creation, modern analyses of oil painted portraits made from photography on canvas are rare, and have been published mostly in conservation journals. After the introduction to the techniques and materials described in the literature, the paper presents two oil portraits from a photography made on canvas: a portrait of Isaija Oluić, abbot of the Krupa Monastery, from the fund of the Dalmatian Diocese of the Serbian Orthodox Church, made by Vlaho Bukovac, and a portrait of Nika Mihajlović, prominent Sombor lawyer and philanthropist, from the fund of the City Museum in Sombor, painted by Uroš Predić. The analytical approach to the identification of oil painting techniques from photography (optical analysis and the analysis of materials) was pointed out, as well as the fact that they are sensitive objects in museum collections, the protection of which should be given due attention.
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Gonzales-Day, Ken. "Analytical Photography: Portraiture, from the Index to the Epidermis." Leonardo 35, no. 1 (February 2002): 23–30. http://dx.doi.org/10.1162/002409402753689272.
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The current abundance of scholarship concerning the technological development of photography has coexisted with a proportionate absence of recent critical analysis of photographic images. Given photography's long-standing embrace of technological advances, even predating the portable camera or roll film, this article revisits some early uses of scientific photography in order to clarify the impact of digital technology on contempo-rary photographic practice. The author uses scientific photogra-phy and photographic archives as the groundwork for photo-graphic experiments into what might be called analytical photography. The essay con-cludes with a reconsideration of the photographic portrait.
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Ng, Roy. "Rumah Abu : Death and the Photographic Medium in Straits Chinese Ancestral Halls." Southeast of Now: Directions in Contemporary and Modern Art in Asia 7, no. 2 (October 2023): 3–45. http://dx.doi.org/10.56159/sen.2023.a916546.
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Abstract: This article seeks to establish ancestral photographs as objects of worship and examines the relationship between death and the photographic medium in Straits Chinese ancestral halls, also known as rumah abu , in the former British colonies of Singapore, Malacca, and Penang. Various scholars have argued for a conceptual link between photography and death, but the case for diasporic communities such as the Straits Chinese have been under-studied and rarely discussed in meta-physical terms. Portraits of Straits Chinese matriarchs and patriarchs are commissioned as not merely images of visual commemoration, but also objects for physical reverence, sites to which descendants could feel geographically closer to their forebears. Objecthood in photography refers to death in the literal sense: the photograph structures a tangible space where spiritual, temporal, and cosmopolitan worlds could converge and meet. Ancestral photographs serve as points of reference for chia abu (to ‘invite’ the ancestors) and piara abu (to ‘upkeep’ the ancestral shrine) on special occasions such as death anniversaries; where the image performs the earthly representation of a living identity, negotiating traditional Chinese social order anew in southern shores. The photographic object, when ceremonially placed next to food offerings, processional music, and incense, augments the image of the dead with a presence that is bound ever more intimately to mortal space and time. Elevated as a ‘participant’ of the ritual, the ancestral portrait transforms into a social actor inasmuch as it is entangled in a web of material practices. Rather than merely a stage-setter for physical acts of filial piety, the photograph is also integral to it.
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Ermawati, Pitri. "ORIENTASI FOTOGRAFI PENGUNJUNG ANJUNGAN WISATA DI KAWASAN MANGUNAN: KAJIAN FUNGSI FOTO POTRET DI MEDIA SOSIAL INSTAGRAM." spectā: Journal of Photography, Arts, and Media 2, no. 2 (April 24, 2019): 105–22. http://dx.doi.org/10.24821/specta.v2i2.2551.
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Abstrak Penelitian ini bermaksud menjelaskan orientasi fotografi pengunjung yang berfoto di anjungan wisata kawasan Mangunan dengan objek penelitian berupa foto potret di media sosial Instagram. Menerapkan metode penelitian deskriptif-kualitatif, analisis kritis dilakukan dalam pembacaan foto-foto potret menggunakan telaah fungsi foto potret Soeprapto Soedjono, serta telaah aspek teknis-fisik fotografi potret yang dikemukakan oleh Famous Photographers School. Mengambil sampel berupa lima foto dari lima akun Instagram yang berlatar di lima anjungan wisata di kawasan Mangunan, hasil penelitian menunjukkan tiga fungsi foto potret yang diunggah oleh para pengunjung yang merupakan subjek foto sekaligus pemilik akun Instagram; yaitu fungsi personal, sosial, dan komersial. Dalam upaya mewujudkan foto potret yang sesuai dengan fungsi-fungsi tersebut, pengunjung tampak memperhitungkan aspek teknis-fisik fotografi potret berupa pencahayaan, pose, dan background. Adapun poperti, kurang mendapatkan perhatian dikarenakan tidak semua anjungan menyediakannya. Kata kunci: fotografi, anjungan, foto potret, Instagram AbstractVisitors’ Photography Orientation of Scenery Stages in Mangunan Tourism Area: Study of The Functions of Portrait Photos in Social Media Instagram. This research explains the photography orientation of visitors who taking photograph of theirselves (portrait) on the scenary stages (selfie spots) in Mangunan tourism area, by studying their portraits in social media Instagram. This research allows the descriptive-qualitative method. It uses the study of the portrait functions explained by Soeprapto Soedjono to read and to analise the portrait photos. It also studies the physical-technical aspect in portrait photography explained by Famous Photographers School applied by the visitors. There are five portrait photo samples from five Instagram accounts which setting are on scenery stages in Mangunan tourism area. This research conclusion shows three functions of the portrait photos uploaded by the visitors, either as the Instagram account owners and the subjects (sitters) of those photos: personal function, social function, and commercial function. In order to make her/ his portrait matches on the function desired, visitor seems to care about physical-technical aspects on portrait photography: lighting, pose, and background. Another element is property, which is the most ignorable element due to it’s rare availability on the spot. Keywords: photography, scenary stage, portrait photo, Instagram
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Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations." Journal of Material Culture 22, no. 1 (December 14, 2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.
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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and aesthetics of Gambian transatlantic kinship relations. Further, the concept of the moral economy supports a hermeneutics of Gambian family photographic practice and develops our understanding of the visual economy of transnational kinship relations in a number of ways: it draws attention to the way in which the value attributed to a photograph is rooted in shared moral and cultural codes of care within transnational relations of inequality and power; it helps us to interpret Gambians’ responses to and treatment of family photographs; and it highlights the importance attributed to portrait photography and the staging, setting and aesthetics of photographic content within a Gambian imaginary.
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Moran, Leslie J. "A previously unexplored encounter: the English judiciary, carte de visite and photography as a form of mass media." International Journal of Law in Context 14, no. 4 (November 23, 2018): 539–58. http://dx.doi.org/10.1017/s174455231800023x.
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AbstractStudies exploring the link between the representation of judges, photography and mass media tend to focus on the appearance of cameras in courtrooms and the reproduction of the resulting photographs in the press at the beginning of the twentieth century. But more than fifty years separate these developments from the birth of photography in the late 1830s. This study examines a previously unexplored encounter between the English judiciary and photography that began in the 1860s. The pictures where known as ‘carte de visite’. They were the first type of photographic image capable of being mass produced. It is a form of photography that, for a period of almost twenty years, attracted a frenzy of interest. Drawing upon a number of archives, including the library of Lincoln's Inn, London's National Portrait Gallery and my own personal collection this paper has two objectives. The first is to examine the carte portraits of senior members of the judiciary that were produced during that time. What appears within the frame of this new form of judicial portraiture? Of particular interest is the impact the chemical and technological developments that come together in carte photographs had on what appears within the frame of portraits. The second objective is to examine the manner in which they were displayed. This engages a commonplace of scholarship on portraiture; the location and mode of display shape the meaning of what lies within the frame of the picture. Carte portraits were produced with a particular display in mind: the album. They were to be viewed not in isolation, but as part of an assemblage of portraits. Few albums survive. Those that do offer a rare opportunity to examine the way carte portraits of judges were used and the meanings they generated through their display. Three albums containing carte portraits of judges will be considered.
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Thorlacius, Lisbeth. "The Good Portrait of the Academic Author." Nordicom Review 26, no. 2 (November 1, 2005): 85–101. http://dx.doi.org/10.1515/nor-2017-0260.
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Abstract This article aims to give the reader a language with which one can discuss portraits of academics and their usage. Moreover the four most frequently used genres of portraits of academic authors will be introduced. And it will be argued why insight into, and knowledge of these genres is crucial in order to make the correct choice of portrait in the light of the context. The most relevant genres within photography of academics can be found within four categories: The classical portrait, the staged portrait, the situational portrait and the news portrait. When choosing a portrait whether it is for the news, public relations or the back cover of a book it is useful to have a vocabulary about the visual elements concerning photography of academics. Such a language can be provided by semiotics, and in this context I have drawn on aspects of the semiotic theories of Ferdinand de Saussure, Roland Barthes, and Charles Sanders Peirce.
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Dorofeeva, Yuliya, and Aleksey Moiseev. "Systematization of theory and methodology for teaching advertising and portrait photography based on the Russian experience." E3S Web of Conferences 210 (2020): 18112. http://dx.doi.org/10.1051/e3sconf/202021018112.
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This article aims at systematizing the key methods, principles, and approaches that underlie the proprietary integrated methodology for teaching advertising and portrait photography. Summarizing the authors’ wealth of educational expertise and successful experiments in teaching photography in Russia has become the primary objective of this article. The main research methods we employed were as follows: comparative analysis and pedagogical experiment (ascertaining, searching, educational). Findings: Essential aspects of the proprietary integrated methods of teaching advertising and portrait photography have been described; the global and domestic experience of teaching photography has been summarized. The proprietary integrated methods for teaching advertising and portrait photography has been tested by the authors in the systems of higher education, secondary vocational education, and continuing professional education in various fields and areas: design, computer graphics, art photography / photo art, the history, theory, techniques, and technology of photography, including advertising and portrait photography. The following institutions have become the main testing platforms: GOU VO MO Moscow State Regional University, the Arts and Design School under ANO VO Business and Design Institute, the School of ANOO VO Russian University of Cooperation under the Central Union of Consumer Societies of the Russian Federation (Centrosoyuz of Russia). The article suggests a classification of the aspects essential for advertising and portrait photography, provides recommendations for how to teach these types of photography, along with featuring the statistics on successful/failed students’ assignments and providing examples of copyrighted photographs taken for magazines.
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Herbert, Stephen. "Animated portrait photography." History of Photography 13, no. 1 (January 1989): 65–78. http://dx.doi.org/10.1080/03087298.1989.10442169.
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Cornish, Emily. "‘Where is the suitable trail’: Politics and piety in portrait photographs of Emma Rooke, 1864–66." Journal of New Zealand & Pacific Studies 12, no. 1 (June 1, 2024): 21–37. http://dx.doi.org/10.1386/nzps_00186_1.
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This article analyses how photographs of Queen Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke made between 1864 and 1866 were connected to her pursuit of a pono (proper, virtuous) path forward for herself and her people after the deaths of her son and husband. The article opens with the mele makena (lament) ‘No Waiʻaleʻale Ke Aloha’, which invites new ways of thinking about portrait photographs of Queen Emma in the wake of these tremendous personal and political losses. Following this it addresses the connections between photographs of Emma and Hawaiian mourning and memorialization before delving into a discussion of the ways photography was entangled with her political and religious goals. These goals included establishing the Anglican mission in Hawaiʻi and developing a lifelong friendship with Queen Victoria. There are notable similarities within photographs of these two queens suggesting that photography enabled Queen Emma to tap into the mana (power) associated with Queen Victoria and Christian feminine power. The careful cultivation of her self-image in portrait photographs became a significant form of empowerment for Emma. The final section continues discussing this photographic co-mingling through the lens of international fellowship. It considers how Queen Emma used gifts of photography to create a kin-like relationship between herself and Queen Victoria, recalling the discussions of religion and mourning addressed in previous parts of the article.
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Suka Asih K.Tus., Desyanti. "Potret Sebagai Data Pribadi Yang Di Komersilkan." Jurnal Ilmiah Raad Kertha 2, no. 1 (July 8, 2020): 81–100. http://dx.doi.org/10.47532/jirk.v2i1.154.
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Portraitis works of copyrighted photography with human objects. Personal data is data inthe form of personal identities, codes, symbols, letters or numbers of personal identifiers.Personal data includes personal life affairs including (history) someone's communication.Whereas in concept, personal data is not merely information about domestic sphere, but alsoinformation about professional history,professional and public life because a person'spersonal affairs also intersect with the relevant public affairs (interpesonal relationships andalso facts that occur in public spaces). Legitimacy of personal rights is regulated asconstitutional rights as regulated in Article 28G paragraph (1) of the 1945 Constitution ofthe Republic of Indonesia. Portrait in which there are human beings as objects is part ofpersonal data. Portrait is part of human identity that must be protected. The use of unlicensedportraits for commercial purposes can be detrimental to portrait owners not onlyeconomically, this action injures self-identity which can cause a bad image for that person.The use of portraits as personal data without permission for commercial purposes can besubject to criminal sanctions (Copyrights Law) and civil claims (Law on ElectronicInformation and Transactions). This paper discusses how portrait settings are as commercialdata. The purpose of this writing is that the output of the purpose of this paper is as the outputof the Beginner Lecturer Research compiled by the author with the title "CopyrightProtection on Portrait Photographs in Social Media".
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Buryk, Ruslana, and Maryna Bratitsel. "HARMONY OF LIGHT AND SHADOW: KEY ASPECTS OF LIGHTING IN PORTRAIT PHOTOGRAPHY." Scientific Journal of Polonia University 61, no. 6 (March 5, 2024): 38–49. http://dx.doi.org/10.23856/6105.
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The article analyzes the role of lighting in portrait photography, emphasizing how the harmony between light and shadow can affect the emotional depth and visual appeal of an image. Photography, presented as an art and science of light, requires not only professional skills, but also the talent and skill of the photographer. The skill of a photographer lies not only in technical execution, but also in the ability to convey life and emotions through the image, revealing the true character of a person. Thus, a portrait photographer should be able to capture the soul and inner world of the model, which is a sign of his or her true skill. The article pays special attention to lighting under artificial lighting. It further discusses such aspects as distance between the subject and the light source, directionality of light, the size of light source and the distance to the subject, as well as the importance of shape of reflector. The different types of lighting in portrait photography are also discussed: back, side, front, diffused, and hard light, each of which affects the final image. The study includes analysis of current trends and innovative lighting techniques in portrait photography. It emphasizes the importance of the photographer’s ability to use different light sources to create images that reflect uniqueness and personality of the model. This study aims to expand the theoretical knowledge and practical skills of photographers, striving to improve the quality and expressiveness of portrait images.
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Wrona, Adeline. "Une madone à Fukushima. La condition numérique du portrait de presse." Sur le journalisme, About journalism, Sobre jornalismo 3, no. 1 (April 15, 2014): 170–81. http://dx.doi.org/10.25200/slj.v3.n1.2014.137.
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Cet submission analyse l’incidence des modes de circulation de l’image sur les pratiques de la photographie de presse. L’exemple choisi est celui d’une photographie qui représente une femme au milieu des décombres d’Ishinomaki, image achetée par l’Agence France-Presse (AFP) à un quotidien japonais, au lendemain du Tsunami de mars 2011. Reprise en couverture de nombreux journaux occidentaux, recadrée autour de la figure féminine, initialement saisie en plan large, cette photographie devient un portrait, rapidement désigné comme « la madone des décombres ». En décrivant les facteurs techniques, commerciaux et éditoriaux qui structurent le secteur de la photographie de presse, l’submission interroge la mondialisation des standards visuels. Il s’agit de comprendre comment des phénomènes de stéréotypie visuelle apparaissent en lien avec le fonctionnement du marché de l’image numérique : l’auteur procède donc à une observation des logiciels utilisés par les journalistes de l’AFP, combinée à une analyse sémiotique des formats, légendes, commentaires sur l’image. Il apparaît que la mondialisation de la photographie de presse, qui repose sur des « syndications » internationales, modifie aussi le statut du photographe d’agence. Alors que les normes journalistiques pour le journalisme agencier préconisent l’effacement de l’auteur, les transformations de la photographie d’Ishinomaki sont le déclenchement d’un feuilleton médiatique, sur les réseaux sociaux comme dans les magazines occidentaux, dont le photographe lui-même devient le héros. L’AFP publie une semaine après le Tsunami une dépêche concernant l’histoire de cette image, dévoilant toutes sortes d’informations qui demeurent ordinairement inconnues du public : prix de vente de la photographie, nom du chef du bureau chargé de la collecte d’informations en Asie, identité du photographe. Tous ces détails sont archivés sur une page du réseau Facebook consacrée à cette image : l’hybridation des standards visuels asiatiques et occidentaux se double donc d’une mutation des formes journalistiques, sous l’emprise des médias informatisés.
This submission analyzes the impact of the means of circulation of images on the practices of press photography. The example chosen is a photograph of a woman standing in the rubble of Ishinomaki following the tsunami in March 2011, which was purchased from a Japanese newspaper by the Agence France-Presse (AFP). Originally a wide shot, the iconic so-called “Madonna of the Rubble” photo was reprinted on the cover of many Western newspapers cropped around the female figure. In describing the technical, commercial and editorial factors which define the domain of press photography, this submission examines the globalization of visual standards in an effort to understand how visual stereotyping appears to be connected to the digital image market. To accomplish this, the author undertook a study of the software used by AFP journalists, together with a semiotic analysis of the image sizes, legends and comments. It would also appear that the globalization of press photography, which is based on international syndication, changes the status of the agency photographer. While journalistic standards for agency journalism normally suggest excising the author, the transformations of the Ishinomaki photograph triggered a media frenzy on social networks as much as in Western magazines – the photographer himself becoming the hero. A week after the Tsunami, the AFP published a dispatch outlining the history of the picture and revealed information that normally remains unknown to the public: e.g., selling price of the photograph, name of the bureau chief responsible for the collection of Asian news and the identity of the photographer. These details are archived on a Facebook page dedicated to this photograph – the hybridization of Asian and Western visual standards join the transformation of journalistic form under the influence of digitized media.
Este artigo analisa a incidência dos modos de circulação da imagem nas práticas da fotografia na imprensa. O exemplo escolhido é o de uma fotografia que representa uma mulher em meio aos escombros de Ishinomaki. A imagem foi adquirida pela Agence Française de Presse (AFP) junto a um jornal japonês no dia seguinte ao Tsunami de março de 2011. Ela foi reproduzida na capa de vários jornais ocidentais a partir de um reenquadramento que destacou a figura feminina. Inicialmente produzida num plano aberto, a fotografia evoluiu para um retrato e rapidamente passou a ser designada como a “madona dos escombros”. Ao descrever os fatos técnicos, comerciais e editoriais que estruturam o setor da fotografia jornalística, este artigo se interroga sobre a mundialização dos padrões visuais. Trata-se de compreender como os fenômenos de estereotipia visual estão relacionados ao funcionamento do mercado de fotografia digital. Nesse caso, a autora realiza uma observação dos softwares utilizados pelos jornalistas da AFP, o que é combinado com uma análise semiótica dos formatos, legendas e comentários sobre a imagem. O estudo revela que a mundialização da fotografia jornalística, que se baseia em um sistema de “syndications” internacionais, pela venda de produtos por meio de pacotes, modifica também o estatuto da fotografia produzida por uma agência. Mesmo que as normas jornalísticas aplicadas ao conteúdo das agências preconizem o apagamento do autor, as transformações da fotografia de Ishinomaki dão origem ao um folhetim midiático, veiculado tanto nas redes sociais como nas revistas ocidentais, no qual o próprio fotográficotorna-se um herói. A AFP publicou, uma semana após o Tsunami, um despacho sobre a história dessa imagem, em que desvenda todo tipo de informação desconhecida aos olhos do público: o preço de venda da fotografia, o nome do chefe do escritório encarregado pela produção de informações na Ásia, a identidade do fotógrafo. Todos esses detalhes estão arquivados na página de Facebook consagrada à imagem. Assim, a hibridação dos padrões visuais asiáticos e ocidentais se combina com uma mutação das formas jornalísticas, sob a égide das mídias informatizadas.
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Vorontsova, T. A., and A. G. Artamonova. "Face VS Figures: Features of Constructing the Age of an Unfamiliar Person Based on the Perception of His Portrait and Height Photographs." Experimental Psychology (Russia) 16, no. 3 (October 27, 2023): 34–52. http://dx.doi.org/10.17759/exppsy.2023160303.
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<p>The aim of the work was to identify the features of constructing the age of an unfamiliar person based on the perception of his face (portrait photography) and physique (height photography). The main method was the procedure of "Photovideopresentation of the appearance" by T.A. Vorontsova. Photographs of four women and four men of different ages were presented to the subjects of perception for age assessment; the eye movements of the subjects of perception were tracked using the Gazepoint GP3 Eye Tracker. The sample of perception subjects included 76 people — 38 men (M=28.84 years) and 38 women (M=28.79 years) aged 21 to 59 years. Results: 1) the perceived age of an unfamiliar person, constructed by the observing subject on the basis of the perception of a face (portrait photograph), significantly differs from the age constructed on the basis of the perception of his integral appearance, presented in a growth photograph. The differences are mediated by the gender-age characteristics of the object of perception; 2) the number of fixations in solving the problem of determining the age of an unfamiliar person when considering his portrait photography is significantly greater than when considering a growth photograph, regardless of the gender and age characteristics of the object of perception; differences in viewing time are mediated by gender and age of the object of perception: the face of women and mature adults is viewed longer than photos of their integral appearance (growth photos); 3) the number of fixations and the time of viewing the faces of women is significantly more than the faces of men; there are significantly more faces of mature people than young people; the number of fixations in the perception of a growth photograph of women is significantly greater than a growth photograph of men; 4) the greatest concentration of views in determining the age of an unfamiliar person is focused on his face, regardless of the accessibility to the perception of body features. The "triangle of interest" in the perception of portrait photography (forehead, bridge of nose, eyes, nose, upper lip) is described; when perceiving a growth photograph, the zone of the greatest concentration of fixations includes 2/3 of the upper left part of the face of the object of perception and captures the hair, forehead, ear, nose, eyes. The results obtained are discussed in the context of a communicative approach to perception research.</p>
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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.
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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
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Abdullina, Darina Aleksandrovna. "Сhildin the Image or Image of Achild : Russian Child Portrait in Painting and Photography of the Late 19 th − Early 20 th Century." Secreta Artis, no. 2 (August 12, 2021): 68–83. http://dx.doi.org/10.51236/2618-7140-2021-4-2-68-83.
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The stylistics of the child portrait in Russia in the 1850s – early 20th century underwent significant changes due to the emergence of photography (light painting). From the very beginning of its era, the 1850s, early photography borrowed composition, means of expression, and attributes from painting. Towards the end of the century, artists began to pay attention to the achievements of portrait photography, striving to depict children not in a staged way, but rather in moments of play, studies and rest, taking heed of photographic effects, in particular, cropped and “blurred” compositions. Many Russian artists used photo sketches, rethinking and re-creating the image of a child in their works. At the turn of the 19th and 20th centuries, the child portrait turned into an expressive medium of the artist’s self. By contrast, child photography focused on a specific child, with an emphasis on the continued documentation of the stages of his or her growth and development. The art form experienced further technical improvement, which led to the flourishing of the child photo portrait in the subsequent periods.
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Wulandari, Arti, and Zulisih Maryani. "FOTOGRAFI POTRET WANITA PENAMBANG PASIR DFOTOGRAFI POTRET WANITA PENAMBANG PASIR DI LERENG SELATAN GUNUNG MERAPI, DAERAH ISTIMEWA YOGYAKARTA." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (September 14, 2017): 53. http://dx.doi.org/10.24821/rekam.v13i1.1578.
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Ketegaran dan kesabaran yang luar biasa, sebagai sesama wanita, dari para wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta menjadi inspirasi bagi penulis untuk diungkapkan dalam karya fotografi dengan bentuk potret hitam putih karena potret bisa mewakili keadaan sebenarnya dari objek. Penciptaan ini bertujuan mengungkapkan kehidupan wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta dalam fotografi potret hitam putih dikaitkan dengan aspek teknis kreatif dan fungsi nilai sosialnya.Proses perwujudan mencakup tahap-tahap penciptaan dan media yang digunakan untuk mewujudkan karya seni fotografi potret yang tentunya membutuhkan bahan, alat, dan teknik. Prosedur pelaksanaan meliputi persiapan, pemotretan, proses editing, penentuan lay out, dan pencetakan hasil akhir. Karya penciptaan ini menampilkan karya-karya yang merupakan serangkaian fotografi potret wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta. Melalui foto-foto yang ditampilkan diharapkan dapat memberikan sudut pandang bagi masyarakat dalam mengapresiasi sosok wanita penambang pasir, melalui ketegaran dan kesabarannya yang luar biasa. Keunggulan karya ini adalah menampilkan foto potret wanita penambang pasir dengan hitam putih sehingga tampak lebih dramatis. Obstinacy and remarkable patience, as a fellow woman, from the women sand miners in South Slope of Mount Merapi, Yogyakarta became the inspiration for the author to be expressed in the form of photographic works with black and white portrait because a portrait can represent the actual state of the object. The aim of this creation reveals a woman's life sand miners in South Slope of Mount Merapi, Yogyakarta in black and white portrait photography associated with the creative and technical aspects of the function of social value. The embodiment process includes the stages of creation and media that are used to create works of art portrait photography that will require materials, equipment, and techniques. Implementation procedures covering the preparation, shooting, editing, determination lay out, and print the final results. This creative work featuring the works is a series of photographic portraits of women sand miners in South Slope of Mount Merapi, Yogyakarta. Through the photographs displayed are expected to provide viewpoints for society to appreciate the female figure sand miners, through fortitude and patience were outstanding. The advantages of this work is to show a portrait photo woman sand miners with black and white so that it looks more dramatic.
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Yoon, Hyewon. "Lisette Model: Another Frankfurt School Photographer in New York." October, no. 185 (2023): 30–49. http://dx.doi.org/10.1162/octo_a_00491.
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Abstract This essay examines the portrait work of the Austrian-American photographer Lisette Model, with a special focus on her representation of the American lumpenproletariat in the Reflections series, Model's first after coming to New York in 1938 as an Austrian-French Jewish émigré, and in her Bowery portrait series. Within the history of American postwar photography, Model stands as a salient figure, a pioneer who located and defined the issues, options, and contradictions of photography as an artistic practice in the “New York School of photography.” Model's rendering of her subjects as eccentric, fantastic, and spectacular in their expressions and emotions propelled the émigré photographer with meager experience into a central position in the making of mid-century American photography, both social-documentary and commercial. Moving beyond the localized context of postwar American photography in which Model's work has been largely investigated, this essay argues for an understanding of Model's New York portraits as being shaped and informed by the photographer's consideration of the crisis of history and the violence enacted by fascism in Europe, as well as the historical condition of exile. One of the essay's claims is that Model revitalized a kind of pleasurable violence, one that enacts a sense of excessive bodily dynamism, often to the point of self-destruction, on the bodies of the American lumpenproletariat at leisure, in order both to come to terms with the role of the lumpenproletariat as the central subject of fascist politics and aesthetics in the Old World and to put pressure on the conditions of the mass subject and mass politics in the New World.
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Gentet, Philippe, Yves Gentet, and Seunghyun Lee. "Holostereosynthesis: An Improvement to Louis Lumière’s Photostereosynthesis Technique." Applied Sciences 12, no. 24 (December 7, 2022): 12524. http://dx.doi.org/10.3390/app122412524.
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In 1920, Louis Lumière, one of the fathers of Cinématograph, invented photostereosynthesis, a photography technique that could recreate three-dimensional images without a specific artifice. This method involved stacking six to eight photographs of the same subject, usually a portrait, recorded with a progressive shift in focus and observed together through transparency. This invention remained at the laboratory experiment stage, and only a dozen portraits of famous people from the time of Lumière are known. The final device is a complex assembly of glass plates mounted on a wooden frame, and it is fragile, bulky, heavy, and difficult to build and observe. Here, we demonstrate that we can replace the stack of photographic plates with a single reflection hologram. Experiments were successfully conducted using the digital CHIMERA holographic stereogram printing technique. This new method of holostereosynthesis will facilitate the restoration and dissemination of the historical portraits originally recorded by Louis Lumière and may also allow the creation of brand new images.
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Fadia, Aqila. "ANALISIS KOMPOSISI FOTOGRAFI PADA FOTO FASHION EDITORIAL ‘SWARNADWIPA’ KARYA NICOLINE PATRICIA MALINA." JURNAL Dasarrupa: Desain dan Seni Rupa 4, no. 2 (December 26, 2022): 6–18. http://dx.doi.org/10.52005/dasarrupa.v4i2.130.
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One of the activities to express yourself is through photography. Photography is not just an activity to take pictures or take pictures. However, expertise is also needed to be able to apply the basic techniques and composition of photography properly so that the resulting photos are more interesting. One Indonesian female photographer whose works are very interesting is Nicoline Patricia Malina. Nicoline is very famous for her Fashion Photography work. Nicoline's Fashion Photography works are usually used for editorial purposes. One of them is entitled 'Swarnadwipa'. In this photographic work, Nicoline uses a photographic composition of leading lines, symmetry, fill the frame, and the rule of third in portrait and landscape photo formats. Nicoline also uses a combination of gold tones which is a concept from the 'Swarnadwipa' photo series, and there are several other colors such as brown, black, gray and silver. Apart from that, Nicoline also used the Borobudur Temple building as a background for the 'Swarnadwipa' photo. This analysis uses a descriptive qualitative method, which aims to find out what photographic compositions are used in the 'Swarnadwipa' editorial fashion photo as well as to find out what the relationship between the photographic composition and the concept of 'Swarnadwipa'.
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McClellan, Kate. "Damascenes." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 374–97. http://dx.doi.org/10.1163/18739865-00802011.
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Based on research I conducted in 2005–2006 and in 2009, I examine in this article the production and use of digital photographic studio portraiture in Damascus. Following the material turn in the study of photography, I focus not only the content and look of digital portraits, but also their materialities, spatial dispositions and their uses once they leave the space of the studio. First, I explore the visual language of Damascene digital portraiture, paying particular attention to the capabilities of digital photography to produce new forms of embodiment, religiosity and social connection for the portrait subject. In the second half of the article, I track studio portraits into the shop spaces of Damascus’ marketplaces, where they are hung on walls or displayed on desks, most frequently as memorials to deceased patriarchs. I suggest that these memorial portraits work as evidentiary information about the shop and also produce affective and actionable memories for merchant and customers alike.
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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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Horta, Paula. "When the Landscape of the Face is Hidden from Us." Grimace, Vol. 2, no. 1 (2017): 68–71. http://dx.doi.org/10.47659/m2.068.art.
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How do we respond to the vulnerability of the Other when we do not see his face? How do photographer and viewers position themselves ethically in relation to the (hi)story of suffering they are called to witness? These are the questions that steer my reflection about Jillian Edelstein’s unpublished photograph of Archbishop Desmond Tutu. Taken shortly after the South African Truth and Reconciliation Commission (TRC) completed its work, the photograph evokes the moment during the TRC hearings when the Archbishop, Chairman of the commission, laid down his head and wept. Drawing on Emmanuel Levinas’s conceptualization of “the face”; I discuss how affect is produced within and through Edelstein’s photograph, and specifically how the affective quality of the photograph both contributes to an understanding of the experience of suffering within the context of the TRC and summons an ethical response from the viewer. Keywords: Desmund Tutu, Emmanuel Levinas, gesture and photography, Jillian Edelstein, photography portrait
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Kobylińska, Weronika. "Carved by Light of Cities with a Chisel. Kraków Retable of the Dormition of the Blessed Virgin Mary Altar through Stanisław Kolowca 's Lens." Artium Quaestiones, no. 33 (December 30, 2022): 87–106. http://dx.doi.org/10.14746/aq.2022.33.4.
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On two occasions (around 1932–1933 and after the war, between 1946 and 1950), Stanisław Kolowca (1904–1968) undertook the task of creating the photographic documentation of the reredos of the altar of the Dormition of the Blessed Virgin Mary in Kraków (Poland). The stature of Wit Stwosz’s work – widely recognized as one of the key late Gothic masterpieces in Europe – could be the only factor legitimizing the status of Kolowca’s photographs. Nevertheless, the photographs seem to deserve a thorough analysis for other reasons as well. It should be underlined that in his project Kolowca did not focus only on the most obvious shots illustrating the altarpiece. In addition to long shots and full shots showing the characteristic iconographic motifs and portrait-type close-ups, reflecting the mastery of key figures (such as Virgin Mary or John the Baptist), the photographer also created completely unexpected compositions that go beyond the codified frames of documentary photography. Consequently, his works fundamentally problematize the concept of photographic reproduction of an art piece.
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Erlyana, Yana. "PERAN KOMPOSISI PADA FOTO EDITORIAL DISNEY DREAM PORTRAIT SERIES¬ KARYA ANNIE LEIBOVITZ." Jurnal Dimensi DKV Seni Rupa dan Desain 2, no. 1 (March 1, 2017): 17–32. http://dx.doi.org/10.25105/jdd.v2i1.1875.
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Abstrak Dunia kreatifitas dalam fotografi adalah sebuah petualangan pencapaian visi dari sang fotografer. Setiap orang melihat dan mengartikan dunia secara berbeda-beda. Dalam fotografi bukanlah sekedar merekam sebuah sisi dari subyek atau sekedar menangkap momen yang tepat akan tetapi juga mengolah unsur-unsur estetik dari subyek dengan mengatur pencahayaan dan komposisi yang baik. Komposisi terdiri dari beberapa format elemen visual. Sebuah fotografi dapat dihasilkan dengan lebih efektif dan bermakna dengan pemahaman komposisi yang baik. Pada kajian ini penulis akan mengangkat Annie Leibovitz, seorang fotografer yang paling berpengaruh di dunia, yang membuat editorial sebuah seri editorial photography berjudul "Dream Portrait" yang berkolaborasi dengan para selebriti pada dongeng disney untuk mempromosikan Disney Parks "Year of a million Dreams." Kajian ini menganalisis jenis-jenis komposisi yang digunakan dan menilai komposisi yang paling banyak digunakan pada seri fotografi ini. Pengumpulan data dilakukan melalui buku dan artikel yang membahas tentang teori fotografi, buku tentang fotografi, serta sumber dari Internet mengenai teori yang berkaitan dengan materi pembahasan serta yang berhubungan dengan seri fotografi tersebut. Penulis menguraikan penggunaan komposisi pada tiap foto yang Annie Leibovitz gunakan dalam mendukung keberhasilan dan penyampaian pesan dan makna foto. Dengan demikian kajian ini dapat menambah pengetahuan tentang teori maupun prinsip fotografi lainnya yang dapat membantu untuk membuat suatu cerita editorial foto yang lebih baik. AbstractPhotography is not only a simple record of the real world, but becomes a complex creation of art and an image medium that also gives meaning and message. The quality of a good photo is not only beauuse of its clear picture but also because of its proper lighting and also its good composition. Composition contains the elements of an image in a format. An image can be produced more effectively and meaningfully with an understanding of good composition. Composition is an instrument for a photographer to take the viewer beyond the experience of “peeking through someone else’s window". Since 2007, Annie Leibovitz is one of the most influential photographer in the world, has created an editorial photography series name "Dream Portrait", featuring celebrities in Disney fairy tale scene to promote Disney Parks " Year of a million Dreams". The purpose of this paper is to find what kind of compositions in this series used mostly and how it works influencing the image and story in each of photographs. With qualitative research method in this study, the authors search the data and information from books, the electronic media associated with the photography series. Based on this research, we clarify the use of composition in each photographs that results that we are looking to add insight about the various theories and principles of photography that help us to make editorial story photography better
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Al Pratama, Onkky Wahyu, and R. Sulistiyo Wibowo. "KOMPOSISI PORTRAIT LANDSCAPE DENGAN OBJEK PEMANDANGAN PADA 12 LOKASI DI BALI." Jurnal Ilmiah Publipreneur 2, no. 1 (June 30, 2014): 51–65. http://dx.doi.org/10.46961/jip.v2i1.124.
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Landscape portrait concept is not new, but in its application and use, including rare. In landscape photography, many photographers featuring views of the widest-shaped or landscape (horizontal) and rarely use the portrait (vertical). The research questions are how photographing landscape portrait composition, whether landscape portrait composition can enrich the composition of the landscape, and how the outcome of portrait landscape that can be enjoyed in general. The methods used are observation, exploration on the method of creation, experiment or improvisation, embodiment, and presentation of work. The sceneries in Bali have been selected to provide the different compositions using landscape portrait composition. In photographing the landscape portrait, photographers should use good composition, as in the portrait landscape use good composition can provide the depth dimension of the photograph, so the photos taken can still be attractive at first sight.
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Behle, Cary. "Portrait Photography for the Dentist." Journal of the California Dental Association 29, no. 10 (October 1, 2001): 773–79. http://dx.doi.org/10.1080/19424396.2001.12223230.
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Sidorenko, Ewa. "‘A Portrait of Lower Silesia’: Researching identity through collodion photography and memory narratives." Methodological Innovations 12, no. 3 (September 2019): 205979911989078. http://dx.doi.org/10.1177/2059799119890787.
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In this article, I discuss a performance arts–based visual methodology based on the use of the archaic wet collodion photography. The collaboration between Street Collodion Art photography collective and myself, as a researcher, had two aims: to generate a large scale photographic and narrative portrait of Lower Silesia in Poland, and to explore identities in the region where nearly all of its inhabitants represent recent migrant populations. Data generated through this project include collodion portraits, their interpretations and narratives collected through unstructured interviews. Initial data analysis has generated identity narratives linked to work, place and belonging and ethnicity/nationality. In addition, in 2016 and 2017, three exhibitions of the portraits and a selection of edited stories took place in Lubin, Legnica and Wrocław attended by local inhabitants, including project participants. The examination of the arts-based methodology finds that the ritual character of the wet collodion photographic encounter has acted as a form of artistic intervention which, in generating memory narratives, enabled an articulation of social identities in the climate dominated by nationalist discourses. Such symbolic work emerging out of the project reveals a critical potential in the collaboration between the arts and social research. Furthermore, the project has shown that despite different traditions of practice, a collaboration between the artists and social researchers can yield rich data and access participants in ways that conventional methodologies cannot.
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Doni Fitri, Nofria, and R. Hadapiningrani kusumohendrarto. "Mengoptimalkan Window Ligthing untuk Foto Potret dengan Menggunakan Kamera DSLR 1000D dan 60D." AKSA: JURNAL DESAIN KOMUNIKASI VISUAL 2, no. 1 (April 20, 2020): 188–202. http://dx.doi.org/10.37505/aksa.v2i1.15.
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Photography is a visual language that prioritizes the role of light. In photography there are several shooting formats, one of which is portrait or shooting vertically. Portrait photos are photos of a person's face that can reveal the character of the person, therefore the shooting exposure must be precise. In fact, the current portrait photos are not optimal because they do not consider the aspects of light and the correct shooting technique. Portrait photos can easily be done using window lighting techniques. This research was carried out on portrait photos with window lighting techniques produced from two different types of DSLR cameras. In the world of photography especially beginner photographers assume that the higher the level or class of the camera can produce better images. However, in the world of photography the results of good images are not solely produced by professional-class cameras, but by considering the exact exposure when shooting. Through this window lighting technique, researchers hope to find the essence and formula of making portrait photos that are of good quality and can be done by DSLR camera users. A good portrait photo, besides revealing a person's character also has a strong impact power.
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Meier, Prita. "Beyond Multiple Modernities." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 116–25. http://dx.doi.org/10.1215/10757163-8308234.
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This article explores how an oceanic perspective challenges still pervasive ideas about the constitutive link between place and culture in the study of the arts of Africa. Taking the rich and diverse photographs of nineteenth-century coastal eastern Africa as a springboard, the author considers how portrait photography was not an expression of a local modernity, in the way the concept is narrated in established studies of the cultural dimensions of globalization, but was an expression of the in-between. This can be described as a form of cosmopolitanism or creolization, depending on one’s interpretive predilections, but, most important, it emphasizes that historical actors on the Swahili coast of eastern Africa did not worry about what was authentically local or indigenous in the making of modernity. In coastal eastern African port cities, the photograph became instantly popular in the 1860s, because it was linked to the traveling cultures of the port, giving new form to a very old desire to create aesthetic experiences of oceanic connectedness. Additionally, the portrait photograph allowed residents of the port to merge Swahili ideals of the cultured body, colonial codes of the body, and newly forming ideas about individual subjectivity. Ultimately, the author suggests that in such nonterritorial spaces as the Swahili port city, engaging the artifacts of faraway places is a carefully crafted tactic of translation, where technologies of modernity, such as photography, enable people simultaneously to sustain a sense of distance and closeness to others.
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Micklewright, Nancy. "An Ottoman Portrait." International Journal of Middle East Studies 40, no. 3 (August 2008): 372–73. http://dx.doi.org/10.1017/s002074380808094x.
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This carefully composed portrait of a high-ranking Ottoman bureaucrat is striking for several reasons. First, at nearly 16 by 13 inches, it is at least four times larger than most portraits of this period and lacks the ornamental cardboard frame into which portraits were commonly placed, instead being pasted directly onto a cardboard support. Second, although there is a long tradition of documenting men at work or places of business in the photography of the late Ottoman Empire, these images tend to privilege traditional occupations (e.g., itinerant merchants or craftsmen) and sites of commerce, such as outdoor markets, the covered bazaar, or shops along the Grande Rue de Pera in Istanbul. Third and finally, in its setting, the objects chosen to be included on the desk, and the pose of the central figure, the portrait insists upon the modernity of the subject as its primary message, raising questions about its intended audience.
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Desintha, Siti. "CITRA VISUAL FOTOGRAFI POTRET PADA KEMASAN HERBANA." Serat Rupa Journal of Design 6, no. 1 (January 30, 2022): 94–105. http://dx.doi.org/10.28932/srjd.v6i1.3906.
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Visualization of packaging is one of the main attractions in persuading consumers of the product. In addition to conveying the message can also lead to a sense of emotional attachment. The portrait photography displayed can represent the superiority of the product as a visual narrative. Balance Madia Menstrual Comfort has natural ingredients that are processed in a modern way to make herbal products PT. Deltomed Laboratories is a solution for menstrual relieving drugs. In this study, the field of visual communication design becomes the main step in the analysis process that leads to a discussion about understanding the correlation between signs in portrait photography contained in Herbana packaging. This study can explain in detail the influence of portrait photography in creating value and function. This study uses a qualitative method with Barthes' semiotic approach. So it can be found the results of this study that portrait photography as a medium that is able to persuade consumers to the product
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Maričević, Marko, Petra Ptiček, and Ivana Žganjar. "Recognition Model of Counterfeiting Digital Records of Biometric Photographic Image." Tehnički glasnik 16, no. 1 (February 4, 2022): 67–73. http://dx.doi.org/10.31803//tg-20210714171523.
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Biometric portrait as one of the most important means of identifying requirements through strict definition of dimensional relationships, preservation of realistic information about all technical characteristics of the photographic image, so that all biometric values can be digitized and used in recognition. The great variety and accessibility of applications for digital processing of digital record of a photographic image has enabled a visually convincing display of a forged photograph that leaves a different impression on the viewer and transmits a different, that is, a forged message. Due to the need to prove the authenticity of the digital record of the photographic image, methods have been developed for the analysis of the record that can detect deviations from the real record even when there are no visual signs of processing the photographic image. Not all analysis techniques can detect certain methods of photo manipulation, so multiple digital photography detection and analysis techniques need to be applied. In order to prove its authenticity, the scientific paper deals with methods for analysis and detection of forgery of digital photography with respect to the digital record and the structure of JPEG format.
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Jernejšek, Jasna, and Martin Parr. "Photography Is the Only Art Form That We All Do: Interview with Martin Parr." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 24–29. http://dx.doi.org/10.47659/m5.024.int.
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Martin Parr (1952) is considered to be one of the most iconic and influential photographers of his generation. Parr, whom obtained a photography degree at Manchester Polytechnic (1970–1973), joined the classics of British documentary photography with a series of black and white photographs of the disappearing folk customs of Northern England. In the 80s he managed to make his breakthrough to the global photography scene (and market). At that time, impressed by American colour photography, he took on photographing on colour film himself. He made The Last Resort (1983–1985), a series of British working class while spending holidays in a coastal resort in New Brighton, which remains one of his most recognizable work to this day. After its first presentation in the Serpentine Gallery in London in 1986, the project triggered turbulence and division of opinions of both professionals and general public. Polarization of opinions became a constant in Parr’s photography career. The polemics he caused by first becoming a member (1994) and then the president of Magnum Photos (2013–2017) are well known. The critics castigated Parr for being cruel and voyeuristic, and that he claimed to only be photographing what he sees, while he benefited from making a mockery of others. His unconventional use of the medium, smooth traversing through different contexts of photography and flirting with obvious commercial interests was deemed controversial and questionable by many (until today). Keywords: Martin Parr, photobook, photographic backdrop, portrait, studio photography
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Mat Husain, Mohd Pirdaus, and Sumarsih. "Factors of Selecting Photographic Image as an Instagram’s Profile Picture." Asian Social Science and Humanities Research Journal (ASHREJ) 2, no. 2 (October 1, 2020): 21–26. http://dx.doi.org/10.37698/ashrej.v2i2.33.
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Digital photography has become a trending tool in every part of communication in social media. Every photograph contains its meaning and story. This recent study was focusing on profile pictures among Instagram users. Moreover, this study was aiming at investigating the factors of selecting photographic image as an Instagram’s profile picture. Therefore, a qualitative research method was applied to find out the accurate factor. The technique of collecting data was Focus Group Discussion (FGD) technique by using Uses & Gratification Theory. The participants of this current study were 10 tertiary students. As a result, the finding reveals that there were 5 factors of selecting photographic image as an Instagram profile picture but the main factor was the image that shows self-portrait and lifestyle status.
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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.
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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
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Claman, Lewis, Daniel Patton, and Robert Rashid. "Standardized portrait photography for dental patients." American Journal of Orthodontics and Dentofacial Orthopedics 98, no. 3 (September 1990): 197–205. http://dx.doi.org/10.1016/s0889-5406(05)81596-3.
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