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1
Dietschy, Nathalie. "Le motif du Christ mort dans la photographie contemporaine". Articles 23, n. 2 (18 gennaio 2012): 26–32. http://dx.doi.org/10.7202/1007586ar.
Abstract (sommario):
Le cadavre le plus représenté dans l’art occidental est celui de Jésus. Le Christ mort est en effet un thème iconographique qui a été maintes fois interprété en peinture, en sculpture et plus récemment en photographie. Les artistes contemporains s’emparent de ce thème pour en donner une vision personnelle et profane. Deux tendances sont à distinguer. La première relève de postures christomorphes de modèles ou d’artistes qui identifient leurs propres souffrances à celle du crucifié. La seconde démarche est héritière de l’art du passé, mais s’en éloigne pour destituer la figure christique en banalisant sa mort à travers des photographies de modèles endormis qui imitent des tableaux célèbres. Le présent article se propose d’analyser ces deux points de vue actuels portés sur ce qui constitue un sujet majeur de l’histoire de l’art.
2
Malabou, Catherine. "L’imprenable en question ou se prendre à mourir". Études françaises 38, n. 1-2 (18 agosto 2004): 135–44. http://dx.doi.org/10.7202/008396ar.
Abstract (sommario):
Résumé Alors qu’il se trouve à Athènes et contemple des photographies de cette ville, Jacques Derrida entreprend une méditation sur les rapports entre mort et photographie. Il analyse cette phrase mystérieuse : « Nous nous devons à la mort », et en dégage les différentes significations. Celles-ci ne sont pas simplement l’écho des différentes manières de mourir, mais aussi et surtout des différentes manières d’être mortel. Dans quelle mesure peut-on dire qu’il y a, pour chacun d’entre nous, « plus d’une mort » ?
3
Giampaoli, Michelangelo. "Architectes de leur mort". 2e partie : Pratiques de et vers la fin de vie 45, n. 1-2 (16 novembre 2021): 135–53. http://dx.doi.org/10.7202/1083798ar.
Abstract (sommario):
Si, comme le disait Edmond Haraucourt dans Rondel de l’adieu (1890), « [p]artir, c’est mourir un peu », il est vrai aussi que mourir signifie quitter ce monde et, également, commencer à s’organiser en vue de ce que (peut-être) il y aura juste après le dernier souffle. Pour un nombre surprenant de personnes, cela signifie se préparer à sa propre mort en se consacrant à l’achat d’une concession funéraire et à la création de sa dernière demeure : on choisit le cimetière, le monument, les matériaux, les symboles, l’épitaphe… On construit, en fait, un dernier foyer pour soi-même et, souvent, pour sa propre famille. Dans le cadre d’une plus vaste recherche anthropologique conduite dans des cimetières en Italie, aux États-Unis et au Brésil, on a pu se confronter à des individus qui ont décidé de passer leurs derniers mois ou années de vie à choisir, acheter, décorer et personnaliser leur propre tombe. Qu’ils fassent cela pour réaliser leurs derniers rêves et volontés — avant qu’il ne soit trop tard et en ne se fiant pas trop au fait que les autres le fassent pour eux — ou, tout « simplement », pour ne pas penser à la maladie et à la destruction du corps, le résultat est souvent le même : sous forme d’une chapelle, d’un buste, d’un petit jardin ou d’une photographie funéraire, et dans des espaces — les cimetières — qu’on apprend à aimer chaque jour davantage, des individus pensent à la mort de façon constructive et, souvent, artistique. C’est surtout une manière de ne pas la subir, la mort ; au contraire, on apprend à la connaître et à la maîtriser, jusqu’à en faire une oeuvre d’art ou juste un agréable espace de mémoire.
4
Brito, Maria Dos Remédios de, e Manoel Januário da Silva Neto. "(FOTO) IMAGINO (GRAFIAS): a poética do ficcionar". Revista Observatório 4, n. 2 (1 aprile 2018): 1046. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n2p1046.
Abstract (sommario):
O ensaio visual fotográfico é um bloco de sensações que carrega uma potência poética dos sentidos. A imagem fotográfica liberta o que assim foi, pois diante da morte salta efetivamente a vida e, assim, é possível arriscar ficcionalidades quando a imagem não é.
PALAVRAS-CHAVE: Fotografia; poética; ficção.
RÉSUMÉ
L'essai visuel photographique est un bloc de sensations qui porte un pouvoir poétique des sens. L'image photographique libère cela qui a été, parce que, devant la mort, la vie saute effectivement, et, par conséquent, il est possible de risquer des fictionnalités quand l'image n’est pas.
MOTS-CLÉS: Photographie; poétique; fiction.
RESUMEN
El ensayo visual fotográfico es un bloque de sensaciones que lleva una potencia poética de los sentidos. La imagen fotográfica libera lo que así fue, pues ante la muerte salta efectivamente la vida y, así, es posible arriesgar ficcionalidades cuando la imagen no es.
PALABRAS-CLAVE: Fotografía; poética; ficción.
5
Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology". Nordic Theatre Studies 26, n. 2 (9 settembre 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.
Abstract (sommario):
This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
6
Mavrikakis, Catherine. "Quelques r.-v. avec Hervé. Quand Sophie Calle rencontre encore Hervé Guibert". Filer (Sophie Calle), n. 7 (10 agosto 2011): 127–38. http://dx.doi.org/10.7202/1005520ar.
Abstract (sommario):
L’oeuvre de Sophie Calle se place d’emblée dans une relation ludique par rapport aux textes et au personnage de l’écrivain Hervé Guibert. Si No Sex Last Night s’ouvre sur l’annonce par Sophie de la mort de son ami Hervé, si Douleur exquise raconte un épisode d’intimité, celui du bain, entre Calle et Guibert, si Guibert fut le dépositaire négligent d’une photo d’enfance de l’artiste sur laquelle il écrit un texte que Calle recopie dans un de ses propres livres, force est de constater que le travail de Calle se met sous le signe de rendez-vous artistiques, sporadiques avec Hervé Guibert et ses écrits. Ces derniers se donnent d’ailleurs comme relances ou entraves au processus de création. Hervé Guibert serait un des spectres de Calle, une « image-fantôme », pour reprendre ici le titre d’un livre de Guibert, qui visite Sophie de temps à autre et dont celle-ci suit les demandes et les prières. Et c’est par le biais de cette photographie de Sophie enfant qui a été prêtée à Guibert, photographie qu’il a perdue puis retrouvée, qu’il nous est possible de réfléchir sur le « M’as-tu vue, Hervé? » que Calle lance sans cesse dans sa propre oeuvre.
7
Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan". Media, War & Conflict 11, n. 3 (13 luglio 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
Abstract (sommario):
This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
8
Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, n. 2 (1 luglio 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.
Abstract (sommario):
It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
9
Lund, Katrín Anna. "Co-Creating Nature: Tourist Photography as a Creative Performance". Humanities 12, n. 6 (29 novembre 2023): 141. http://dx.doi.org/10.3390/h12060141.
Abstract (sommario):
This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist, but also about social relations that the surrounding landscape partly directs and stages. It has also been argued that, as photographing tourists, we become ‘concerned with the artistic production of ourselves’. Photography is thus a practise that is relational and sensual and that cannot be reduced to the seeing eye. However, whilst emphasising the tourist as a creative being, the surrounding landscape has been left out as a stage and its active agency ignored. I address the complex, more-than-human relations that emerge in the photographs collected in Strandir. I argue that the act of photographing, as a performative practice, is improvisational and co-creative, and the material surroundings have a direct and active agency. As has been demonstrated, photography communicates ‘not through the realist paradigm but through lyrical expressiveness’ and, thus, it may be argued that tourist photography is a poetic practice of making, as it weaves together the sensing self and the vital surroundings in the moving moment that the photograph captures.
10
Shevchenko, Olga. "Photographs and Their Many Lives". Slavic Review 76, n. 1 (2017): 90–97. http://dx.doi.org/10.1017/slr.2017.12.
Abstract (sommario):
“How does meaning get into the image? Where does it end?” asked Roland Barthes in his now-classic essay “Rhetoric of the image.” At first glance, Barthes’s questions might appear nonsensical, but as this discussion around the various uses and misuses of Evgenii Khaldei’s photographs of war-time Budapest demonstrates, the question of meaning and truth in photography is anything but simple. This is because the meaning of a photograph is shaped by a multitude of factors, both internal and external to the image itself, and because the photographic medium, more so than other visual practices, lends itself to expectations of verisimilitude that obscure the complex relationship that photographs have to reality that they purportedly record.
11
Soyref, Polina G. "The Test of Photography". Koinon 3, n. 2 (2022): 86–105. http://dx.doi.org/10.15826/koinon.2022.03.2.018.
Abstract (sommario):
This article aims to substantiate the interpretation of photography as a tool, artifact, and practice using the concept of test. The concept of test is chosen due to its complex semantic and functional meanings: to test is to check for durability, to find the truth; to be tested is to gain experience. In line with the double meaning o the genitive — we test the photograph, and the photograph tests us — (mutual, bidirectional testing), the article introduces the following headings: “The Test of Strength”, “The Test of the Viewer”, “The Test of the Gaze”, “Body Experience: Tested by the Gaze”, “The Test of Language”, and “The Test of Credibility”. The author’s position is to shift the focus from talking about photography as such to the possibilities of experience that it offers. The implementation of the approach relies on the dual nature of photography: the technical side of the genesis of the photographic image and photographic dualism of studium and punctum (R. Barth). Photography is at the junction between the subjective view of the choice of frame, and the technical registration of reality, which excludes the subject from the process of this registration. This juxtaposition of the subjective and the non-subjective in photographic practice determines the research topics presented in this article. The photographic image remains completely autonomous, not connected to human intervention, and this statement contributed to the introduction of the concept of the solid frame, which has the maximum potential for effect. A solid frame is an independent artifact that can last in the perception and memory of the viewer and create its field of meaning. The nature of the viewer’s particular fascination with photography is explored. The properties of photography —the claim to persuasiveness and the actual power of “lasting” photography — allow us to influence those looking at it (it doesn’t matter if it is the viewer or the photographer): we know that “it was”, we are in the field of the artifact that goes beyond its actual borders, we experience its content beyond cultural, artistic, linguistic boundaries. Photography turns out to be a practice that actualizes, intensifies, or transforms the experience of interacting with reality, a tool that allows us to experience it more intensely than in everyday life.
12
Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II". Prospects 30 (ottobre 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.
Abstract (sommario):
Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them to a so-called assembly center (Figure l). The photograph would appear at first glance to tell a very different story. The women smile and extend their arms out of a raised train window to wave goodbye, as if they are embarking on a vacation or some other pleasant excursion. The Albers photograph is not an exception to the photographic record of incarceration. In the thousands of photographs made of the incarceration process by government photographers, independent documentarians, and “internees,” it is much more difficult to find photographs that portray suffering than it is to find images of smiling prisoners.Not surprisingly, these photographs of smiling Japanese Americans are unsettling for those scholars, curators, and activists who have worked to expose the injustices of the wartime imprisonment. The smiles are charged for several reasons: They appear to belie the injustice of incarceration and the suffering it caused, they are reminiscent of the ugly stereotype of the grinning Oriental, and they suggest that those portrayed were entirely compliant with the government's racist agenda.
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Fargettas, Julien. "« Sind Schwarze da ? » La chasse aux tirailleurs sénégalais. Aspects cynégétiques de violences de guerre et de violences raciales durant la campagne de France, mai 1940-août 1940". Revue Historique des Armées 271, n. 2 (1 aprile 2013): 42–50. http://dx.doi.org/10.3917/rha.271.0042.
Abstract (sommario):
En mai et juin 1940, plusieurs centaines de soldats noirs de l’armée française sont exécutées par les troupes d’invasion allemandes. A plusieurs reprises, ces massacres prennent un fort caractère cynégétique : scènes de chasse à courre, tir au pigeon, chasse en meute. Le soldat noir est ainsi transformé en gibier. Le mot « massacre » a d’ailleurs lui-même une origine cynégétique remontant au 16ème siècle et désignant à la fois l’action de tuer en masse mais exprimant également la fierté du chasseur. Une fierté justement que ne manque pas d’exprimer le chasseur allemand qui photographie en masse le gibier tirailleur capturé ou mis à mort et s’empare de multiples trophées sur sa dépouille. Cette chasse aux soldats noirs est un des aspects de l’animalisation des soldats coloniaux qui trouve un épilogue jusque dans le sort réservé aux cadavres du gibier mis à mort souvent délaissés de tous moyens d’identification ou privés de toutes sépultures humaines. Une animalisation d’ailleurs favorisée par l’évolution même des combats. Nombre de tirailleurs sont ainsi assimilés à des francs tireurs alors que, dépassés par les pointes allemandes, ils combattent afin d’échapper à la capture.
14
Brown, Terry M. "Transcending the colonial gaze: Empathy, agency and community in the South Pacific photography of John Watt Beattie1". Journal of New Zealand & Pacific Studies 8, n. 2 (1 dicembre 2020): 151–70. http://dx.doi.org/10.1386/nzps_00035_1.
Abstract (sommario):
For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a variety of publications, with or without attribution. I shall examine some of these photographs in the context of the ethos of the Melanesian Mission, British colonialism in the Solomon Islands, and Beattie’s previous photographic experience. I shall argue that Beattie first exhibited a colonial gaze of objectifying his dehumanized exotic subjects (e.g. as ‘savages’ and ‘cannibals’) but with increased familiarity with them, became empathetic and admiring. In this change of attitude, I argue that he effectively transcended his colonial gaze to produce photographs of great empathy, beauty and longevity. At the same time, he became more critical of the colonial enterprise in the Pacific, whether government, commercial or church.
15
Malkoff, Nicolas, Brigette Cannata, Artur Manasyan, Idean Roohani, Tayla Moshal, Elaine Terr, Misato Koizumi, Maxwell B. Johnson e Justin Gillenwater. "757 Focusing the Lens on Burn Wound Photography: An Institutional Assessment". Journal of Burn Care & Research 45, Supplement_1 (17 aprile 2024): 232. http://dx.doi.org/10.1093/jbcr/irae036.299.
Abstract (sommario):
Abstract Introduction Wound photography plays a critical role in burn care. In addition to written descriptions, photographs document wound changes and inform management decisions. Furthermore, photographs may be utilized for academic purposes such as teaching and research. With the development of smartphones, clinical photography has become faster and easier but has seen a decline in consistency and overall image quality. This study aims to evaluate the quality of burn wound photography at our institution to identify areas for improvement and inform efforts to develop a standardized photography protocol. Methods A wound photography rating scale with seven categories and 14 total points was developed based on published recommendations. Individual categories include background (2 max), distractors (2 max), lighting (2 max), camera position (1 max), wound capture (3 max), anatomic orientation (2 max), and patient ID and scale (2 max). Total scores are classified as follows: 0-4 “poor,” 5-9 “fair,” and 10-14 “good.” Camera focus was not included, as blurred photographs are removed by a medical photographer prior to entry into patient records at our institution. Admission wound photographs of 100 randomly sampled patients admitted to the burn unit of a large, urban medical center from 1/1/22 to 8/31/23 were extracted from the medical record for evaluation. Each photograph was independently evaluated by three reviewers, and final scores were determined using a Delphi consensus method. Results are reported using descriptive statistics. Results Of the 100 patients included for review, 12 were missing admission photographs of their burn wounds. The 88 photographs that were evaluated received a mean score of 7.7 ± 2.3 out of 14 on the burn wound photography rating scale. Only 17% of photographs received a score of 10 or more, and 7% received a score of 4 or less. A solid-colored or white backdrop was present in 2% and 39% of photographs, respectively. Only 9% of photographs were free of unnecessary distractors. Ideal lighting without shadowing or washout was used in 36% of photographs. The camera lens was positioned parallel to the wound in 80% of photographs. The entirety of the wound bed and periwound skin was captured in 67% of the photographs. In two photographs (2%), the reviewers were unable to determine anatomic orientation. Patient ID was included in 98% of photographs while a scale, such as a ruler, was included in only one photograph. Conclusions Current burn wound photography practices at our institution are inconsistent and fail to meet quality standards. The data collected in this study will be used to develop a standardized wound photography and documentation algorithm for integration into the existing burn unit workflow. Applicability of Research to Practice Readers may consider the methodology and findings of this study in evaluating the wound photography practices at their own institutions.
16
Hillman, John. "How Does Photography Appear to Appear?" Magic, Vol. 5, no. 1 (2020): 72–79. http://dx.doi.org/10.47659/m8.072.art.
Abstract (sommario):
Photography shares little with the logic of simulation and simulacrum, instead it facilitates a dimension within which people and objects we photograph emerge from an impossible frame. Its intrigue resides in the palpable sense of impossibility that photographs render visible to us. This sleight of hand obfuscates the question of how appearance appears. In Finders Keepers, Dutch photographer Laura Chen works with imagery sourced from undeveloped films purchased from eBay and car-boot sales. When Chen develops the films, the real of someone else’s reality is transformed into art. Left undeveloped, these images occupy nowhere in particular, but Chen makes appearances fill in a void and poses a question which is not one of “why” but of “where” are images? Furthermore, in seeking out meanings, the magic of photography is understood through the misdirection of illusion and appearance. What is more useful is to ask how photography appears to appear? Keywords: photography and illusion, magic of photography, reality and simulation, appearance of photography, Laura Chen
17
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, n. 2 (ottobre 2023): 3–45. http://dx.doi.org/10.56159/sen.2023.a916546.
Abstract (sommario):
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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Pevec, Iza, e Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk". Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.
Abstract (sommario):
The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program SewonArtSpace in Yogyakarta, Indonesia. The project Afghan Box Camera, which he developed with the ethnographer Sean Folley, focuses on the photographic praxis in Afghanistan, mainly on the type of a simple instant camera, which was traditionally used there but its use is now in decline. They investigated the origins, techniques and the many personal stories of the photographers using or having used this type of camera and also made instructional videos on how to build or use one. Attention to the overlooked photographic practices, history and contexts marks also his current project The Myanmar Photo Archive, a growing collection of Myanmar photographs that were created during and after the colonial period – the work of local photographers from that period has namely remained unknown until today. Keywords: local history, Myanmar photography, photographic backdrop, western view
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Kloster Poulsen, Steffen. "Når eksplosioner er kunst". Periskop – Forum for kunsthistorisk debat, n. 31 (13 giugno 2024): 100–115. http://dx.doi.org/10.7146/periskop.v2024i31.146623.
Abstract (sommario):
This article argues for an expanded effort to search for, and actively utilize, concepts and methods from the sociolinguistic periphery of the otherwise anglocentric academic lit- erature on photography in order to achieve a more level playing field between vernacular concepts and purportedly universal ones. Taking the history of public debate on photo- graphy in Japan as a departure point, this article aims to map out a new area of explora- tion for photographic research in the academic field of art history. Japan has been home to a vivid public and intellectual debate on photography since the birth of photography and, although its output of photographers and photobooks has been globally acclaimed and exported to museums and galleries internationally, especially in the past thirty years, lit- tle emphasis in academic research and elsewhere has been put on Japanese photographic critique, theory and debate outside the archipelago. As an example of unexplored theory, this article analyzes two published lectures by Japanese photographer Hatakeyama Naoya in which he reflects on photography's value as art, its place in the art world and the processes by which photographers become labelled as artists. Using a metaphor from analogue photography, he deems photographers “latent artists” who by a development process can become artists. Following Hatakeyama’s line of thought, this article argues furthermore that the metaphor can be extended to photographs themselves.
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Buddeus, Hana. "Enlarged Details and Close-up Views: Art Reproduction in 1930s Czechoslovakia". Artium Quaestiones, n. 33 (30 dicembre 2022): 61–86. http://dx.doi.org/10.14746/aq.2022.33.3.
Abstract (sommario):
Each photograph captures an artwork within a particular frame of space and time, providing a perspective that is contingent and dependent on the era the photograph was made in (Bergstein 1992). Moreover, every photograph is always embedded in specific material conditions and has its own social life (Edwards–Hart 2004). The aim of this article is to show the particularity of reproductions of artworks in 1930s Czechoslovakia and the motivations and discussions behind the extensive use of detail. I argue that the pronounced interest in close-up views is a result of a series of circumstances specific to the period. There is an important pre-condition in the development in the field of art photography and graphic design that took place in the late 1920s, bringing about an interest in sharp and faithful images and full bleed prints, as well as a recognition of the social impact of the medium. As a result, photographers, artists, art historians, and graphic designers living in Czechoslovakia also began to rethink the use of photography in the art field. This was manifested in period publications such as the well-known Fotografie vidí povrch (Photography Sees the Surface), published in 1935. In terms of art reproductions, it shows the importance of close-up views for providing an insight into individual artistic approaches and into the history of the respective artwork. The same year saw the publication of the 31st volume of the art magazine Volné směry, which enables us to follow several micro-histories that can also be applied more generally to the period discussions. As illustrated by a text by Bohuslav Slánský and the reproduced photographs of medieval panel portraits from Karlštejn Castle attributed to Master Theodoric, one of the purposes behind the commissions of enlarged photographic details of artworks were planned restorations. Moreover, examples from the photographic campaigns led by the company of Jan Štenc, the State Photo-Measurement Institute, or the project by Karel Šourek, Alexandr Paul, and František Illek (Documenta Bohemia Artis Phototypica) show that detail is generally used for showing the structure and texture of the work, for zooming in on otherwise distant works, or for the purpose of comparison. According to Volné směry editor-in-chief Emil Filla and his manifesto article “Práce oka”, the new method of working with reproductions and the frequent use of photographic detail precipitated a change in the observational habits of the audience. This intention was materialised through his long-term collaboration with the photographer Josef Sudek, who helped him show the artworks in a new light. It is evident that by the mid-1930s, the synergic work of individuals from different fields brought the use of detail in art-related publications to an unprecedented level.
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Zuhdan Aziz. "Dramatization of Visual Communication Messages In Macro Photographic Genre". IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (7 aprile 2020): 154–73. http://dx.doi.org/10.33153/iicacs.v3i1.30.
Abstract (sommario):
Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).
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Gallus-Price, Sibyl. "Why Photography Mattered (1847) As Art More Than Ever Before". Praktyka Teoretyczna, n. 4(50) (28 marzo 2024): 51–74. http://dx.doi.org/10.19195/prt.2023.4.3.
Abstract (sommario):
In the late 20th-century, landscape photographs that were never meant as art come to play a central role in the critique of one notion of what art is. Rosalind Krauss begins her attack on Modernism by mobilizing the indexical qualities of the photograph, holding up Timothy O’Sullivan’s 19th-century landscape photographs as the exemplar. This essay considers Krauss’s model in relation to César Aira’s contemporary revival of the 19th century landscape painter Johann Moritz Rugendas who is conceived, I argue, under the sign of the photograph. Conceptually recasting the landscape— the locus classicus for the crisis of Modernist art— through Rugendas, Aira transforms the painterly genre into an alternative neuro-aesthetically charged “procedure.” Aira’ s landscape painter turned photographer serves, I contend, both as an emblem for Aira’s own relation to writing and as an artifact of Krauss’s post-Art world.
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Moncada, G., F. Silva, P. Angel, OB Oliveira, MC Fresno, P. Cisternas, E. Fernandez, J. Estay e J. Martin. "Evaluation of Dental Restorations: A Comparative Study Between Clinical and Digital Photographic Assessments". Operative Dentistry 39, n. 2 (1 marzo 2014): e45-e56. http://dx.doi.org/10.2341/12-339-c.
Abstract (sommario):
SUMMARY The aim of this study was to compare the efficacy of a direct clinical evaluation method with an indirect digital photographic method in assessing the quality of dental restorations. Seven parameters (color, occlusal marginal adaptation, anatomy form, roughness, occlusal marginal stain, luster, and secondary caries) were assessed in 89 Class I and Class II restorations from 36 adults using the modified US Public Health Service/Ryge criteria. Standardized photographs of the same restorations were digitally processed by Adobe Photoshop software, separated into the following four groups and assessed by two calibrated examiners: Group A: The original photograph displayed at 100%, without modifications (IMG100); Group B: Formed by images enlarged at 150% (IMG150); Group C: Formed by digital photographs displayed at 100% (mIMG100), with digital modifications (levels adjustment, shadow and highlight correction, color balance, unsharp Mask); and Group D: Formed by enlarged photographs displayed at 150% with modifications (mIMG150), with the same adjustments made to Group C. Photographs were assessed on a calibrated screen (Macbook) by two calibrated clinicians, and the results were statistically analyzed using Wilcoxon tests (SSPS 11.5) at 95% CI. Results: The photographic method produced higher reliability levels than the direct clinical method in all parameters. The evaluation of digital images is more consistent with clinical assessment when restorations present some moderate defect (Bravo) and less consistent when restorations are clinically classified as either satisfactory (Alpha) or in cases of severe defects (Charlie). Conclusion: The digital photographic method is a useful tool for assessing the quality of dental restorations, providing information that goes unnoticed with the visual-tactile clinical examination method. Additionally, when analyzing restorations using the Ryge modified criteria, the digital photographic method reveals a significant increase of defects compared to those clinically observed with the naked eye. Photography by itself, without the need for enlargement or correction, provides more information than clinical examination and can lead to unnecessary overtreatment.
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Meron, Yaron. "Photographic (In)authenticity". Video Journal of Education and Pedagogy 4, n. 2 (27 dicembre 2019): 60–81. http://dx.doi.org/10.1163/23644583-00401018.
Abstract (sommario):
Debates around authenticity within photographic discourse are persistent. Some have revolved around documentary photography, while other discussions focus on the ethical validity of digitally edited news photographs and indeed the photographic medium itself. This article proposes that discussions around ‘authenticity’ should be focused instead towards contextualising photography more appropriately within the creative practice of ‘making strange’. It acknowledges existing debates around photography and authenticity, before locating the discussion within creative practice. It then moves to a discussion, using Robert Capa’s ‘Falling Soldier’ (Capa, 1936) as a starting point, before drawing on examples from the author’s own creative and professional practice. In the process, the article argues that visual researchers embrace the challenges of making the familiar strange within photographic creative practices.
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de Rapper, Gilles. "Photographic Archives and the Anthropology of Communism in Albania". Comparative Southeast European Studies 70, n. 4 (1 dicembre 2022): 608–41. http://dx.doi.org/10.1515/soeu-2021-0083.
Abstract (sommario):
Abstract The communist period in Albania was a time of intense photographic production. Much more than in previous periods, photography was perceived by those in power as an indispensable tool while at the same time becoming accessible to almost the entire population. Many photographs from the time survived the end of the communist regime and can now be used to study the history and memory of that period. To be of historical value, however, the diversity of photographic genres and practices, as well as the history of the constitution of photographic archives demands consideration of the context of the production and circulation of photographs, and that is a primary objective of this article. The author shows how he conducted an ethnography of photography based on presentation of the current state of public and private collections, and how such investigation constitutes a contribution to the anthropology of communism in Albania.
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OLSON, ALEXANDER I. "Muybridge in the Parlor". Journal of American Studies 50, n. 1 (10 febbraio 2015): 81–104. http://dx.doi.org/10.1017/s0021875815000018.
Abstract (sommario):
Commonly regarded as one of the pioneers of motion-picture technology, Eadweard Muybridge carried out several photographic studies of animal and human movement in the late nineteenth century. One of Muybridge's lesser-known commissions was an album of interior photographs that he created in 1880 for his friends Kate and Robert Johnson. This article offers a close reading of this album and argues that it has more in common with Muybridge's motion studies than historians have previously recognized. Far from being a commercial outlier, the album offered Muybridge an opportunity to experiment with the technological and cultural possibilities of photography in a new way. Through ghosts, mirrors, and other forms of representational excess, these images make visible Muybridge's handiwork as a photographer and the intellectual complexity of his collaboration with Kate and Robert Johnson.
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Kuznetsova, Tatyana Viktorovna, e Luiza Vladimirovna Welch. "The Photographic Image as an Aesthetic Phenomenon." Философская мысль, n. 10 (ottobre 2022): 54–62. http://dx.doi.org/10.25136/2409-8728.2022.10.38896.
Abstract (sommario):
The subject of the study is the analysis of the preservation and creation of an image in the art of photography. The invention of photography and the creation of a technical image is considered the second turning point in human culture. An image is an imagination, an illusion, it is a reflection of the sensory world. The object of the study is the specificity and evolution of attitudes towards the concept of an image in photography as an aesthetic phenomenon. The language of fine art, as an earlier phenomenon, had a significant impact on the creation of a photographic image, but the role of photography in changing the language of fine art is also noted. The purpose of this work is to identify the features of the formation of photographic thinking, in the analysis of its evolution. As a methodological basis of the study, the formal-stylistic method of cognition, the method of sensory cognition and historical and cultural analysis are used. The scientific novelty of the study lies in the analysis of the role of imagination, illusion, magic in creating a photographic image. Causal relationships do not work here - the image of the acts as an intermediary between the world and man. Both the photographer and the subject are the directors of the creation of the image, and the game becomes part of its creation. The image is what the director-photographer wants to see, and how the subject feels. However, the freedom of the photographer is limited by the quality of the equipment, which makes it necessary to improve the technical means of the camera more and more. Creating an image is the implementation of the technical capabilities that are embedded in the camera. The image of photography is the subjective vision of the master, the transformation of the real world into the world of illusion.
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Hill, Sarah Patricia. "Double exposures: the photographic afterlives of Pasolini and Moro". Modern Italy 21, n. 4 (novembre 2016): 409–25. http://dx.doi.org/10.1017/mit.2016.46.
Abstract (sommario):
Photographs play a crucial role in the ways the lives and deaths of Pier Paolo Pasolini and Aldo Moro are remembered in Italian culture. Locating photographs of the two men taken before and after their murders against the backdrop of the changes in photographic practice that took place in Italy from the period of the economic boom in the late 1950s through to the early 1970s, this article explores and compares the cultural meanings of the photographs of the bodies of these two very different but equally symbolic public figures, both alive and dead. Analysing the significance of these images in Italy in the 1970s and after, it notes how contemporary theoretical approaches to the medium – particularly in terms of understandings of mass media forms and the theoretical linking of photography and death – shaped how the photographs have been understood in relation to their social and political context. It argues that the afterimage of the photographs of the corpses of Pasolini and Moro is overlaid in Italian cultural memory over the visual record of the two men during their lives in a kind of mnemonic ‘double exposure’ that constitutes these bodies of images as collective icons of their times.
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Becker, Karin, e 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.
Abstract (sommario):
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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Shah, Romil Bharatkumar, Manisha Dipakbhai Bhanushali e Santoshkumar Goje. "Evaluation of Different Parameters Responsible for Perception of a Pleasing Profile - A Photographic Silhouette Study from Vadodara, India". Journal of Evolution of Medical and Dental Sciences 10, n. 37 (13 settembre 2021): 3272–76. http://dx.doi.org/10.14260/jemds/2021/664.
Abstract (sommario):
BACKGROUND Orthodontics has witnessed a paradigm shift in the perception of aesthetics. Soft tissue assessment and correction has become a greater concern when compared with dental and skeletal correction. In the current era, pleasing profile is a prime requisite. The purpose of this study is to evaluate different parameters responsible for perception of a pleasing profile. METHODS Hundred dental students with well-balanced faces were selected. Profile photographs of participants were taken by DSLR camera maintaining standardized photography protocol. The principal investigator had measured ten soft tissue parameters for each profile photograph. These profile photographs were further converted into profile silhouettes. 10 laypersons appraised each profile silhouette using visual analog scale (VAS). The obtained scores were again correlated with photographic measurements of each individual to identify role of different parameters responsible for pleasing profile. RESULTS When comparing the data statistically, significant differences were found amongst the parameters between less attractive and more attractive profile; parameters include facial convexity angle, naso-labial angle, protrusion of lip relative to each other, vertical lip to chin ratio and vertical height ratio. CONCLUSIONS It was clear from this study that, amongst individuals with normal overjet, overbite and a pleasing profile, those subjects with more obtuse facial convexity angle, obtuse nasolabial angle, slightly more protruded upper lip than lower lip, equivalent vertical height ratio, and smaller lip-chin ratio vertically, were found to be more attractive, as perceived by laypersons. KEY WORDS Parameters, Photographic Soft Tissue Analysis, Silhouette Study, Pleasing Profile
31
Vissers, Nathalie, Pieter Moors, Dominique Genin e Johan Wagemans. "Exploring the Role of Complexity, Content and Individual Differences in Aesthetic Reactions to Semi-Abstract Art Photographs". Art and Perception 8, n. 1 (4 marzo 2020): 89–119. http://dx.doi.org/10.1163/22134913-20191139.
Abstract (sommario):
Artistic photography is an interesting, but often overlooked, medium within the field of empirical aesthetics. Grounded in an art–science collaboration with art photographer Dominique Genin, this project focused on the relationship between the complexity of a photograph and its aesthetic appeal (beauty, pleasantness, interest). An artistic series of 24 semi-abstract photographs that play with multiple layers, recognisability vs unrecognizability and complexity was specifically created and selected for the project. A large-scale online study with a broad range of individuals (n = 453, varying in age, gender and art expertise) was set up. Exploratory data-driven analyses revealed two clusters of individuals, who responded differently to the photographs. Despite the semi-abstract nature of the photographs, differences seemed to be driven more consistently by the ‘content’ of the photograph than by its complexity levels. No consistent differences were found between clusters in age, gender or art expertise. Together, these results highlight the importance of exploratory, data-driven work in empirical aesthetics to complement and nuance findings from hypotheses-driven studies, as they allow to go further than a priori assumptions, to explore underlying clusters of participants with different response patterns, and to point towards new venues for future research. Data and code for the analyses reported in this article can be found at https://osf.io/2fws6/.
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Vacheret, Claudine. "La diffraction du transfert et la chaîne associative groupale dans un groupe Photolangage". Bulletin de psychologie 57, n. 472 (2004): 385–90. http://dx.doi.org/10.3406/bupsy.2004.15359.
Abstract (sommario):
À partir de la méthode Photolangage, qui utilise la photographie comme objet médiateur, facilitant la prise de parole et les échanges en groupe, ce texte propose une réflexion sur la manière dont l’objet médiateur favorise l’articulation entre la chaîne associative groupale et la diffraction du transfert. En effet, l’objet médiateur, support de perceptions et de projections diverses est aussi déclencheur et transformateur d’imaginaire, de l’imaginaire individuel et groupal. À partir du cas clinique d’un groupe d’adultes en thérapie, la chaîne associative groupale oscille du sujet au groupe, proposant au sujet une représentation lui permettant de figurer sa propre histoire (la souffrance liée à la mort de son père) et au groupe de s’auto-représenter lui-même, préconsciemment, à travers les photos. Ainsi, le transfert par sa diffraction inconsciente sur chacun des autres membres du groupe permet au sujet de se réapproprier la part, le maillon qui lui revient, grâce aux associations proposées par la chaîne associative groupale, faite d’imaginaires échangés dans le préconscient. L’objet médiateur facilite le développement de la chaîne associative car il la déplace sur l’objet, sans en gêner le développement.
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Pierce, Kathleen. "Photograph as Skin, Skin as Wax: Indexicality and the Visualisation of Syphilis in Fin-de-Siècle France The William Bynum Prize Essay". Medical History 64, n. 1 (19 dicembre 2019): 116–41. http://dx.doi.org/10.1017/mdh.2019.79.
Abstract (sommario):
In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis – the colour, texture, and patterns of primary chancres or secondary rashes – was of preeminent importance. Photography, with its potential claims to mechanical objectivity, would seem to provide the logical tool for such representations.Yet photography’s relationship to syphilographie warrants further unpacking. Despite the rise of a desire for mechanical objectivity charted in the late nineteenth century, artist-produced, three-dimensional, wax-cast moulages coexisted with photographs as significant educational tools for dermatologists; at times, these models were further mediated through photographic reproduction in texts. Additionally, the rise of phototherapy complicated this relationship by fostering the clinical equation of the light-sensitive photographic plate with the patient’s skin, which became the photographic record of disease and successful treatment. This paper explores these complexities to delineate a more nuanced understanding of objectivity vis-à-vis photography and syphilis. Rather than a desire to produce an unbiased image, fin-de-siècle dermatologists marshalled the photographic to exploit the verbal and visual rhetoric of objectivity, authority, and persuasion inextricably linked to culturally constructed understandings of the photograph. This rhetoric was often couched in the Peircean concept of indexicality, which physicians formulated through the language of witness, testimony, and direct connection.
34
Golia, Maria. "Surrealism and Photography in Egypt". Nka Journal of Contemporary African Art 2021, n. 49 (1 novembre 2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.
Abstract (sommario):
Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
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Warren, Kate. "Socially latent images: Eva and Franco Mattes’s personal photographs". Philosophy of Photography 10, n. 2 (1 ottobre 2019): 171–94. http://dx.doi.org/10.1386/pop_00014_1.
Abstract (sommario):
The age of ubiquitous photography has not only embedded the ability to easily share photographs, it has also constructed widespread expectations of content being shared. Such presumptions of sharing are profoundly influencing our relationship with photography, particularly as the hypervisibility of shared images produces an increasingly unstable invisibility of ‘unshared’ images. These contemporary concerns can be productively explored and theorized by considering the work of artists Eva and Franco Mattes. In recent works that use personal photographs, the Matteses reveal prescient insights into photographic concerns around latency, (in)visibility and shifting distinctions between personal/private/public. By investigating the Matteses’ works through these prisms, I argue that the age of social media entails internalized and naturalized presumptions of sharing. This has not only affected how and why photographs are taken, it transforms the status of contemporary photography more generally, creating conditions where once unshared/private personal photographs may now instead exist in a broader state of ‘social latency’.
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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, n. 2 (26 dicembre 2022): 6–18. http://dx.doi.org/10.52005/dasarrupa.v4i2.130.
Abstract (sommario):
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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Wicky, Érika. "L’imaginaire pictural de la matière photographique (1850–1860) : la cuisine de l’art, du peintre au photographe". RACAR : Revue d'art canadienne 40, n. 1 (27 agosto 2015): 85–94. http://dx.doi.org/10.7202/1032758ar.
Abstract (sommario):
The writings on photography published in the 1850s reveal the emergence of a pictorial imaginary of photographic matter that grew in the margins of the amazement at a medium completely dominated by nature and the precise developments of the photographic technique. In some of these texts, photographers were likened to painters because of the application, in both techniques, of multiple layers of varied and more or less opaque substances. Inasmuch as it concerned the process of fabrication more than the image itself, the understanding of the work performed by photographers, of their action on matter, directly affected their social status. To reflect on the material imaginary of photography is then to interrogate the modalities of the joint emergence of the profession and of the figure of the photographer-artist at the very moment of the industrialization of photography.
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KENNEDY, LIAM. "Soldier photography: visualising the war in Iraq". Review of International Studies 35, n. 4 (ottobre 2009): 817–33. http://dx.doi.org/10.1017/s0260210509990209.
Abstract (sommario):
AbstractThis article focuses on the production and dissemination of photographic images by serving US soldiers in Iraq who are photographing their experiences and posting them on the Internet. This form of visual communication – in real time and communal – is new in the representation of warfare; in earlier wars soldiers took photographs, but these were not immediately shared in the way websites can disseminate images globally. This digital generation of soldiers exist in a new relationship to their experience of war; they are now potential witnesses and sources within the documentation of events, not just the imaged actors – a blurring of roles that reflects the correlations of revolutions in military and media affairs. This photography documents the everyday experiences of the soldiers and its historical significance may reside less in the controversial or revelatory images but in more mundane documentation of the environments, activities and feelings of American soldiery at war.
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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky". Art & Culture Studies, n. 4 (dicembre 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.
Abstract (sommario):
In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.
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Rados, Aleksandar. "Photography travel journal of Belgrade by Ivan Groman a different view of the photographic work of Ivan Groman". Balcanica, n. 32-33 (2002): 197–210. http://dx.doi.org/10.2298/balc0233197r.
Abstract (sommario):
Little is known about a Russian photographer, Ivan Groman. His photographic work, originating in 1876 in the Principality of Serbia, was used repeatedly for illustrations, but has never been thoroughly analyzed as a historic document. Although his photographs, kept in the Archives of the City of Belgrade, the Museum of the City of Belgrade, and the Military Museum in Belgrade, may not represent his entire photographic opus, a thorough analysis of his work may serve the purpose of seeking for the message, and therefore for the aim of his work and stay in Belgrade. A small number of his photographs of Belgrade, constituting small series (?stories?) of a relatively small area, clearly lead to the conclusion that I. V. Groman was not just a photographer ? documentarist with an unquestionable and subtle artistic sense, but also a perceptive and possibly experienced ?documentarist on a military mission?. It does not diminish the significance and value of his photographic work in Belgrade. Quite the opposite. His opus gains the documentary vigor of the travel journal photo-story, which in its expressiveness does not fall short of the travel journals of a more traditional kind.
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Guétemme, Geneviève. "Transgression photographique: Alix Cléo Roubaud ou comment photographier la mort". Irish Journal of French Studies 12, n. 1 (31 dicembre 2012): 27–42. http://dx.doi.org/10.7173/164913312806739674.
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Mavrikakis, Catherine. "Les visages de l’antidépresseur". Articles 21, n. 2 (22 marzo 2010): 21–26. http://dx.doi.org/10.7202/039453ar.
Abstract (sommario):
Résumé À travers l’analyse du discours tenu sur la mort par overdose de la playmate Anna Nicole Smith, il est possible de penser quelle place occupent l’antidépresseur et l’imaginaire sur le suicide des « belles femmes » dans la constitution sociale du sex-appeal féminin. Nous assistons à une pathologisation du corps féminin (Foucault) qui devient à l’heure actuelle la cible des compagnies pharmaceutiques promettant non seulement la santé mais aussi la beauté. Grâce à un court retour sur les liens de l’histoire de la photographie et de la santé mentale – on pense à Charcot (voir Didi-Huberman) –, on voit comment l’image publicitaire poursuit aujourd’hui le travail de représentation et surtout d’invention du visage de la dépression, travail commencé au xixe siècle. Mais le visage actuel qui incarne le « malaise féminin » n’est pas seulement celui de la laideur. Il est aussi celui de Marylin Monroe ou d’Anna Nicole Smith. C’est-à-dire que les images de la dépression au féminin se confondent parfois avec celles qui suscitent le désir. Le médicament devient alors ce qui domestique le mal des femmes en rendant celui-ci séduisant et inoffensif pour la société.
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Johnson, Gary, e Janette Monear. "A Child's View of the Urban Forest". Arboriculture & Urban Forestry 20, n. 6 (1 novembre 1994): 336–40. http://dx.doi.org/10.48044/jauf.1994.059.
Abstract (sommario):
One hundred twenty elementary school children in Minnesota were given cameras for one school week and instructed to photograph their outdoor world. The children represented four different grade levels and three population regions: urban, suburban and rural. This study is an alternative to the photograph evaluation surveys given to adults or children, and provides insight into a child's view of the urban forest. A high percentage of the photographs from all regions and all grade levels included trees. Children from urban areas photographed fewer playground scenes than did suburban and rural children. Youngerchildren photographed more people and playgrounds than older children did.
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Hausken, Liv. "Navigating the Complex Terrain of Photography and Temporality". Philosophies 9, n. 3 (30 aprile 2024): 60. http://dx.doi.org/10.3390/philosophies9030060.
Abstract (sommario):
In recent years, discourses on photography have undergone a transformative shift from a focus on the individual photograph’s connection to memory, pastness, loss, and death towards exploring photographic imagery as shared, networked, and continuously circulating in a ubiquitous present. The general claim for the temporal dimension in this shift is that photography is no longer seen as a mere witness or reservoir of the past but instead points to or participates in an active present. Against this claim, the article argues for broadening the perspective, drawing on resources across C.P. Snow’s “two cultures”—the arts and humanities vs. the natural sciences—to develop a better conception of time and a more varied and useful selection of photographic practices. In this connection, the article provides a reading of Paul Ricoeur’s compound concept of “the third time”, cutting across the two cultures. Drawing on insights from Patrick Maynard and Kelley Wilder, basic premises for photographic practices in the natural sciences are brought into the discussions of the discursive shift from a preoccupation with photography and the past to an interest in photography and the present. The purpose of this paper is to develop a better ground for navigating intricate questions about the relationship between photography and time.
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Levi, Donata. "La fotografia nel museo d’arte a fine Ottocento: sovrapposizioni e occasioni per una rinnovata filologia visiva. Alcuni spunti". Rivista di studi di fotografia. Journal of Studies in Photography 5, n. 10 (14 dicembre 2020): 60–80. http://dx.doi.org/10.36253/rsf-12246.
Abstract (sommario):
The article deals with the effects of photography on the practices of art historians, focusing on some German cases. Photography, defined by Paul de Saint-Victor in 1887 as the “musée en action de l’art européen,” offered unprecedented opportunities for a renewed visual philology. Yet this evolution was more complex and less unidirectional than is generally thought. The illustrated publications of Gustav Scheuer in the 1860s attest to different ways of manipulating photographic images and illuminate the connections between photography and comparative methods, which initially concerned the relationships between original paintings and photographs much more than those among paintings themselves.
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Andergassen, Lisa. "Digging Up the Narrative: Forensic Practices between Objectivity and Interpretation". Membrana Journal of Photography, Vol. 1, no. 1 (2016): 48–51. http://dx.doi.org/10.47659/m1.048.art.
Abstract (sommario):
Photography traditionally generates a truth-claim, while at the same time undermining it by holding the potential of being altered or staged. Since the rise of digital techniques, we are facing different (and easier) ways to manipulate pictures, leading to the notion of the digital photograph as generally mutable and therefore not trustworthy. But as there have been more and easier ways to “manipulate” photographs, so has there been an increase in the ways to detect them. Which today puts digital forensics in the position of re-establishing “reality” as a referential point by tracing every step of the process of alteration, turning the dubitative image into one that is doubt-free once its metadata has been analysed. But is this the whole story? By addressing digital forensic practices that have been used within the investigation of the Abu Ghraib torture scandal, I am showing that the hidden narrative of photographic production can be dug up by using forensic methods, but not without creating a new narrative.
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Tavakol, Reza. "The time(s) of the photographed". Philosophy of Photography 10, n. 2 (1 ottobre 2019): 195–206. http://dx.doi.org/10.1386/pop_00015_1.
Abstract (sommario):
The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver, whether mechanical (the camera), biological (the eye‐brain as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe, concerning space and time, impact on the way we perceive photographic and optical images. Viewed from this perspective, photographs can be treated as light projections of sections of the four-dimensional observable world onto two-dimensional spatial photographic or viewing surfaces. I shall show that despite the severe reduction that such projections imply, these modern considerations have the important consequence of bestowing a complex temporality upon optical images, including photographs. This realization dramatically changes the way we view photographs. I give examples of this rich temporality through considerations of terrestrial images ‐ and more significantly images of the Sky, where these temporal effects are far more pronounced.
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Gizzi, Ferdinando. "Photographing a miraculous apparition in fin-de-siècle France". Magic, Vol. 5, no. 1 (2020): 28–35. http://dx.doi.org/10.47659/m8.028.art.
Abstract (sommario):
This paper is dedicated to the photographic coverage of the alleged miraculous apparitions, which occurred in the small French village of Tilly-sur-Seulles between 1896 and 1897. These photos, circulated as postcards and appearing in popular magazines of the time such as L’Illustration and Le Monde illustré, were presented – by virtue of the authority of the photographic as an indexical trace – as “authentic” testimonials of the supernatural events, though in fact neither recognized nor approved by the Catholic Church. These photographs used the already-known double exposure process of spirit photography, bringing these exotic visual materials into the tradition of religious “authentic fakes”. But more importantly, such images manifested the “visionary fervour” of late nineteenth-century France, that is, the growing desire of the modern crowd to see the invisible in more and more spectacular and convincing ways. Such a new spectatorial desire – that can also be found in the very successful genre of the photographs of the real bodies of mystics, saints, and seers – would be perfected by a whole series of contemporary forms and attractions, and finally, by cinematographic special effects. Keywords: nineteenth century, Marian apparitions, visionaries, photography, superimposition
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Hinzler, H. I. R. "The Indonesian Archaeology Photograph and Documentation System (IAPDS)". Art Libraries Journal 18, n. 2 (1993): 34–38. http://dx.doi.org/10.1017/s0307472200008324.
Abstract (sommario):
On December 1st 1989 the Indonesian Archaeology Photograph and Documentation System (IAPDS) was launched in Leiden. The project, which is scheduled to last three years, has both a photographic and a documentary aspect. The photographic aspect concerns firstly the conservation of the collection of black and white photographs of the Archaeological Service of the Netherlands-Indies, made between 1901 and 1941, and of the Indonesian Archaeological Survey, dating from 1945 to 1955. This collection consists of more than 25,000 photographs, of which 21,855 are kept in various institutions in Leiden. Secondly, the project envisages making a set of negatives of the complete collection, and of new, large prints which will be used by students and researchers. These will be kept at Leiden University Library. The documentation aspect of the project will involve the creating of a database in which data on the photographs, including information regarding the subjects depicted as well as bibliographic references, will be held. In a later phase it is intended to add other archaeological photographic collections, from elsewhere in the Netherlands and from Southeast Asia.
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Kubo, Yusuke, Masao Kubo, Hiroshi Sato, Munetaka Hirano e Akira Namatame. "Understanding Geographic Attentions of Crowd from Photographing Information". Journal of Advanced Computational Intelligence and Intelligent Informatics 17, n. 6 (20 novembre 2013): 890–903. http://dx.doi.org/10.20965/jaciii.2013.p0890.
Abstract (sommario):
We propose a framework for sharing photographs that reduces a load on communication network. When interesting events occur, many people take photographs of the events. Collecting photographs of such events and quickly building image database would enable us to share information in real-time more concretely than when using text based methods. However, a simple approach sending all photographs to a server immediately may cause congestion of a network infrastructure. In this paper, we propose a digital photographs classification method based on a main object of a photograph without using pixel information. Our method uses photographing information, that includes information about location and azimuth of a camera. Photographing information is automatically embedded into the photographs when it was taken. Our method determines main objects of photographs (socalled subject) and classifies the photographs based on these subjects. We can suppress congestion because only the best photographs transmitted to a server. In addition, classification accuracy is high because of the effect of collective intelligence. In this paper, we confirmed the effectiveness of our method through a series of experiments using a commercially available digital camera.