Bibliografías temáticas / Portrait photography

Literatura académica sobre el tema "Portrait photography"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 3 de marzo de 2023

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Artículos de revistas sobre el tema "Portrait photography"

1

Allen, Joseph R. "Picturing Gentlemen: Japanese Portrait Photography in Colonial Taiwan". Journal of Asian Studies 73, n.º 4 (noviembre de 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 y 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, n.º 1 (30 de junio de 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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3

Blanchard, Antoine. "Microhistoire des portraits composites: Le cas Arthur Batut (1846-1918)". REVISTA DE HISTORIOGRAFÍA (RevHisto) 27 (27 de noviembre de 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, n.º 4 (31 de julio de 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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6

Alù, Giorgia. "Order and otherness in a photographic shot: Italians abroad and the Great War". Modern Italy 22, n.º 3 (agosto de 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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7

Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918". Text and Image: Essential Problems in Art History, n.º 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, n.º 3 (1 de diciembre de 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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9

Ensel, Remco. "Dutch Face-ism. Portrait Photography and Völkisch Nationalism in the Netherlands". Fascism 2, n.º 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 y 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, n.º 1 (7 de enero de 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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Tesis sobre el tema "Portrait photography"

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Munsie, Richard. "Intimation of life : photographic portraiture in art". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/719.

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Photographic artists have a continuing desire to express intimately aspects of their social world through the genre of portraiture. However, in attempting to make known the lives of those around them, portraitists encounter a range of complexities inherent in the representation of the human subject in a two-dimensional visual field. Portraits were initially an indicator of social class until the introduction of photography, when more and more people became involved in their production and ownership. It was at its inception that the photographic portrait assumed conventions consistent with those of the painted portrait in Western art and its social use. These conventions have persisted and, along with the accumulation of conventions specific to the medium, have come to define photographic portraiture as a genre. It is either from within the limitations of the genre, or through the challenging of its authority, that artists seek to portray issues relevant to contemporary life. This endeavour is affected by certain concerns associated with a person's photographic representation. These include issues pertaining to notions of likeness, identity, subjectivity, and realism. A photographic image of someone has traditionally been perceived to convey a realistic impression of that person's identity, however, concepts of identity and realism have come under increasing scrutiny, contesting the authority of the photographic representation. The portrait's verisimilitude is also undermined by limitations in photographic processes and technology, and the manipulation and control exercised by the photographer who can frame, filter, crop, and enlarge the image at will. In considering the inadequacies of the medium, the fragmentation of identity and subjectivity, and threats concerning the demise of the genre, a further concern to contemporary portraiture is the status of the psychological interaction between photographer and subject. For many participants this exchange is an important aspect of the portrait transaction in which rituals of pose and performance are enacted, and feeling states or emotional truths are sought out. Kozloff (1994, p. 4) considers stilt portraits to be scanty objects in which the intricacies of human experience are inadequately represented, yet they remain as a site for the documentation of experiences that are to become memories. The increasing influence of digital media in photography presents an opportunity for the re-evaluation of these concerns, and new creative and expressive possibilities.
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2

Kowsar, Shabahang. "L'Art de Paraître dans le Portrait Photographique sous le Second Empire". Thesis, Versailles-St Quentin en Yvelines, 2015. http://www.theses.fr/2015VERS006S.

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L’essor de la photographie au milieu du 19ème siècle est contemporain de changements importants survenus au sein de la société française. A Paris sous le Second Empire, la forte hausse du pouvoir d’achat, due en grande partie aux travaux haussmanniens, influence l’image publique des citadins. La ville et ses grands boulevards offrent aux plus privilégiés la possibilité de se promener, de s’exhiber, de paraître selon certaines normes pour se mettre en lumière. Représentations qui seront ensuite fixées par les artistes : écrivains, peintres, sculpteurs, caricaturistes et photographes, ils concourent tous à immortaliser ce nouveau mode de vie et ses acteurs.Le portrait, ce moyen de représentation par excellence auparavant réservé à l’aristocratie, deviendra finalement accessible aux autres milieux sociaux. En comparaison avec les autres techniques, le portrait photographique gagnera davantage de succès et ce, grâce à de multiples critères : la baisse progressive de son coût, sa vitesse d’exécution, sa véracité reconnue par le public, sa capacité d’être reproduit à l’identique en grand nombre depuis l’invention du procédé collodion humide, sans oublier la naissance du portrait-carte de visite qui accélère sa démocratisation.Notre recherche repose sur un dépouillement minutieux d’archives photographiques. Elle aura comme objectif d’analyser le rôle joué par la photographie dans la procédure de représentation sous le Second Empire en répondant à un certain nombre de questions
When portraiture was made accessible to French citizens in the nineteenth century, someconservative critics did not consider all individuals to be “portrayable”. This did notprevent people of means from hiring portrait painters to create their own “visiblememory”. In the process, they redefined the nature of the artist’s model. These newsitters, who were employers rather than employees, were not obedient: they insisted uponimposing their individual style and references. Photographic artists, on the other hand,persisted in directing their sitters—as artists did their paid academic models—and had toseek compromises that, without relinquishing their favoured styles, would satisfy theirdemanding clients. Some photographers published manuals and treatises explaining howto produce a good portrait without being unduly disturbed by the model’s whims andfancies. Furthermore, self-proclaimed experts in modern “etiquette” taught people how totalk, how to walk and how to appear in society. A careful examination of the conditionsbehind the production of photographic portraits, especially those representing fashionablecitizens taken during the era of the carte-de-visite, reveals the importance of the rolesplayed respectively by the model, the portrait photographer and the social codes ofconduct of the day
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3

Hacking, Juliet Louise. "Photography personified : art and identity in British photography 1857-1869". Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266787.

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Makun, Adetoun Jones. "International passports : portrait of the Nigerian diaspora". Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002226.

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International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.
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Tran, Michelle. "Standing in the shadow of the moon : a diaristic encounter with identity through my everyday /". Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/8531.

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Art and lived experience are the key to my work. Standing in the Shadow of the Moon – A Diaristic Encounter With Identity Through My Everyday is an inquiry into the various possibilities for photography as a diaristic medium that blends the concepts of documentary and tableau photography, whilst exploring my identity. In this mode of expression, my project is an investigation into concepts of self-representation and subjectivity. What does it mean to create an enigmatic series of 'self-portraits' that are focused on those around me, those whom reflect me, but are not me?
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Phillips, Michael. "The family album : an extended portrait /". Online version of thesis, 1987. http://hdl.handle.net/1850/8851.

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Spenny, Anne M. "Portrait of a young woman /". Online version of thesis, 1989. http://hdl.handle.net/1850/11529.

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Carmignac, Ariane-Esther. "Passer le temps. Vies d'une archive photographique contemporaine : l'archivio Graziano Arici". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES044/document.

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L’Archivio Graziano Arici est une archive photographique d’un genre résolument singulier ; elle réunit des enjeux et ou assemble des finalités qui ne se rejoignent que partiellement. Archive courante des photographies de Graziano Arici (photographe né en 1949 à Venise, résidant actuellement à Arles, et toujours en activité), fonctionnant comme une base d’images permettant au photographe d’accumuler et de vendre ses productions, elle est aussi, dès le départ, conçue comme une forme-conservatoire destinée, dans son ensemble, par son auteur même, à représenter une époque, à rester comme un témoignage porté par un regard sur une époque. Par l’acquisition de fractions d’archives photographiques, la mise en place d’une politique de préservation des images, et par ses créations, son travail plastique, le photographe se fait tout à la fois héritier d’un domaine précaire, mais aussi son passeur. Dans ce cas particulier, en effet, le rassemblement qu’est l’archive photographique se trouve être, non seulement, un lieu d’origine, premier, mais également l’endroit et le moment d’une recomposition, d’un remontage de productions antérieures, donnant ainsi naissance à un art consommé de l’assemblage, dans un lieu devenu paradoxal
The Archive Graziano Arici is a definitely unique photograph Archive of its kind. It concentrates issues, or combine objectives which only partially meet. The standard Archive of Graziano Arici’s photograph (Arici is a photographer born in Venice, now living in Arles and still working) first acting as a picture-base which enables the photographer to gather together and sell his productions, is also, from the outset, designed as a conservation device, and by its author himself intended in its entirety to represent particular times and bear testimony to individual perceptions of those times ; by acquiring fractions of photograph archives, and setting up a picture-conservation policy, but through his own creation and plastic work as well, the photographer becomes heir to a fleeting world, and his go-between, too, giving birth to an art of assembling, and his archive becoming a paradoxical place
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Pelser, Monique Myren. "Roles : "I am as intently observed as the people photograph"". Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007647.

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With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.
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Cleveland, Larissa. "Collector : collection/possession/persona /". Online version of thesis, 2008. http://hdl.handle.net/1850/6186.

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Libros sobre el tema "Portrait photography"

1

Herrmann, Frank. Portrait photography. Sparkford: Oxford Illustrated, 1988.

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2

Peter, Weiermair, ed. Portraits: Das Portrait in der zeitgenössischen Photographie = Portraits in contemporary photography = Le portrait dans la photographie contemporaine. Schaffhausen: Edition Stemmle, 1989.

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Gilissen, Maria. Portrait photography. Bristol: Arnolfini Gallery, 1988.

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4

Gilissen, Maria. Portrait-photography. Bristol: Arnolfini Gallery, 1988.

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Gilissen, Maria. Portrait-photography. Bristol: Arnolfini Gallery, 1988.

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6

Techniques of portrait photography. London: Macdonald, 1985.

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7

Tim, Meyer, ed. The portrait: Understanding portrait photography. Santa Barbara, CA: Rocky Nook, 2009.

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8

Rand, Glenn. The portrait: Understanding portrait photography. Santa Barbara, CA: Rocky Nook, 2010.

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9

Rand, Glenn. The portrait: Understanding portrait photography. 2a ed. Santa Barbara, CA: Rocky Nook, 2014.

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10

Rand, Glenn. The portrait: Understanding portrait photography. Santa Barbara, CA: Rocky Nook, 2009.

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Capítulos de libros sobre el tema "Portrait photography"

1

Raymond, Claire. "Self-Portrait Performance". En The Selfie, Temporality, and Contemporary Photography, 152–71. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429319044-8.

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Hood, Stephanie L. "Science, Photography, and Objectivity? Exploring Nineteenth-Century Visual Cultures through the HMS Challenger Expedition (1872–1876)". En Scientific Visual Representations in History, 251–86. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11317-8_9.

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AbstractPreparing to set off from England in 1872 on an oceanographic expedition around the globe, the officers and crew of HMS Challenger gathered on board the ship for a photographic portrait. It was one of the first photographs of crew on a scientific voyage of exploration ever taken. Over eight hundred photographs were taken or acquired on the Challenger in addition to drawings and paintings. This chapter uses these photographs to reexamine Daston and Galison’s theory that photography was successful in nineteenth-century science on account of its perceived “objectivity” as an epistemic ideal. The chapter first outlines the history and historiography of photography and of the Challenger expedition, proceeding to outline photographic practices on the voyage, and evaluating the photographs’ place within longer aesthetic traditions. It then examines the Challenger photographs’ circulation and use in its official scientific report, and in wider scientific contexts. The chapter finally analyzes the photographs’ personal, and then broader public, economic, and political circulation and uses. It concludes by arguing that drawing and painting were the preferred scientific visual strategies on the Challenger, indicating that photography was not preferred on account of its perceived “objectivity” for science. Instead, photographs afforded other benefits such as speed of capture, replicability, and adaptability—for economic, social, and political use as well as scientific. Photography was therefore an effective visual strategy not on account of its perceived scientific “objectivity” but due to its flexibility, which corresponded to the expedition’s scientific aims as well as its broader economic, social, and political context.
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Skopin, Denis. "“Portrait” Criminal Cases". En Photography and Political Repressions in Stalin's Russia, 15–56. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003184744-3.

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Skopin, Denis. "The Group Portrait". En Photography and Political Repressions in Stalin's Russia, 57–73. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003184744-4.

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Sarvas, Risto y David M. Frohlich. "The Portrait Path (ca. 1830s–1890s)". En From Snapshots to Social Media - The Changing Picture of Domestic Photography, 23–45. London: Springer London, 2011. http://dx.doi.org/10.1007/978-0-85729-247-6_3.

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Kwon, Heangga. "Royal Propaganda and National Identity in Emperor Gojong's Portrait Photography". En Interpreting Modernism in Korean Art, 49–57. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429351112-8.

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Prussat, Margrit. "Carte de visite photography in South America. The mass-produced portrait". En Exploring the Archive, 129–50. Köln: Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412218423-005.

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Anderson, Joel. "Actor portraits". En Theatre & Photography, 39–45. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_6.

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Giannachi, Gabriella. "The photographic self-portrait". En Technologies of the Self-Portrait, 43–70. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429468483-3.

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Zhang, Xiaoyan, Martin Constable, Kap Luk Chan, Jinze Yu y Wang Junyan. "Composition Improvement for Portrait Photographs". En Computational Approaches in the Transfer of Aesthetic Values from Paintings to Photographs, 137–53. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3561-6_8.

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Actas de conferencias sobre el tema "Portrait photography"

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Yang, He. "Illusion of Portrait Photography". En 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.113.

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Song, Xue, Jiawei Pan, Fuzhang Wu y Weiming Dong. "Optimal Composition Recommendation for Portrait Photography". En SA '22: SIGGRAPH Asia 2022. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3550082.3564206.

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Beretta, Giordano B. "Professional portrait studio for amateur digital photography". En Photonics West '98 Electronic Imaging, editado por Giordano B. Beretta y Reiner Eschbach. SPIE, 1998. http://dx.doi.org/10.1117/12.298305.

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Liu, Yunfei, Sijia Wen y Feng Lu. "3D Photography with One-shot Portrait Relighting". En 2021 IEEE International Symposium on Mixed and Augmented Reality Adjunct (ISMAR-Adjunct). IEEE, 2021. http://dx.doi.org/10.1109/ismar-adjunct54149.2021.00038.

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Kim, Jee Hong. "A method to modify images to compensate for non-uniform flash illumination in group portrait photography". En Digital Photography II. SPIE, 2006. http://dx.doi.org/10.1117/12.650460.

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Wang, Ziyu, Liao Wang, Fuqiang Zhao, Minye Wu, Lan Xu y Jingyi Yu. "MirrorNeRF: One-shot Neural Portrait Radiance Field from Multi-mirror Catadioptric Imaging". En 2021 IEEE International Conference on Computational Photography (ICCP). IEEE, 2021. http://dx.doi.org/10.1109/iccp51581.2021.9466270.

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Yurgeneva, Alexandra. "Attributes of a Model in 19th Century Portrait Photography: Typical and Individual". En The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.022.

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Mohanty, Vikram, David Thames, Sneha Mehta y Kurt Luther. "Supporting Historical Photo Identification with Face Recognition and Crowdsourced Human Expertise (Extended Abstract)". En Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/660.

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Identifying people in historical photographs is important for interpreting material culture, correcting the historical record, and creating economic value, but it is also a complex and challenging task. In this paper, we focus on identifying portraits of soldiers who participated in the American Civil War (1861-65). Millions of these portraits survive, but only 10-20% are identified. We created Photo Sleuth, a web-based platform that combines crowdsourced human expertise and automated face recognition to support Civil War portrait identification. Our mixed-methods evaluation of Photo Sleuth one month after its public launch showed that it helped users successfully identify unknown portraits.
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Venable, Dennis L. y Nicholas George. "Orientation sorting by diffraction pattern sampling". En OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/oam.1987.ma2.

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Diffraction pattern sampling has been successfully applied to various problems in automatic pattern recognition, e.g., sorting of photographs based on scene content. In the current research we address the problem of sorting pictorial imagery according to whether a photograph was exposed upright (0°) or rotated 90°. This problem is of interest in the field of photographic processing, where along a continuous film strip, it is desirable to know whether a photograph was exposed in landscape or portrait mode. We limit the photographs in our study to those containing (1) landscape and houses only, (2) people only, and finally (3) groupings of houses and people. The optical transform is known to be independent of image translation but relates in a one-to-one fashion with image rotation. The detector used for sampling the optical transform is the Ring-Wedge detector, consisting of 32 wedge-shaped detectors and 32 concentric half-ring detectors. Using a feature set extracted from data obtained from wedge (angle-dependent) values, we illustrate the method of software development. Algorithms based on physical optics expectations are found to give reliable sorting in some cases. Discriminant functions using multiple feature algorithms are described. Results are presented in truth-table form for the three groupings listed above.
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Hill, Rodrigo y Tom Roa. "Place-making: Wānanga based photographic approaches". En LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.188.

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Ka matakitaki iho au ki te riu o Waikato Ano nei hei kapo kau ake maaku Ki te kapu o taku ringa, The words above are from the poem Māori King Tawhiao wrote expressing his love for his homelands of the Waikato and the region known today as the King Country. The words translate to: “I look down on the valley of Waikato, As though to hold it in the hollow of my hand.” Now imagine a large-scale photograph depicting a close-up frame of cupped hands trying to hold something carefully. The words above inform Professor Tom Roa and Dr. Rodrigo Hill’s current research project titled Te Nehenehenui - The Ancient Enduring Beauty in the Great Forest of the King Country. With this project still in its early stages the research team will present past collaborations which they will show leads into new ideas and discussions about photography, wānanga, and place representation. They focus on Māori King Tawhiao’s finding refuge in Te Nehenehenui, later called the King Country in his honour. He led many of his Waikato people into this refuge as a result of the British Invasion and confiscation of their Waikato lands in the latter part of the nineteenth century. The love of and for those lands prompted him to compose his ‘maioha’ - this poem painting a word-picture of these spaces which their photography humbly aims to portray. The project advances the use of wānanga (forums and meetings through which knowledge is discussed and passed on) and other reflective practices, engaging with mana whenua and providing a thread which will guide the construction of the photographic images. The name Te Nehenhenui was conceptualised by Polynesian ancestors who travelled from Tahiti and were impressed with the beauty of the land and the vast verdant forests of the King Country territories in the North Island of Aotearoa New Zealand. The origins of the name and further relevant historical accounts have been introduced and discussed by Professor Tom Roa (Ngāti Apakura, Ngāti Hinewai), Shane Te Ruki (Ngāti Unu, Ngāti Kahu) and Doug Ruki (Ngāti Te Puta I Te Muri, Ngāti Te Kanawa, Ngāti Peehi) in the TVNZ Waka Huia documentary series. The documentary provides a compelling account of the origins of the name Te Nehenehenui, thus informing this project’s core ideas and objectives. The research fuses wānanga, that is Mātauranga Māori, and photographic research approaches in novel ways. It highlights the importance of local Waikato-Maniapoto cosmological narratives and Māori understandings of place in their intersecting with the Western discipline of photography. This practice-led research focuses on photography and offers innovative forms of critical analysis and academic argumentation by constructing, curating, and presenting the photographic work as a public gallery exhibition. For this edition of the LINK Conference, the research team will present early collaborations and current research developments exploring place-making and wānanga as both methodology and photography practice.
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Informes sobre el tema "Portrait photography"

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Visa Barbosa, M., T. Serés Seuma y J. Soto Merola. From the family portrait to the profile picture. Uses of photography in the Facebook social network. Revista Latina de Comunicación Social, abril de 2018. http://dx.doi.org/10.4185/rlcs-2018-1278en.

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