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Hinzler, H. I. R. "The Indonesian Archaeology Photograph and Documentation System (IAPDS)". Art Libraries Journal 18, nr 2 (1993): 34–38. http://dx.doi.org/10.1017/s0307472200008324.
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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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Meho Manjgo. "Photographs in the Photo Archive’s Old Stock in Gazi Husrev-beg’s Library in Sarajevo". Anali Gazi Husrev-Begove biblioteke 28, nr 42 (31.12.2021): 211–33. http://dx.doi.org/10.51719/25663267.2021.28.42.211.
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Gazi Husrev-beg’s Library in Sarajevo, beside its rich stock of manuscripts, archival and museum collections, also houses a valuable collection of photographs within the photo archive’s stock, which is divided into the old and the new stock. The focus of this paper is on photographs from the photo archive’s old stock, taken at the time of the arrival of the Austro-Hungarian government, when the first professional photograph stores started up in this area. This paper aims at trying to determine whether the photographs from the photo archive’s old stock were signed by Anton Schadler, Walter Tausch, Ignatz Lederer, Ivica Lisac, Nusret Halačević and other foreign and domestic photographers who made a significant contribution to the development of photography in Bosnia and Herzegovina, or they were taken later in modest photograph stores. Moreover, based on the preserved lists of library materials and other archival materials stored in Gazi Husrev-beg’s Library in Sarajevo, the paper deals with the issue of forming the photo arhive’s stock and the ways to determine the processing, classification and systematization of photographs.
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Baxter, Guy. "The historical photograph: record, information source, object, resource". Art Libraries Journal 28, nr 2 (2003): 4–12. http://dx.doi.org/10.1017/s0307472200013055.
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This article looks at the contributions that historical photograph collections can make to people’s lives, by examining the ideas that museums, archives and libraries explore and apply in the management of such collections. For instance, the theme of the photograph as an historical record of events will be used to examine the archivist’s approach; the photograph as a source of information for learning or enjoyment will introduce theories developed by the library community; and the value of the photograph as a physical object will form the basis for looking at how museums approach our vast and challenging photographic heritage.
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O'Connor, Maura. "Aerial photograph collections in Australia". Australian Surveyor 37, nr 4 (grudzień 1992): 263–69. http://dx.doi.org/10.1080/00050326.1992.10438813.
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Abilova, Ramina O., i Tatiana P. Krasheninnikova. "Journey of the USA Citizen Frank Whitson Fetter to the USSR: History of the Foreign Photographic Collection in the Duke University Library (1930)". Herald of an archivist, nr 4 (2020): 1184–200. http://dx.doi.org/10.28995/2073-0101-2020-4-1184-1200.
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The article presents the results of studying the Whitson Fetter (1899-1991) photo collection on Fetter’s visit to the Soviet Union in the summer of 1930. He spent six days in Moscow and six weeks in Kazan, then took a trip down the Volga River and the Caspian Sea. In his journey, Frank W. Fetter took about 330 photographs, which are currently stored in the David M. Rubenstein Rare Book & Manuscript Library, Duke University (Durham, North Carolina, USA). The article reconstructs the origin of the photographic collection (USSR, June-August 1930) and its life in the family archive of Frank W. Fetter (USA, 1930-1991). In 1992, according to his will, the entire archive, including photographs, was transferred to the library of the Duke University. Thus, the attention is focused on the library activities in acquisition, storage, accounting, and usage of Frank W. Fetter’s photographs (1992 - present). In this context, 2008 is of particular importance: it is then that the photographs were scanned and published on the website. The study is based on content and discourse analysis of the photographs; it uses comparative method for studying Frank W. Fetter paper collection at the Duke University library and materials from Russian archives, interviews of participants in the documents transfer to archival storage and photographs digitization. Thus, in a first time case-study of a single photograph collection, the authors trace the route of photographs from their creator to their researchers. Using photographs taken in the USSR, but stored outside Russia, is to supplement the historiography with valuable information on the history of photograph collections and to consider photographic documents on the history of Soviet Russia as an item of storage in foreign archives. The article may be of interest to historians, archivists, museum specialists, curators, and all researchers studying photo documents as objects of storage.
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies". Anglia 139, nr 1 (4.03.2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT". Muzealnictwo 61 (26.08.2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.
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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Pierce, Rachel. "The Female Gaze? Postmodernism and the Search for Women in the Digitized Photographic Collections of Swedish Memory Institutions". Open Information Science 3, nr 1 (1.01.2019): 61–75. http://dx.doi.org/10.1515/opis-2019-0005.
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Abstract Both the photograph and digitization are often defined as democratizing forces. But neither exists outside the system of power dynamics that structure art, history, and cultural heritage. This article uses postmodernist theorization of knowledge hierarchies in the archive developed by archival scholars Terry Cook and Joan Schwartz to examine the gendered nature of metadata and data connected to digitized photographic material available on the platforms of the three major Swedish memory institutions: the Royal Library, the Nordic Museum, and the National Archives. Given that digitized photographs require the addition of machine-readable data and metadata to be findable, this information demonstrates the extent to which digitization staffs have consciously thought about the visibility of gender in their online collections. The research questions of this article are thus twofold: (1) to what extend have Swedish memory institutions embraced a postmodern approach to the archive in their photography digitization projects, and (2) has this approach resulted in the greater visibility of women-oriented material? The findings indicate that Swedish institutions have adopted postmodernist thinking about archival flexibility to varying degrees, but none have thought thoroughly about increasing the visibility of woman-oriented material.
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Chenxi Zhang, Jizhou Gao, Oliver Wang, Pierre Georgel, Ruigang Yang, James Davis, Jan-Michael Frahm i Marc Pollefeys. "Personal Photograph Enhancement Using Internet Photo Collections". IEEE Transactions on Visualization and Computer Graphics 20, nr 2 (luty 2014): 262–75. http://dx.doi.org/10.1109/tvcg.2013.77.
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Dooley, Jackie M. "Processing and Cataloging of Archival Photograph Collections". Visual Resources 11, nr 1 (styczeń 1995): 85–101. http://dx.doi.org/10.1080/01973762.1995.9658320.
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Braker, Emily M. "Phototank setup and focus stack imaging method for reptile and amphibian specimens (Amphibia, Reptilia)". ZooKeys 1134 (9.12.2022): 185–210. http://dx.doi.org/10.3897/zookeys.1134.96103.
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Fluid-preserved reptile and amphibian specimens are challenging to photograph with traditional methods due to their complex three-dimensional forms and reflective surfaces when removed from solution. An effective approach to counteract these issues involves combining focus stack photography with the use of a photo immersion tank. Imaging specimens beneath a layer of preservative fluid eliminates glare and risk of specimen desiccation, while focus stacking produces sharp detail through merging multiple photographs taken at successive focal steps to create a composite image with an extended depth of field. This paper describes the wet imaging components and focus stack photography workflow developed while conducting a large-scale digitization project for targeted reptile and amphibian specimens housed in the University of Colorado Museum of Natural History Herpetology Collection. This methodology can be implemented in other collections settings and adapted for use with fluid-preserved specimen types across the Tree of Life to generate high-quality, taxonomically informative images for use in documenting biodiversity, remote examination of fine traits, inclusion in publications, and educational applications.
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Kondo, Dorinne. "Turning Leaves: The Photograph Collections of Two Japanese American Families:Turning Leaves: The Photograph Collections of Two Japanese American Families." Visual Anthropology Review 8, nr 2 (wrzesień 1992): 101–2. http://dx.doi.org/10.1525/var.1992.8.2.101.
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Kempf, Alois. "Von Waldbildern und Bildern zum Wald | On forestry photography and historical images of forests". Schweizerische Zeitschrift fur Forstwesen 155, nr 8 (1.08.2004): 345–48. http://dx.doi.org/10.3188/szf.2004.0345.
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The Swiss Federal Institute for Forest, Snow and Landscape Research WSL, holds several historical collections of images related to forestry and forests in Switzerland. A majority of the photographs, negatives and slides in the collections are stored on glass plates. The archives also contain some paper copies and special thematic sub-collections on cardboard. This contribution describes various aspects of forest images dating from the first half of the 20th century. A photograph of a wood pasture taken by Hermann Knuchel (1884–1964) near the village Sufers, Canton Grisons, in June 1913 serves as a starting point.
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Manoli, Vasiliki, i Ioannis Triantafyllou. "Personal photograph collections ontology development through thematic tags". Journal of Integrated Information Management 3, nr 1 (18.07.2018): 30–37. http://dx.doi.org/10.18780/jiim.v3i1.4275.
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Purpose- The number and the variety of photos have grown to a great extent as they can be created anytime, everywhere and spontaneously. Searching for a particular photo file has become a boring, repetitive and tedious activity. The application of an ontology to express the user profile characteristics relation with the narrative, spatial, time and other types of information of the collected photos becomes imperative.Design/methodology/approach -The work presented in our article includes the development of a personal photograph collections ontology (MyOntoPhotos) specialising in documenting the metadata of the topics that end-users prefer mostly to capture with their devices. An extensive survey, among 650 participants, was conducted with the use of an online questionnaire comprised of semi-closed questions, following the Likert scale and the scale category grading.Findings -The ontology created was based on the results of an extensive survey aiming to identify thematic areas of interest, apart from spatial and temporal information, as other similar efforts did in the past. It is mentionable that the survey results proved the majority of the responders selected 22 thematic tags.Originality/value - Based on the research findings an innovative concept for a mobile application is presented, focusing on enhancing end-users photo collections organizing and retrieval functions.
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Belton, Tom. "Resurrecting Images from the Morgue: A Case Study of the London Free Press Collection of Photographic Negatives". Collections: A Journal for Museum and Archives Professionals 16, nr 4 (grudzień 2020): 381–92. http://dx.doi.org/10.1177/1550190620964073.
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This paper is a case study of the ongoing transformation of the London Free Press Collection of Photographic Negatives from a physical archive to a digital one. This Collection is a typical medium-sized newspaper photographic negative morgue dating between 1938 and 1992. These morgues possess enormous value as visual evidence of the development of communities, and society in general. The London Free Press serves a market of around a million people in Southwestern Ontario, Canada. The Collection’s current custodian, the University of Western Ontario Archives and Special Collections, is in the process of transforming it from a purely physical entity to a digital resource of great research potential. To place the case study in a broader context, the author reviews some of the recent literature on the topic of newspaper photograph morgues. He then delves into a detailed description of the custodial history of the Collection as well as details about current collection management issues, including metadata and digitization. The author concludes that the digitized body of tens of thousands of unique images will be more than enough to satisfy many visual researchers and could form part of a North American digital photojournalism archive of immense historical value.
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Kanicki, Witold. "Wundercamera Obscura". Cabinet, Vol. 2, no. 2 (2017): 70–73. http://dx.doi.org/10.47659/m3.070.art.
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Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in mind, this article confronts the popular habits of photographing peculiarities in the 19th century, with museum practice and the Wunderkammers tradition. The space of a photograph may substitute exhibition space, while a desire to watch all kinds of abnormalities and the culture of curiosity determines the connection between former museum visitors and recipients of photographs. Keywords: 19ct museum, collecting, curios, photographic archive, wundecamera
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Margolis, Eric. "Representations of Race, Gender and Ability in School Photography". education policy analysis archives 8 (4.07.2000): 31. http://dx.doi.org/10.14507/epaa.v8n31.2000.
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This article examines photographs taken of American public school classes between the 1880's and the 1940's. Most of the images were found in two virtual archives: The American Memory site at the Library of Congress and The National Archives and Record Center. These very large photograph collections were searched for representations of race, gender, and physical ability. The photographs were compared and contrasted and analyzed for elements of hidden curricula using techniques drawn from the social sciences and humanities. It was found that these large photo collections have significant gaps and historical amnesias. Collections made under conditions of racial segregation are themselves segregated and continue to reproduce images of hierarchy and dominance. To the extent these sites function as important resources for teachers and students searching for primary source documents for history and social studies projects, the archives convey significantly biased views of the history of education and minority groups in America.
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Bate, Jason. "Bonds of Kinship and Care: RAMC Photographic Albums and the Making of ‘Other’ Domestic Lives". Social History of Medicine 33, nr 3 (24.12.2018): 772–97. http://dx.doi.org/10.1093/shm/hky120.
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Abstract This article critically interrogates the nature of facial wounds themselves, their visceral, dehumanising quality, visibility, and social meaning. Little attention has been paid to the cultural ramifications and difficult questions concerning the futures of facially injured soldiers that Britain had to address in the post-war era. Focusing on photograph albums as socially salient objects, this article challenges medical photographic archives. Building on unexplored family archives, it revises understandings of the difficulties of veterans' homecoming, and how they achieved a level of emotional recovery as they tried to find a place in the post-war social fabric. The article argues that family photographic collections show the less obvious way that the war lived on for veterans and families, its damage and how it was passed on. These private collections offer new revelations on the success or failure of the surgical interventions in their aesthetic aims.
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Godfrey, Jenny. "The DACS Slide Collection Licensing Scheme". Art Libraries Journal 26, nr 4 (2001): 10–17. http://dx.doi.org/10.1017/s030747220001244x.
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For many years slide libraries in higher education institutions in the UK grew steadily in size as they accommodated the needs of new and expanding art and design courses. Although some slide librarians acquired new slides by photographing works of art in museums and art galleries, and most bought slides of the traditional art history canon from commercial publishers and art galleries, the largest proportion of these ever growing slide collections was made up of slides produced by copy photography, using slide film to photograph images taken from books, journals and exhibition catalogues. Changes in UK copyright law in 1988 made this illegal and jeopardised the ability of lecturers to present the visual material they needed for their courses. Slide librarians were forced to consider ways of getting around the law. A licence scheme ultimately emerged as the answer, but one that has its detractors and critics.
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Chbib, Raida, i Julius Matuschik. "Mosque Archives of the 1950s in Focus". Journal of Muslims in Europe 11, nr 3 (29.11.2022): 397–418. http://dx.doi.org/10.1163/22117954-bja10073.
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Abstract This contribution aims at illuminating Muslim community life in the 1950s in Germany with the help of photographs. In 2020, probing into a research field that until then was largely terra incognita, the photojournalist Julius Matuschik with the support of a sociologist of religion, Raida Chbib, contacted mosques they knew had been built in the 1960s and wrote to 100 city archives in search of photographic and other evidence. In this way, photograph collections and paper records of religious gatherings and activities of Muslims in Berlin, Munich, Aachen, Hamburg, Frankfurt and Schwetzingen (Mannheim) were identified and brought into communication with one another. Offering unique visual insights in each of these places, this article shows that Muslim religious infrastructures were established long before the arrival of the so-called guest workers and that Muslim religious life in the 1950s was broader than has hitherto been suggested. Moreover, a blind spot was revealed when gathering detailed information about a congregation in the 1950s in the architecturally remarkable mosque building in the garden of the Schwetzingen Palace.
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Rodríguez, Juanita. "Picturing the Peasant in Orlando Fals Borda’s Work 1950s-1970s". Master, Vol. 5, no. 2 (2020): 60–69. http://dx.doi.org/10.47659/m9.060.art.
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Orlando Fals Borda, a renowned Colombian sociologist, who worked for both the academia and the government from the 1950s to 90s, wrote two works on Colombian peasantry and its relation with big landowners that were published with a selection of photographs of peasants, landowners, and grassroots movements. These works and their images have had an impact on the construction of peasant- and landowner visual icons in recent Colombian history, as they have been used in books, primers, and exhibitions since their creation, and they had a crucial influence on the visual propaganda of the Agrarian Reform project in Colombia. As a result of Fals’s fieldwork, there are two photograph collections kept at two institutions in Colombia that have organized and catalogued the images: The Central Bank in Montería and the National University in Bogotá. These institutions are prime creators of the visual memory of rural Colombia and I analyze Fals’s fieldwork as part of a jigsaw puzzle in which peasants, landowners, and intellectuals, like Fals, both consumed and created visual icons of land, rurality, and peasantry in Colombia’s recent history. Keywords: Agrarian Reform, Colombia, landowners, Orlando Fals Borda, peasants, photography.
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НИКИТИНА, А. К., i С. В. НИКИФОРОВА. "The story of one photo (experience of visual anthropological analysis)". Vestnik of North-Eastern Federal University. Series "Economics. Sociology. Culturology", nr 1(17) (19.11.2020): 29–40. http://dx.doi.org/10.25587/svfu.2020.17.1.002.
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Рассмотрена проблема документальности на материале фотографического снимка неизвестной, датированного 1914 г. Предложен анализ события фотографирования, имевшего место в Сунтарском улусе Вилюйского округа, выполненного в историко-культурном контексте. В рамках комплексного подхода использованы визуально-антропологический анализ, опрос, интервью и др. методы. В ходе анализа контента фотоисточника мы опирались на классификацию, предложенную специалистом Музея антропологии и этнографии Российской академии наук Е. Б. Толмачевой. Реконструирована легенда фотографического снимка. Проведена идентификация фотографических портретов, установлены связи между реальностью и изображенным. Определена региональная специфика культурной ситуации в части мастера изготовления хомуса и мастера игры на нем. Введены в научный оборот полевые материалы автора: список известных хомусистов Вилюйского округа; обработаны данные семейных архивов, местных мифов и преданий локальных сообществ. Информантами в ходе исследования выступили старожилы села Тойбохой Сунтарского улуса: М. К. Уарова, Т. Ф. Пермякова, сотрудники Тойбохойского историко-краеведческого комплекса А. В. Евсеев, М. И. Васильева и др., а также материалы Национального архива Республики Саха (Якутия), запасников Музея хомуса народов мира (Якутск). Частично прослежена динамика становления и локализации исполнительской традиции игры на хомусе, сегодня признаваемой в качестве канонической для якутской культуры в целом. Одновременно с этим отмечен параллельный процесс утраты стилей. Реконструированы обстоятельства события фотографирования, рассмотрены связи: реальность – изображенное – видимое. Определена личность девушки на снимке 1914 г. и историко-культурная ценность указанной фотографии. The problem of documenting on the material of a photograph of an unknown woman dated 1914 is considered. An analysis of the photographing event that took place in Suntarsky Region of the Vilyui District, made in the historical and cultural context, is proposed. As part of an integrated approach, visual anthropological analysis, a survey, interviews and other methods were used. When analyzing the content of the photo source, we relied on the classification proposed by E. B. Tolmacheva: the photographs of museum collections are divided into three groups: scientific ethnographic photography; scientific photography of the humanities; photo with an ethnographic plot. The legend of a photograph was reconstructed. Identification of photographic portraits, links between reality and the image are established. The regional specificity of the cultural situation has been determined in part: the masters of making khomus and the masters of playing it. The author’s field materials were introduced into scientific circulation: a list of famous khomus players of Suntar area; family archives data, local myths and traditions of local communities were processed. The informants and assistants in organizing the study were old-timers of the village of Toybokhoy of Suntarsky Region M.K. Uarov, T.F. Permyakova, A.V. Evseev, M.I. Vasilieva and others. The materials of the National Archives of the Sakha Republic (Yakutia), G. E. Bessonov Toybokhoy historical and local lore complex, storerooms of the Museum of the Trump of the World’s Peoples (Yakutsk) were studied. We partially traced the dynamics of the formation and localization of the performing tradition of playing the khomus, recognized as canonical for the Yakut culture as a whole; moreover, we marked the process of losing styles. The historical and cultural value of a photograph is determined.
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Semenova, Valeria. "Ethiopian Photo Collections 1896-1913: Some Aspects of Arrangement, Attribution and Interpretation". African Research & Documentation 135 (2019): 71–85. http://dx.doi.org/10.1017/s0305862x00023906.
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Peter the Great Museum of Anthropology and Ethnography/Muzei antropologii i etnografii im. Petra Velikogo RAN (Kunstkamera) includes a few photograph collections dedicated to Ethiopia. Amongst them, a considerable quantity refers to the period of-1896-1913 characterised by the active work of the Russian diplomatic mission. This cluster of visual material has not been interpreted in a proper manner. This article is an attempt to arrange this material so as to make it suitable for further research. With this purpose, the inventory numbers of the photos are given to assist searching on the official website. The survey is based on the analysis of inventories of the Museum's collection mentioned in the text.
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Bilson, Tom. "The Courtauld’s Witt and Conway Photographic Libraries: Two approaches to digitisation". Art Libraries Journal 45, nr 1 (styczeń 2020): 35–42. http://dx.doi.org/10.1017/alj.2019.38.
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The Courtauld Institute of Art is two years into a digitisation project of the Witt and Conway photograph archives (in addition to other, smaller collections) – a massive project that will make accessible over three million images of works of art from these internationally important photo collections. This article looks closely at the digitisation project and in particular, at the small army of volunteers assembled to carry out the digitisation and how this element of public engagement is essential to the success of the project.
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Mifflin, Jeffrey. ""The Story They Tell": On Archives and the Latent Voices in Documentary Photograph Collections". American Archivist 73, nr 1 (maj 2010): 250–62. http://dx.doi.org/10.17723/aarc.73.1.f0m334052804uh1h.
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Gilmore, Jennifer, Annie Polland, Suzanne Wasserman i Judith Rosenbaum. "From the Collections of the American Jewish Historical Society: Photograph of a Kosher Delicatessen". American Jewish History 98, nr 2 (2014): 65–70. http://dx.doi.org/10.1353/ajh.2014.0021.
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Piekielek, Nathan. "A semi-automated workflow for processing historic aerial photography". Abstracts of the ICA 1 (15.07.2019): 1. http://dx.doi.org/10.5194/ica-abs-1-299-2019.
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<p><strong>Abstract.</strong> Libraries, museums and archives were the original big geospatial information repositories that to this day house thousands to millions of resources containing research-quality geographic information. However, these print resources (and their digital surrogates), are not easily incorporated into the contemporary research process because they are not structured data that is required of web-mapping and geographic information system tools. Fortunately, contemporary big data tools and methods can help with the large-scale conversion of historic resources into structured datasets for mapping and spatial analysis.</p><p>Single frame historic aerial photographs captured originally on film (hereafter “photographs”), are some of the most ubiquitous and information-rich geographic information resources housed in libraries, museums and archives. Photographs authentically encoded information about past places and time-periods without the thematic focus and cartographic generalization of historic print maps. As such, they contain important information in nearly every category of base mapping (i.e. transportation networks, populated places etc.), that is useful to a broad spectrum of research projects and other applications. Photographs are also some of the most frustrating historic resources to use due to their very large map-scale (i.e. small geographic area), lack of reference information and often unknown metadata (i.e. index map, flight altitude, direction etc.).</p><p>The capture of aerial photographs in the contiguous United States (U.S.) became common in the 1920s and was formalized in government programs to systematically photograph the nation at regular time intervals beginning in the 1930s. Many of these photography programs continued until the 1990s meaning that there are approximately 70 years of “data” available for the U.S. that is currently underutilized due to inaccessibility and the challenges of converting photographs to structured data. Large collections of photographs include government (e.g. the U.S. Department of Agriculture Aerial Photography Field Office “The Vault” – over 10 million photographs), educational (e.g. the University of California Santa Barbara Library – approximately 2.5 million photographs), and an unknown number non-governmental organizations (e.g. numerous regional planning commissions and watershed conservation groups). Collectively these photography resources constitute an untapped big geospatial data resource.</p><p>U.S. government photography programs such as the National Agricultural Imagery Program continued and expanded in the digital age (i.e. post early 2000s), so that not only is there opportunity to extend spatial analyses back in time, but also to create seamless datasets that integrate with current and expected future government aerial photography campaigns. What is more, satellite imagery sensors have improved to the point that there is now overlap between satellite imagery and aerial photography in terms of many of their technical specifications (i.e. spatial resolution etc.). The remote capture of land surface imagery is expanding rapidly and with it are new opportunities to explore long-term land-change analyses that require historical datasets.</p><p>Manual methods to process photographs are well-known, but are too labour intensive to apply to entire photography collections. Academic research on methods to increase the discoverability of photographs and convert them to geospatial data at large-scale has to date been limited (although see the work of W. Karel et al.). This presentation details a semi-automated workflow to process historic aerial photographs from U.S. government sources and compares the workflow and results to existing methods and datasets. In a pilot test area of 94 photographs in the U.S. state of Pennsylvania, the workflow was found to be nearly 100-times more efficient than commonly employed alternatives while achieving greater horizontal positional accuracy. Results compared favourably to contemporary digital aerial photography data products, suggesting that they are well-suited for integration with contemporary datasets. Finally, initial results of the workflow were incorporated into several existing online discovery and sharing platforms that will be highlighted in this presentation. Early online usage statistics as well as direct interaction with users demonstrates the broad interest and high-impact of photographs and their derived products (i.e. structured geospatial data).</p>
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Šejbl, Jan. "Čína ve třech rozměrech. Nejstarší fotografie z Číny ve sbírce stereoskopů Náprstkova muzea v Praze". Muzeum Muzejní a vlastivedná práce 60, nr 1 (2022): 14–27. http://dx.doi.org/10.37520/mmvp.2022.003.
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The study deals with the representation of photographs from China in the Náprstek Museum’s stereoscope collection. A brief summary of the historical development of the Náprstek Museum’s photographic collections and the phenomenon of stereoscopic photography in the 19th century is followed by the results of a survey itself. The images were categorised by an authorship and analysed both technically and thematically. It turned out that the stereoscope collection contains the oldest photographs of China, which can be dated to the turn of the 1850’s and 1860’s.
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Hatano, Hiroyuki. "Photographic collections in Japan: accessibility and new technology". Art Libraries Journal 14, nr 4 (1989): 7–10. http://dx.doi.org/10.1017/s0307472200006453.
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Photographic collections are relatively undeveloped in Japan, although in the last decade a national photographic museum has been established, and other museums have opened departments of photography. Problems of access to collections of photographs of works of art have impeded the study of art history, but the capacity of new technologies to store, and to facilitate the retrieval of, visual images, is beginning to transform the situation.
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Drossart, Pierre, Françoise Roques, Cyril Birnbaum, René Boyer i Eliane Neyvoz. "Base de Données d’Images Planétaires (BDIP): One Century of Planetary Images: 1870-1977". Highlights of Astronomy 12 (2002): 646. http://dx.doi.org/10.1017/s1539299600014519.
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The digitization of the planetary database of IAU has been performed, to give access to historical data in digital format. The database is constituted from the planetary photograph center collections, which was organized in 1961 at the request of the IAU (IAU conferences; Last reference: 1979, IAU Trans., XVIIA, 109). From this collection, 8473 images have been digitalized and are now accessible on line in a compressed format at the Web address: http://bdipwww.obspm.fr. The catalog information, including date and time of observations, and geometric configuration is completed for Jupiter and Saturn. The database contains plates recorded between 1870 and 1977:Jupiter: 2715 imagesSaturn: 357 imagesMars: 4661 imagesVenus: 835 imagesMercury: 105 images
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Board, Editorial. "Allows Librarians at each Institution to take Custody of and Preserve Access to the E-Content". Global Journal of Enterprise Information System 9, nr 2 (28.06.2017): 133. http://dx.doi.org/10.18311/gjeis/2017/16180.
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The LOCKSS («Lots of Copies Keep Stuff Safe») project, under the auspices of Stanford University, is a peer-to-peer network that develops and supports an open source system allowing libraries to collect, preserve and provide their readers with access to material published on the Web. The system attempts to replicate the way libraries do this for material published on paper. It was originally designed for scholarly journals<sup>1</sup>, but is now also used for a range of other materials. Examples include the SOLINET project to preserve theses and dissertations at eight universities, US government documents<sup>3</sup>, and the MetaArchive Cooperative program preserving at-risk digital archival collections, including Electronic Theses and Dissertations (ETDs), newspapers, photograph collections, and audio-visual collections
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Larsson, Marianne. "Images of Leisure and Outdoor Activities in the 1930s: A Mixed Archive Sources Methodology". Culture Unbound 12, nr 1 (26.05.2020): 90–115. http://dx.doi.org/10.3384/cu.2000.1525.2020v12a06.
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In Sweden, leisure time and outdoor activities were important parts of the 1930s welfare society. The aim of this study is to examine the usefulness of some different source categories in the Nordic Museum’s collections and to complement representations of 1930s ideals about health, leisure time and outdoor activities. The article is written within the scope of the Nordic Museum and Stockholm University research project Images and Stories of Everyday Life. With digitising as an overall purpose, the project focuses on two categories of source material in the museum collections—the responses to the museum’s questionnaires and the photograph archive of the Swedish photographer Gunnar Lundh. Methodologically, around 400 questionnaire responses and 2,000 contact sheets have been looked at, with the aim of finding relevant representations of people’s leisure time and outdoor life in the 1930s. A selected number of questionnaires are analysed, and regarding the photographs, four series are analysed and represented by a selected number of photos. Series of photos on Gunnar Lundh’s contact sheets are essential, as they add knowledge beyond the individual photo. The combination of sources used in the article supports that holidays and outdoor life were part of urban people’s lives, while for rural people it was not easily combined with living conditions in agriculture. These results are reflected in the museum’s source material as well as in official government reports, earlier studies and historical sources. Although there is quite a large difference between the source categories, this study shows that the museum material, including evaluation of sources, makes it possible to broaden the image of Swedish people’s outdoor activities in the 1930s. The bricolage research method indicates that combinations of sources enlarge the image of different groups’ relationships to outdoor life.
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DE ALMEIDA, RAFAEL FELIPE, i CLIMBIÊ FERREIRA HALL. "Taxonomic Revision of Coleostachys (Malpighiaceae)". Phytotaxa 277, nr 1 (23.09.2016): 77. http://dx.doi.org/10.11646/phytotaxa.277.1.7.
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Coleostachys is a monospecific genus of Neotropical Malpighiaceae, known in the literature from only two collections. After a thorough analysis of Brazilian and International herbaria, we present a taxonomic revision of Coleostachys. This work includes a complete morphological description of the genus and its single species, C. genipifolia, along with line drawings and photograph plates, a distribution map, and comments on taxonomy, ecology and conservation of this obscure Amazonian genus.
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Ferenc, Tomasz. "Praca, robotnicy, archiwa, fotografia — utrwalanie stereotypów i walka o emancypację". Kultura i Społeczeństwo 59, nr 3 (11.08.2015): 203–21. http://dx.doi.org/10.35757/kis.2015.59.3.10.
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Work, workers, and workers’ living conditions quickly became a field of interest for photographers. Already by the middle of the 19th century there were photographs showing working people. Nevertheless, the contexts in which such photographs were taken varied considerably. The first part of this article presents, in the historical perspective, the different causes and strategies involved in making these types of documents, up to the moment when photographs began to appear that had been made by workers themselves. The movement to photograph workers, which developed in the first decades of the 20th century, is recalled in the second part of the article (using the examples of the Weimar Republic and Soviet Russia). The third part is devoted to photographic projects whose purpose was to increase the productivity of, and control over, workers. Photography is presented as a scientific tool for measuring movement and as an illustration of the most effective manners of organizing work. At the end, the Digital Repository of Worker Photography is described, as an example of work on a collection of photos and the creation of a platform permitting further work, but also as a legal and methodological problem.
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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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Salu, Luc. "A library and a bibliography to cope with the torrent of pictures? A glimpse into the Antwerp FotoMuseum". Art Libraries Journal 33, nr 3 (2008): 25–29. http://dx.doi.org/10.1017/s0307472200015443.
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Between 1965 and 1985, the library of the FotoMuseum Provincie Antwerpen acquired three large collections: that of the library of the Association Belge de Photographie, the collection of magazines from Fritz L. Gruber and the company library of the photographic firm Agfa-Gevaert. The bibliographic activities associated with the history of photography were started in 1978 at the European Society for the History of Photography and resulted in a four-part History of photography: a bibliography of books, published 1989 to 1999. The FotoMuseum Provincie Antwerpen produced an augmented version of this bibliography on CD-ROM in 2003.
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Simmons, Becky. "A GUIDE TO THE PREVENTIVE CONSERVATION OF PHOTOGRAPH COLLECTIONS. Bertrand Lavédrine , Jean-Paul Gandolfo , Sibylle Monod". Art Documentation: Journal of the Art Libraries Society of North America 23, nr 1 (kwiecień 2004): 54. http://dx.doi.org/10.1086/adx.23.1.27949302.
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Fry, Eileen. "CONSERVATION PRACTICES FOR SLIDE AND PHOTOGRAPH COLLECTIONS. (VRA Special Bulletin No. 3, 1989). Christine L. Sundt". Art Documentation: Journal of the Art Libraries Society of North America 9, nr 2 (lipiec 1990): 109. http://dx.doi.org/10.1086/adx.9.2.27948213.
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Kim, Jae Sung. "The application of near-automated georeferencing technique to a strip of historic aerial photographs in GIS". Library Hi Tech 36, nr 1 (19.03.2018): 43–56. http://dx.doi.org/10.1108/lht-10-2016-0115.
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Purpose The purpose of this paper is to describe the procedure for near-automation of the most commonly used manual georeferencing technique in a desktop GIS environment for historic aerial photographs strip in library archives. Design/methodology/approach Most of the archived historic aerial photography consists of series of aerial photographs that overlap to some extent, as the optimal overlap ratio is known as 60 percent by photogrammetric standard. Therefore, conjugate points can be detected for the overlapping area. The first image was georeferenced manually by six-parameter affine transformation using 2013 National Agriculture Imagery Program images as ground truths. Then, conjugate points were detected in the first and second images using Speeded Up Robust Features and Random Sample Consensus. The ground space coordinates of conjugate points were estimated using the first image’s six parameters. Then the second image’s six parameters were calculated using conjugate points’ ground space coordinates and pixel coordinates in the second image. This procedure was repeated until the last image was georeferenced. However, error accumulated as the number of photographs increased. Therefore, another six-parameter affine transformation was implemented using control points in the first, middle, and last images. Finally, the images were warped using open source GIS tools. Findings The result shows that historic aerial strip collections can be georeferenced with far less time and labor using the technique proposed compared with the traditional manual georeferencing technique in a desktop GIS environment. Research limitations/implications The suggested approach will promote the usage of historic aerial photographs for various scientific purposes including land use and land cover change detection, soil erosion pattern recognition, agricultural practices change analysis, environmental improvement assessment, and natural habitat change detection. Practical implications Most commonly used georeferencing procedures for historic aerial photographs in academic libraries require significant time and effort for manual measurement of conjugate points in the object images and the ground truth images. By maximizing the automation of georeferencing procedures, the suggested approach will save significant time and effort of library workforce. Social implications With the suggested approach, large numbers of historic aerial photographs can be rapidly georeferenced. This will allow libraries to provide more geospatial data to scientific communities. Originality/value This is a unique approach to rapid georeferencing of historic aerial photograph strips.
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O’Brien, Aoife. "Pacific photographs from the Vanadis expedition, 1883–85". Journal of New Zealand & Pacific Studies 8, nr 1 (1.05.2020): 7–21. http://dx.doi.org/10.1386/nzps_00012_1.
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The Vanadis expedition was a Swedish–Norwegian scientific and trade mission that circumnavigated the globe between 1883 and 1885. The scientific aspect of the expedition focused on the collection of objects, archaeological excavations and the documentation of the peoples, places and material culture encountered on the voyage. Responsible for much of this collecting and documentation was ethnographer Hjalmar Stolpe, as well as photographer Oscar Birger Ekholm. An estimated 7500 objects from the Vanadis expedition today form part of Etnografiska museet (The Museum of Ethnography) collections in Stockholm, over 900 of which came from the Pacific. These were acquired/purchased from Indigenous and western residents in all places the ship stopped including the Society Islands, Marquesas Islands, the Tuamotu Archipelago, Hawaiian Islands and Marshall Islands. Of the roughly 700 photographs taken during the voyage, just over 200 were taken in the Pacific. Ekholm’s photographic record from the Pacific includes studies of people and portraits, land and seascapes, archaeological sites, dwellings and marine transportation. Providing an overview of Ekholm’s photographs from the Vanadis expedition, this article seeks to contextualize his photography, situating it within the wider context of collecting with which he and Stolpe were concerned. It will further consider the racial stereotypes, interest in practices such as tattooing and overall aims of the expedition that prompted this photographic documentation.
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Vonog, E. A. "ON THE PHOTOGRAPH COLLECTIONS TAKEN BY AMERICAN MILITARY OF THE POLAR BEAR EXPEDITION ON THE NORTH OF RUSSIA DATED TO THE CIVIL WAR PERIOD 1918–1919". Northern Archives and Expeditions 5, nr 3 (30.09.2021): 26–37. http://dx.doi.org/10.31806/2542-1158-2021-5-3-26-37.
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Nowadays visual history and its significance characterized by a broad interdisciplinary approach cannot be overestimated. Since 1991 when the Austrian historian and researcher of images Gerhard Jagschitz (1940–2018) first used the term «visual history», photographs and, perhaps, film documents began to be perceived by the scientific world not only as illustrative material, but also as a storehouse of new, but somewhere forgotten information, for example, concerning the appearance of settlements and people living there, everyday life and imperatives of human behaviour, as well as events in certain historical periods. In this article the author presents the data concerning the American military that gathered collections of photographs from the Polar Bear Expedition of the period 1918–1919. During the First World War, this expedition was undertaken by the United States to the territory of the European part of the North of Russia in order to prevent the German Empire from encroaching on the resources of Russia, taking advantage of its weakness as a result of the political crisis. This military mission, carried out jointly with other allied states, in the history of Russia will be called a foreign military intervention, which, unfortunately, became a catalyst for a bloody civil confrontation. In the course of the study, not only the names of the founders were revealed, but also the modern holders of photo collections located in the United States, providing almost free access to all of them. Particular attention is paid to such an important component of attribution of photographic documents as the identification of the American photographers personalities involved in the creation of the visual image of the Civil War in the North of Russia.
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe". Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.
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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation
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Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN". Victorian Literature and Culture 33, nr 1 (marzec 2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.
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AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was developed by Tate curator Richard Humphreys and Butler scholar Elinor Shaffer, with the support of librarian Mark Nicholls from St. John's College at Cambridge, which houses most of Butler's extensive photographic work in its special collections. Titled “Samuel Butler and the Ignorant Eye,” after Shaffer's notion in her Erewhons of the Eye: Samuel Butler as Painter, Photographer, and Art Critic (1988) that Butler's photography renders “the eye of the viewer … ignorant and open” (229), the black-and-white secularism of Butler's work offered a startling change in imagery from the intense colorism of “Rossetti and Medievalism,” the exhibit that preceded it in Gallery sixteen.
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Staples, Amy J. "Visualism and the Authentification of the Object: Reflections on the Eliot Elisofon Collection at the National Museum of African Art". Collections: A Journal for Museum and Archives Professionals 3, nr 2 (czerwiec 2007): 183–90. http://dx.doi.org/10.1177/155019060700300209.
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Photographic resources are well known within museum contexts. However, these images are rarely considered in terms of how they enhance the historical value of museum objects, construct aesthetic and ethnographic meanings, and interpret museum collection practices. This paper examines the multi-media collections of Eliot Elisofon, an internationally known photographer and filmmaker who traveled in Africa from 1943-1972. The Elisofon collection at the National Museum of African Art contains both photographic materials and three-dimensional objects created and collected in the course of Elisofon's professional career. I explore the ways in which Elisofon's images have been used to illustrate objects in situ, represent cultural contexts of use and meaning, and create multiple layers of authentication for the objects (i.e., artistic, documentary, ethnographic). Attention is also given to the importance of photography as a collection practice in and of itself.
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Pevec, Iza, i 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.
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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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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, nr 2 (1.12.2020): 151–70. http://dx.doi.org/10.1386/nzps_00035_1.
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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.
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Gąsior, Mariusz. "Transforming Photographs into a Digital Catalogue". Culture Unbound 14, nr 2 (7.07.2022): 11–37. http://dx.doi.org/10.3384/cu.3971.
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In this article I focus on three aspects of the digitisation of photographic collections which I have had the opportunity to deal with professionally in two museums, in the UK and Poland. In 2014, the Imperial War Museum in London (IMW) implemented an online project of the portal/monument, Lives of the First World War, commemorating all citizens of the British Commonwealth who took part in the First World War (WWI), both in uniform and in civil services. Users registered on the portal could attach documents, photographs, reports to each commemorated soldier-keyword, thus expanding the database. One of the key elements of the project was a collection of portrait photographs bearing the title Bond of Sacrifice. These comprised over 16,000 photographs of soldiers of the British Commonwealth, handed over to the Museum by their families in the years 1917–1919. After nearly a hundred years, the Museum decided to comprehensively develop, digitize, and make the collection available in the form of an online catalogue. In the meantime, the Museum digitised a huge collection of WWI photographs, the so-called Q Series (ca. 115,000), the most important part of which was British official photography. By 2016, the entire collection was scanned and made available in an external catalogue of the Museum on the basis of a non-commercial license. Since then, the photographs have taken on a life of their own: they are used in academic works, press articles, TV productions, and in social medias. The second project includes numerous photographs of the Polish Armed Forces. This phenomenon is dealt with in the second part of this paper, which discusses the online photographic collection of the Silesian Museum in Katowice. The third and final part of this article is devoted to the impact of digitization and on-line accessibility on the making of temporary exhibitions. This is explained using the example of the author’s last exhibition at the museum about women in industry; based entirely on digital reproductions of photographs from the collections of many museums from Europe and the U.S., amongst others the US National Archives and the IWM. This is due to the fact that the author selected the entire material with the use of online catalogues of these very institutions.
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de Rapper, Gilles. "Photographic Archives and the Anthropology of Communism in Albania". Comparative Southeast European Studies 70, nr 4 (1.12.2022): 608–41. http://dx.doi.org/10.1515/soeu-2021-0083.
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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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Skelton-Foord, Christopher. "Common Heritage: Documents and Sources Relating to German-British Relations in the Archives and Collections of Windsor and Coburg, Volume 2: The Photograph Collections and Private Libraries". Library & Information History 35, nr 2 (3.04.2019): 114–15. http://dx.doi.org/10.1080/17583489.2019.1591897.
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Jodliński, Leszek. "‘And I still see their faces…’: Wilhelm von Blandowski’s photographs from the collection of Museum in Gliwice". Proceedings of the Royal Society of Victoria 121, nr 1 (2009): 155. http://dx.doi.org/10.1071/rs09155.
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Wilhelm von Blandowski (1822-1878) was born in Gleiwitz, Prussia (now Gliwice, Upper Silesia, Poland). From 1862 through 1868, Wilhelm von Blandowski may have taken up to 10, 000 photographs. Though only a portion of his photographic accomplishment has been preserved, the existing photographs provide an insight into their content and character, as well as providing us with the better understanding of the work of their author. The main emphasis in the paper will be on Blandowski’s photographs presently in the collections of Museum in Gliwice. It will focus on his portraits with reference to some of the formal experiments Blandowski carried out, such as photomontage and narrative photography. Attention will be also drawn to his creation of documentary-like and realistic photographs. Both the commercial nature of the photographic business run by Blandowski, as well as his personal interest in picturing the human condition, had a strong influence on his photography. He put the person at the center of his interest. This was reflected in Blandowski’s attempts to capture the natural world of the Prussian borderlands in the 1860s. Blandowski depicted a place inhabited by Germans, Jews and Poles ‘the promised land’ of early industrialization. Witnesses of these days, the known and anonymous characters look at us from the hundreds of prints taken by Blandowski. Among them one can see wealthy industrialists, priests and doctors, workers and peasants, children and women, the rich and the poor, persons of different professions, nationalities and confessions. The article concludes with a discussion of the influences that Blandowski has had on his contemporaries and also of his place in the history of early photography in Poland.