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Autor: Grafiati

Publicado: 26 de julho de 2024

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1

Choudhury, Deep Kanta Lahiri. "Rosie Llewellyn-Jones, ed., The Alkazi Collection of Photography: The Uprising of 1857". History and Sociology of South Asia 12, n.º 2 (29 de maio de 2018): 178–82. http://dx.doi.org/10.1177/2230807518767712.

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Wagner, Kim. "Rosie Llewellyn-Jones (ed). The Uprising of 1857: The Alkazi Collection of Photography". Asian Affairs 50, n.º 1 (janeiro de 2019): 157–59. http://dx.doi.org/10.1080/03068374.2019.1567134.

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Mukherji, Saradindu. "Book Review: Rosie Llewellyn-Jones, The Uprising of 1857: The Alkazi Collection of Photography". Indian Historical Review 45, n.º 2 (dezembro de 2018): 307–10. http://dx.doi.org/10.1177/0376983618804054.

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4

Robinson, Francis. "ROSIE LLEWELLYN-JONES (ed.): Lucknow – City of Illusion: The Alkazi Collection of Photography. 295 pp. Munich and London: Prestel, 2006. £50. 3 7913 3130 2." Bulletin of the School of Oriental and African Studies 70, n.º 1 (fevereiro de 2007): 177–79. http://dx.doi.org/10.1017/s0041977x07000213.

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Branfoot, Crispin. "George Michell (ed.): Vijayanagara: Splendour in Ruins. 250 pp. Ahmedabad: Mapin Publishing and The Alkazi Collection of Photography, 2008. ISBN 978 81 89995 03 4." Bulletin of the School of Oriental and African Studies 72, n.º 1 (fevereiro de 2009): 189–91. http://dx.doi.org/10.1017/s0041977x09000263.

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Robinson, Andrew. "Sudeshna Guha (ed.). The Marshall Albums: photography and archaeology. 288 pages, 130 b&w & colour illustrations. 2010. Delhi: The Alkazi Collection of Photography in association with Mapin & Ocean Township (NJ): Grantha Corporation; 978-81-89995-32-4 (Mapin); 978-1-890206-45-1 (Grantha) hardback £45." Antiquity 85, n.º 329 (agosto de 2011): 1093–94. http://dx.doi.org/10.1017/s0003598x00068617.

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Knight, Lionel. "The Marshall Albums: Photography and Archaeology. Edited by Sudeshna Guha with contributions by Sudeshna Guha, Michael S. Dodson, Tapati Guha-Thakurta, Christopher Pinney, Robert Harding. pp. 288. The Alkazi Collection of Photography in association with Mapin Publishing with support from Archaeological Survey of India. Simultaneously published, Ocean Township, New Jersey and London, 2010." Journal of the Royal Asiatic Society 21, n.º 3 (julho de 2011): 386–88. http://dx.doi.org/10.1017/s135618631100037x.

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8

Lugon, Olivier. "Photography and Scale: Projection, Exhibition, Collection". Art History 38, n.º 2 (22 de março de 2015): 386–403. http://dx.doi.org/10.1111/1467-8365.12155.

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Panzer, Mary. "The George Kendall Warren photography collection". History of Photography 24, n.º 1 (março de 2000): 24–30. http://dx.doi.org/10.1080/03087298.2000.10443357.

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10

Šejbl, Jan. "The Náprstek Museum Photography Collection – An Assessment Based on Collection Records". Annals of the Náprstek Museum 40, n.º 2 (2019): 69–94. http://dx.doi.org/10.2478/anpm-2019-0016.

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The study deals with the Náprstek Museum ethnographic photo collection. In order to obtain detailed knowledge of the composition of this collection, an analysis was performed using digital data records obtained through an export from the collection database. The data was then edited using MS Excel with the Contingency Table and Contingency Graph tools. The analysis focusd on the perspective of geography and chronology, originator and the type of photographic material in question. Obtained data clearly shows the percentage of each pursued characteristics and allows to combine them and compare the photo collection as a whole with the other part sof museum’s collections. The analysis method can be also used for another collections as well.

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11

Jonge, Ingrid Fischer. "The National Museum of Photography at the Royal Library, Copenhagen". Art Libraries Journal 23, n.º 1 (1998): 8–12. http://dx.doi.org/10.1017/s0307472200010750.

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The Royal Library, Copenhagen has made many attempts over the years to organise the huge collection of photographs held in its Department of Maps, Prints and Photographs into a formal museum of photography. Finally in 1996 the Royal Library created such a museum, and named it ‘The National Museum of Photography’. This museum within a library will be located in the new building at the City’s harbour front called The Black Diamond. The displays will show new as well as older photography from the collection, which is important both artistically and historically. Digitisation and cataloguing of the collection are under way, and the first couple of thousand items are already available to a wider public on the Internet.

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Thomas, Ritchie. "The Charles C. Lewis collection; Photography of aviation". History of Photography 12, n.º 1 (janeiro de 1988): 37–40. http://dx.doi.org/10.1080/03087298.1988.10442095.

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13

Vârtejanu-Joubert, Mădălina. "The Beginnings of Photography, the Beginnings of the Photography Archive: Bonfils at the Harvard Semitic Museum". Martor. The Museum of the Romanian Peasant Anthropology Review 24 (15 de novembro de 2019): 13–26. http://dx.doi.org/10.57225/martor.2019.24.02.

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The article highlights the creation of the Maison Bonfils photographic collection and its transformation into a museum archive by the Harvard Semitic Museum. On the one hand, it examines the archiving of reality through photographic practice and analyses the epistemological premises of documentary photogra¬phy applied to the object “The Holy Land.” On the other hand, it describes the transformation of the Bonfils collection into a corpus and its reception by the scientific community of the Ancient Near East. In both cases, we observe the im¬plementation of a literal conception: on the one hand, the geographical territory is interpreted as the perfect equivalent of the biblical text and, on the other hand, the photographs of this territory are used as an immediate and totally transpar¬ent document of the historical reality of the 19th century.

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14

Thomas, Nancy. "The Blackburn Collection of Photography from Polynesia at LACMA". Journal of New Zealand & Pacific Studies 8, n.º 1 (1 de maio de 2020): 81–86. http://dx.doi.org/10.1386/nzps_00016_7.

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15

Wagner, Kurt W. "Dorn-Severini Historic Photography Collection Donated to Monmouth University". New Jersey Studies: An Interdisciplinary Journal 6, n.º 2 (9 de julho de 2020): 121–27. http://dx.doi.org/10.14713/njs.v6i2.215.

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In December 2019, Kathy Dorn Severini and George Severini, residents of Fair Haven, NJ, donated a collection of photographic images to Monmouth University, a private, comprehensive 4-year institution in West Long Branch, NJ, located about a mile from the Atlantic Ocean. With a 2019 enrollment of 6,167, the University offers undergraduate and graduate programs across all traditional disciplines, as well as a Doctorate in Nursing Practice and an Ed. D. program. Monmouth University is a Grammy Museum affiliate, offers a Peace Corps Prep program that is unique in New Jersey, and is the home to the Monmouth Polling Institute.

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16

Lee, Anton. "The Order of Things: Photography from the Walther Collection". History of Photography 42, n.º 3 (3 de julho de 2018): 306–8. http://dx.doi.org/10.1080/03087298.2018.1531600.

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Gaafar, Rania. "Migrating Forms: Contemporary African Photography at The Walther Collection". Third Text 25, n.º 2 (março de 2011): 241–47. http://dx.doi.org/10.1080/09528822.2011.560643.

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Jäger, Gottfried. "Concrete Photography: (In-Between) Light Image and Data Image". Leonardo 51, n.º 2 (abril de 2018): 146–54. http://dx.doi.org/10.1162/leon_a_01350.

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The author discusses his works of concrete photography contributed to the Peter C. Ruppert Collection, Concrete Art in Europe after 1945, in the Museum im Kulturspeicher Würzburg. He discusses Concrete Photography as a form of nonrepresentational photography in which the medium itself moves away from its classical role of representing the external world to take on a strict self-referential role, in between both traditional light-images and images of the digital world.

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19

Abu Hassan, Nazrul Azha, Adzrool Idzwan Ismail, Siti Salmi Jamali e Jati Widagdo. "Digital Documentation through Underwater Photography Method". Environment-Behaviour Proceedings Journal 8, SI16 (26 de novembro de 2023): 243–50. http://dx.doi.org/10.21834/e-bpj.v8isi16.5248.

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This study focuses on the educational value of photographs and investigates discursive methods for employing underwater photography in environmental education. This research will examine the effectiveness of the relationship between photography and the environment using a qualitative methodology. The results indicate that data collection and photographic documentation might be very valuable, and understanding the fundamentals and techniques will greatly enhance the use of underwater photography. To sum up, research has shown that underwater photography can generate a distinctive dynamic and concept that can be used in a Public Service Announcement (PSA) to educate the public about the condition of the coral reef.

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20

Graves, Steven. "Landscape Love Letters: An Appreciation of the Larry Ford Photographic Library". Yearbook of the Association of Pacific Coast Geographers 85, n.º 1 (2023): 17–26. http://dx.doi.org/10.1353/pcg.2023.a913568.

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ABSTRACT: This essay, adapted from the APCG Presidential address delivered at the eighty-fourth annual APCG conference in Bellingham, Washington, explores the substantial legacy of Larry Ford as an author and photographer. Ford's extensive research publications profoundly influenced the thinking, and indeed the career trajectory, of numerous geographers, including the author. Ford's corpus of landscape geography photography is perhaps the equal of his text-based works and is the most important photographic collection housed in the Geography Department at California State University, Northridge. To demonstrate the value of the collection, several sample images from the Ford photography collection are considered from a landscape geography perspective.

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21

Skotniczna, Ewa. "Zbiór fotografii Karola Lanckorońskiego jako źródło do badań nad sztuką religijną renesansu włoskiego. Zarys problematyki w ujęciu historycznym i współczesnym". Artifex Novus, n.º 3 (1 de outubro de 2019): 144–56. http://dx.doi.org/10.21697/an.7070.

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ABSTRAKT Celem artykułu jest omówienie zbioru fotografii naukowych Karola Lanckorońskiego (1848-1933) w kontekście jego znaczenia do badań z zakresu sztuki sakralnej renesansu włoskiego. Zbiór ów obecnie przechowywany w Fototece Lanckorńskich Polskiej Akademii Umiejętności (PAU) stanowi przykład światowej klasy kolekcji fotografii. Przyrównywany bywa do najsłynniejszych tego typu zbiorów, w tym fototeki Bernarda Berensona weFlorencji. Mimo to dopiero od niedawna rozpoczęto systematyczne prace nad inwentaryzacją oraz opracowaniem naukowym całej kolekcji. Hrabia Karol Lanckoroński-znany miłośnik sztuki, mecenas, kolekcjoner i badacz przeszłości stworzył zbiór liczący pierwotnie około 120 tysięcy odbitek. Według obecnych szacunków Fototeka Lanckorońskich PAU przechowuje około 45 775 obiektów. W zakres zbioru Lanckorońskiego oprócz dokumentacji podróżniczej wchodzą przede wszystkim fotografie o tematyce artystycznej poświęcone sztuce światowej, a szczególnie europejskiej od antyku po wiek XIX. Jak wynika ze wstępnego przebadania zbioru dominują w nim reprodukcje dzieł sztuki renesansu włoskiego, w szczególności o tematyce sakralnej. Na łamach artykułu dokonano ogólnej charakterystyki zbioru pod względem tematycznym, wskazano funkcje, które zbiór ów pełnił w czasach swego powstania, w dalszej kolejności zaś podkreślono wagę kolekcji dla współczesnych badań humanistycznych, przede wszystkim historyczno-artystycznych. SUMMARY The aim of the article is to discuss Karol Lanckoroński’s collection of scientific photographs (1848–1933) in the context of his significance to research in the sacred art of the Italian Renaissance. This collection is currently stored in the Lanckoroński’s Archive Photography of the Polish Academy of Arts and Sciences (PAU) is an example of a world-class photography collection. It is compared to the most famous collections of this type, for example Bernard Berenson’s Archive Photography in Florence. Nevertheless, it was only recently that systematic work was initiated on the inventory and scientific elaboration of the entire collection. Count Karol Lanckoroński – a wellknown art lover, patron, collector and researcher of the past, created a collection of originally about 120,000 prints. According tocurrent estimates, Lanckoroński’s Archive Photography of the Polish Academy of Arts and Sciences stores approximately 45,775 images. In addition to travel documentation, the Lanckoroński’s collection includes primarily artistic photography devoted to world art, especially European art from antiquity to the nineteenth century. As can be seen from the initial examination of the collection, reproductions of Italian Renaissance works of art, in particular sacral, dominate in it. The article presents the general characterization of the collection in terms of subject matter, indicates the functions that the collection held during its creation, and further emphasized the importance of the collection for contemporary humanistic research, first of all historical-artistic.

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Michaud, Pauline. "Pratiques et usages de la photographie au sein de la manufacture et du musée de Sèvres au 20e siècle". Sèvres. Revue de la Société des Amis du musée national de Céramique 31, n.º 1 (2022): 98–110. http://dx.doi.org/10.3406/sevre.2022.1604.

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The importance of photography both in the collections of the Sèvres Manufactory and of the Museum of Ceramics has never been well known. This article highlights three years of research on the use of photography at Sèvres and the study of the collection of pictures gathered throughout the 19th and 20th centuries.

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23

Syafriyandi, Syafriyandi, Irpan Riana e Nova Darmanto. "PEMBUATAN PORTOFOLIO DIGITAL REPRESENTATIF PADA MAHASISWA/I PROGRAM STUDI FOTOGRAFI POLITEKTIK NEGERI MEDIA KREATIF". Jurnal Ilmiah Publipreneur 9, n.º 1 (1 de julho de 2021): 1–9. http://dx.doi.org/10.46961/jip.v9i1.180.

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ABSTRACT Photography needs are now a part of daily activities, because the images that are produced can be used directly in expressing buying and selling activities and activities on new media. This phenomenon is a great opportunity for Creative Media State Polytechnic Photography Students. But the problem is that not many Photography students know the procedures for making a good or representative digital portfolio to be displayed in the online media for promotion of Photography Services. For this reason, this research has produced a representative digital portfolio for every photography student in order to increase the selling power to users of photography services both online and offline. This research uses a method with a qualitative approach. Data collection was also carried out by pretest and posttest control as a measuring tool for the success of the socialization of digital portfolio creation and literature study. The results of this study can be the basis for creating a digital portfolio as well as providing benchmarks for the marketing of Photography Services. Keywords: Photography, Digital Portofolio, new Media

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24

Bubniak, Ihor, Mariia Oliinyk, Serhiy Tsikhon, Yuriy Golubinka e Taras Marko. "GEODESY, CARTOGRAPHY, AND AERIAL PHOTOGRAPHY". GEODESY, CARTOGRAPHY, AND AERIAL PHOTOGRAPHY 98,2023, n.º 98 (dezembro de 2023): 32–41. http://dx.doi.org/10.23939/istcgcap2023.98.032.

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The purpose of this article is to present and provide a detailed analysis of the 3D model of the Medova Cave in Lviv, created using laser scanning technology. The main objectives include revealing the accuracy and detailing the obtained model, as well as determining its potential applications in various fields such as geological research, scientific exploration, cultural heritage, and tourism. Additionally, the article aims to emphasize the importance and advantages of using laser scanning for creating precise and realistic 3D cave models, opening new possibilities for the study and preservation of natural unique formations. Method. The article describes the methodology used to create a 3D model of the Medova Cave, which involves several key steps. Firstly, a thorough reconnaissance of the cave is conducted to identify technical and logistical aspects such as temperature, humidity, movement restrictions, and lighting that are necessary for the scan. Next, ground-based laser scanning is employed, proving effective in conditions of complete darkness and limited space, to ensure accurate data collection regarding the cave's geometry. Reflective markers are strategically placed inside the cave before scanning, facilitating efficient scanning and alignment of scans. Specialized equipment such as GNSS receivers (Trimble R7) and ground-based laser scanners (Faro Focus 3D 120) are utilized for data collection. Software tools like Faro Scene are used for stitching together scans into a unified 3D point cloud model during data processing. Finally, the accuracy of marker connections is analyzed to ensure high-quality registration, and the 3D model is constructed. Detailed 3D models, including textured models and cross-sections for visualizing the internal structure of the cave, were constructed using software such as Move. Results. The research on the Medova Cave, employing ground-based laser scanning, yielded an accurate and detailed 3D model of the cave. This model opens new perspectives for geological and geomorphological studies, tourism development, and cultural heritage preservation. The use of advanced scanning technologies allowed for a comprehensive representation of the cave's geometric features, considering its complex structure and varied dimensions. Scientific novelty and practical significance. The creation of the 3D model of the Medova cave using laser scanning signifies progress in cave geometry studies. The innovation lies in the utilization of advanced laser scanning technologies to ensure a detailed representation of the cave's geometric features, accounting for its complex structure and diverse dimensions. The novelty also lies in the development of a data collection and processing strategy in conditions of complete darkness and limited cave space, resulting in an accurate and realistic 3D model. Practically, the 3D model of the Medova Cave serves as a crucial tool for geological and geomorphological research and the exploration of unique natural formations. The model opens new opportunities for tourism development, where virtual cave exploration can provide a unique experience for visitors. Creating this 3D model is a significant step in preserving and documenting cultural heritage, contributing to the scientific and cultural development of the region, and providing access to unique objects for researchers and the public.

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Birkbeck, A. E., e G. F. Tomlins. "Aerial Photography for the Detection of Leachate Migration from Landfills". Water Quality Research Journal 20, n.º 3 (1 de agosto de 1985): 92–102. http://dx.doi.org/10.2166/wqrj.1985.030.

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Abstract Aerial photography of the perimeters of two landfilled areas in British Columbia was acquired in colour and infrared emulsions. The photography was examined for evidence of leakage, or flooding of the leachate collection ditches surrounding the landfill and vegetation stress caused by the landfilling. At. one site the photography was acquired using a miniature experimental remotely piloted aircraft. This aircraft carries two gimbal-mounted 35 mm cameras which allow simultaneous vertical photography using two different film emulsions, different lenses, and/or filter combinations. At the second landfill site, oblique aerial photography was acquired from a Cessna 172 aircraft. Preliminary interpretation of the photography was followed by visits to locations where possible problems associated with leachate containment were apparent. The results indicated several locations where leachate was not fully contained by the ditch network and some areas of vegetation stress. Further studies at the second site confirmed that improved containment was effective in preventing further environmental damage.

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Colner, Miha, e Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović". Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research

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Sheehan, T. "African American Vernacular Photography: Selections from the Daniel Cowin Collection". Journal of American History 93, n.º 3 (1 de dezembro de 2006): 815–19. http://dx.doi.org/10.2307/4486420.

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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, n.º 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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Putra, Kamal Mushthafa, e Kankan Kasmana. "Photography as A Media for Promotion of Area Tourism in Brebes District". Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 3 (1 de dezembro de 2022): 594–600. http://dx.doi.org/10.34010/icobest.v3i.190.

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The purpose of this research is to introduce photography media as a means to promote tourism in Brebes Regency because photography looks simpler, modern, real and easy to understand and attracts the human sense of sight and can increase regional tourism visitors in Brebes Regency. This research is a qualitative research using observation methods and data collection techniques using interviews. The results showed that photography as a promotional medium can increase the interest of visitors, especially teenagers, in visiting tours in Brebes Regency. This is evidenced by the results of interviews on the subject, namely kimnaya and regran who visited tourism in Brebes Regency because they saw photography posts on social media that were interesting to visit. Photography can be a promotional medium and attract visitors due to the cleverness of a photographer in taking photos, editing, and posting on media which is certainly crowded with visitors. Therefore, photography can increase visitors to tourism in Brebes Regency, it must be based on good planning starting from choosing attractive photo spots, lighting, supporting social media, modeling, interesting captions, and so on.

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Ferreira, Carlos Miguel, e Sandro Serpa. "Photography in Social Science Research". Journal of Educational and Social Research 10, n.º 4 (10 de julho de 2020): 62. http://dx.doi.org/10.36941/jesr-2020-0065.

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Visual communication is critical in contemporary societies. Research in social sciences increasingly tends to mobilize the image, for example, in the form of photography, in its processes (in the collection and interpretation of information) and products (in the communication of research results), which leads to the need to reflect critically on its specificities. This paper aims to add to the analysis of the potentialities, limitations and challenges of the use of photography in social sciences research. For this purpose, the paper presents and discusses empirically collected documentary expressions, selected from an organizational case study based on their heuristic capacity to illustrate the argumentation put forth herein. It is concluded that the potential of the use of photography in research in social sciences is high, but it is essential that the researcher considers, besides more technical aspects and ethical complexities, that photography is, in part, also the materialization of a certain socially constructed representation of reality.

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Anderson, Kathy J. "DECADE BY DECADE: TWENTIETH-CENTURY AMERICAN PHOTOGRAPHY FROM THE COLLECTION OF THE CENTER FOR CREATIVE PHOTOGRAPHY. James Enyeart". Art Documentation: Journal of the Art Libraries Society of North America 8, n.º 3 (outubro de 1989): 161. http://dx.doi.org/10.1086/adx.8.3.27948111.

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Šejbl, Jan. "Photographic Estate of Václav Šolc in the Ethnographic Photographic Collection of the Náprstek Museum". Annals of the Náprstek Museum 44, n.º 2 (2023): 3–40. http://dx.doi.org/10.37520/anpm.2023.007.

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Ethnographer and writer Václav Šolc (1919–1995) utilised photography as an important tool for his research. Presently, he is the second most featured contributor in the Náprstek Museum Ethnographic Photographic Collection. This study employs digitized documentation as well as the images in the collection themselves to conduct a comprehensive survey to obtain information about this collection from the technical, geographic, and thematic perspectives.

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Häsler, Leonie. "Stereo Imaging In Fashion Photography". Networking Knowledge: Journal of the MeCCSA Postgraduate Network 11, n.º 1 (30 de abril de 2018): 38–55. http://dx.doi.org/10.31165/nk.2018.111.528.

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Fashion photographs are generally two-dimensional images showing one side of a three-dimensional model. This paper, however, deals with far less well-known stereoscopic fashion photographs. Stereoscopy is a technique that creates the illusion of a 3-D image. Based on the image collection of Swiss textile and clothes company HANRO, the article analyzes the composition of 3-D pictures by putting them in a broader media-historical context. The archived stereoscopic photographs date back to the 1950s and show a series of women’s fashion. In the same period, Hollywood experienced a 3-D-boom that may have had a technical and aesthetical impact on these photographs. Although fashion is not mediated in moving images in this case study, codes or formal languages of a film are inscribed in the images, as will be shown in the following text. Building on these findings, this paper further discusses the influence of cinematography and other media practices on the fashion industry’s attempt to free its fashion imagery from the confines of a two-dimensional page.

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Stănescu, Mihai. "From Daguerreotype to Autochrome: An Incursion in European, Colonial and Romanian Pharmaceutical and Medical Photography". Studia Universitatis Babeș-Bolyai Historia 66, n.º 1 (fevereiro de 2022): 159–70. http://dx.doi.org/10.24193/subbhist.2021.1.08.

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"Pharmacists have the ability to be chemists and that is the reason they possess the knowledge to make photographs. For that purpose, especially in the 19th century, some pharmacists were photographers, so the two professions are related to a certain extent. The daguerreotype was an invention that was brought to the attention of the public in the summer of 1839 in Paris by Louis Daguerre. Although it was a French invention, it enjoyed a huge success in the United States, and for that purpose the most numerous daguerreotypes derive from the American continent. Some daguerreotypes from the pharmaceutical and medical domain will be presented in this work: a picture of the pharmacist Martin (Gamas), of the physician Charles Abadie and of the physician Gustave Adolphe Raichon. The description of the daguerreotypes will include some other particular examples of empirical restoration from the collection of the author. Another type of photography, important for the history of photography, is the autochrome, one of the first colour photographic process available to the public. It was invented by the Lumière brothers. An example of medical photography from colonial France (Morocco), portraying a case of leprosy, will be presented as well. In the end, some examples from the European and Romanian photography will illustrate the role of the pharmacy and of the pharmacist in the 19th century-early 20th century, as a snapshot of the health professional of that period. In conclusion, the picture speaks for itself and somehow, it can be a vivid time machine for the reconstruction of the past, not only in the fields of pharmacy and medicine, but in any other field as well. Keywords: Daguerreotype, autochrome, pharmacy, medicine, old photography, photography collection. "

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Nisak, Khoirun, e Didik Hariyanto. "Food Photography dan Eating Out di Media Sosial Instagram". KANAL: Jurnal Ilmu Komunikasi 6, n.º 1 (2 de setembro de 2017): 31. http://dx.doi.org/10.21070/kanal.v6i1.1422.

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This study aimed to analyze influence of food photography towards eating out Sidoarjo community in instagram media. Data collection was done by using questionnaire to the respondents who visited the cafe/restaurant Mie akhirat, Kedai Kopi Medan, Wong Solo, dan Dapur M’riah that was located on Jalan Raya Ponti Gelanggang Olahraga Sidoarjo. Samples were taken through random sampling technique with total sample of 100 respondents. The result of this quantitative research showed that there was influence between food photography variable in social media instagram turns out to have an effect to the eating lifestyle of Sidoarjo community. The effect of food photography on eating out lifestyle was shown by R2 of 35.1%.

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Aina, Salma Qurrotu. "FASHION PHOTOGRAPHY ON INSTAGRAM: A STUDY OF VISUAL ATTRACTION AND MESSAGES DELIVERED". Arty: Jurnal Seni Rupa 11, n.º 2 (11 de julho de 2022): 41–55. http://dx.doi.org/10.15294/arty.v11i2.53871.

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Fashion photography that was previously distributed through printed media such as magazines, is now also distributed online through social media such as Instagram. Seeing these developments, this study aims to examine the form, visual appeal, and messages conveyed by fashion photography in Instagram’s content. This study uses a descriptive qualitative research approach with analysis of visual methods. Observations and interviews were used for data collection, sourced from fashion marketing accounts on Instagram, and from other Instagram users with photography and fashion education backgrounds. The results show that the form of fashion marketing photography varies depending on the concept and product being sold. Photos that are unique, different, and use good compositions are favored by the participants. Each photo has its own theme and message concept, but each photo shows that anyone can look cool and attractive if they use the fashion products shown in the photos. So, the fashion photography used in Instagram content should look unique and different, with good photographic composition, and easy-to-understand messages.

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Schroer, Carla, e Mark Mudge. "A Context Metadata Collection and Management Tool for Computational Photography Projects". Archiving Conference 2017, n.º 1 (15 de maio de 2017): 99–104. http://dx.doi.org/10.2352/issn.2168-3204.2017.1.0.99.

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Hambourg, Maria Morris. "Photography between the Wars: Selections from the Ford Motor Company Collection". Metropolitan Museum of Art Bulletin 45, n.º 4 (1988): 1. http://dx.doi.org/10.2307/3258720.

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Wilce, Hannah. "The Dr. Ikkaku Ochi Collection: Medical Photography from Japan around 1900". Journal of Visual Communication in Medicine 39, n.º 3-4 (outubro de 2016): 147–48. http://dx.doi.org/10.1080/17453054.2016.1240585.

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Brittain, David. "Found in the UK's National Collection of the Art of Photography". Afterimage 35, n.º 3 (1 de novembro de 2007): 17–19. http://dx.doi.org/10.1525/aft.2007.35.3.17.

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Persohn, Lindsay. "Exploring time-lapse photography as a means for qualitative data collection". International Journal of Qualitative Studies in Education 28, n.º 5 (19 de maio de 2014): 501–13. http://dx.doi.org/10.1080/09518398.2014.915999.

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Peeler, David P. ""Ansel Adams, a Legacy: Masterworks from the Friends of Photography Collection"". Journal of American History 85, n.º 3 (dezembro de 1998): 1029. http://dx.doi.org/10.2307/2567223.

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Britten, Bob, e C. Zoe Smith. "Acquiring Taste: Graham Nash and the Evolution of the Photography Collection". Visual Communication Quarterly 17, n.º 3 (13 de agosto de 2010): 175–89. http://dx.doi.org/10.1080/15551393.2010.502477.

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Ilham, Yanuar, Nugraha Sugiarta e Oky Mauludya Sudradjat. "PHOTOGRAPHY SERVICES MARKETING COMMUNICATION STRATEGY". ArtComm : Jurnal Komunikasi dan Desain 4, n.º 2 (23 de novembro de 2021): 67–78. http://dx.doi.org/10.37278/artcomm.v4i2.431.

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This research is titled Marketing Communication Strategy Photography services (case study of Personal Selling communication Model in maintaining the Wedding photography product line in Pixto Creative Studio in Bandung). This research explains the personal selling communication strategy and the competing strategy of photography services at Pixto Creative as part of the Integrated marketing communication mix and the service marketing mix that will be used as a reference for Pixto Creative to enhance communication tools to promote potential customers. The purpose of this research is to know the steps of personal selling communication, to know the advantages and disadvantages of personal selling communication, to know the steps to develop a competitive strategy of services, to know the marketing mix of services, and to know the main factors in maintaining the wedding photography product line of Pixto Creative. The research uses qualitative research methods with a case study approach, paradigm Research is constructivism where the personal selling communication done by Pixto Creative is the result of construction built by Pixto Creative so consumers will naturally receive such communications as part of reality. The data collection techniques in this study are documentation, interviews, and observations. The results of this research are the personal selling Pixto Creative steps include finding potential customers (prospecting) and qualifying, Pre-approach, presentations and demonstrations,

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West, Caroline. "The Lean In Collection: Women, Work, and the Will to Represent". Open Cultural Studies 2, n.º 1 (1 de novembro de 2018): 430–39. http://dx.doi.org/10.1515/culture-2018-0039.

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Abstract In February 2014, Getty Images, the largest international stock photography agency, and LeanIn. org, Facebook COO Sheryl Sandberg’s women’s empowerment foundation, announced a new partnership that aimed to change the way women are portrayed in stock photography. The “Lean In Collection” with Getty seeks to challenge visual gendered stereotypes ascribed to both sexes in the daily life of work, home, and family life in advertising imagery. While the overarching ambition of gender empowerment implicit in the mission of Lean In is a worthwhile goal, I look to the problematic relationship rooted in the partnership between Lean In’s gender empowerment initiative and the role of Getty Images in trafficking aesthetic stereotypes for profit. Using methods of visual analysis and feminist critique, I argue that the photographs idealise a concept of female empowerment that is steeped in the rationale of neoliberal economics, which narrowly circumscribes gender citizenship according to the mandates of market logic. The Lean In Collection describes gender equality not as a right of citizenship procured by the state, but as a depoliticised and individualised negotiation.

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Proksell, Michelle, e Gabriele de Seta. "A Cabinet of Moments: Collecting and Displaying Visual Content from WeChat". Cabinet, Vol. 2, no. 2 (2017): 88–94. http://dx.doi.org/10.47659/m3.088.art.

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The Chinternet Archive is a collection of tens of thousands of digital images that artist Michelle Proksell has been collecting over years of everyday use of Chinese social messaging app WeChat. These images all come from public WeChat accounts that Michelle finds through a location-based function of the app called “People Nearby”. By regularly exploring the social media profiles of individuals in a one-kilometer radius from her geographical position, Michelle has been able to collect visual content shared by WeChat users in several Chinese cities as well as ten countries around the world. From filtered selfies to cheesy graphics, and from recurring themes of vernacular photography to emerging genres of postdigital aesthetics, the images collected in the Chinternet Archive offer precious and intimate insights into the everyday lives of Chinese digital media users. This essay introduces Michelle’s collection, presents various research projects and artworks through which the authors have made use of the archive, discusses the potentialities of working with visual content as well as the dangers of appropriating found images in the era of ubiquitous photography. Keywords: archive, China, found images, vernacular photography, WeChat

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Záveská, Daniela, e Helena Medřická. "Doklady fotografické činnosti Františka Řehoře ve sbírkách Národního muzea". Acta Musei Nationalis Pragae – Historia 74, n.º 1-2 (2022): 23–32. http://dx.doi.org/10.37520/amnph.2020.003.

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This text examines the photography collection of František Řehoř, created in the last quarter of the 19th century. The archives consisting of photographs and negatives are just one of the many components of the extensive research and collection activities carried out by the researcher. The collection constitutes a valuable insight into the everyday life of the inhabitants of rural settlements in eastern Galicia. The informative value of the collection is greatly enhanced by the detailed descriptions with which the author has accompanied his photographs.

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Zuhdah, Daumi Rahmatika, e Aprillia Firmonasari. "English Language Variation on Indonesian Register of Photography to Characterize the Community Identity". Lire Journal (Journal of Linguistics and Literature) 8, n.º 1 (7 de março de 2024): 103–15. http://dx.doi.org/10.33019/lire.v8i1.272.

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This research aims to describe the linguistics form, meaning, and functions under the phenomenon of English language variation used by Indonesian photography enthusiasts. The influence of the English register in lexical categories mostly has undergone a shift in meaning. So, the analysis of English register in the photography context is fascinating to be examined. The method of this research is qualitative descriptive with a sociolinguistics approach. The data are restricted to words and phrases taken from the daily posting of the Facebook community group. The procedure of data collection was conducted by observing and noting the English register among photography enthusiasts. The data were analyzed based on the formation process, the contextual meaning, and identifying the functions and sociolinguistics aspects. This research revealed that the use of English as a foreign language in the conversation of Indonesian photography enthusiasts was largely formed in a 'word' that represent an intended meaning without explain it in a long way. Those terms are functioned to tell the information, experiences, facts, techniques in photography. The involvement of English in the photography register was assumed because several terms do not have equivalent sense in Indonesian language, so it better to use them in English. This research has also showed that the intention of using English in photography community as the characteristics to labeling their social identity, also increasing the speaker's social value, particularly in creating feelings of pride and prestige.

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Lechowicz, Lech. "URSZULA CZARTORYSKA: A WRITER AND MUSEUM CURATOR". Muzealnictwo 63 (30 de agosto de 2022): 120–27. http://dx.doi.org/10.5604/01.3001.0015.9754.

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In the first period of her career Urszula Czartoryska (1934–1998) dealt mainly with criticism. She predominantly focused on photography and its relations with other artistic phenomena, particularly from the borderline territory where artistic genres meet, covering also film and video. Two books summed up that stage in her writing career: Przygody plastyczne fotografii (1965) and Od pop-artu do sztuki konceptualnej (1973). Czartoryska’s professional domains extended in 1977 when she began work as the Head and Curator of the newly-established Department of Photography and Visual Techniques at the Museum of Art in Lodz, one of the first multimedia departments in world museology (photography, film, video, multimedia installations), forming part of the International Collection of Modern Art (opened to the public in 1931). The work for that institution did not imply only building the Department’s collection, but also involvement in the operations of the whole Museum, its display and publishing activity. It also impacted her writing activity in the sense that it extended to include research studies mainly on multi-motif inter- or interdisciplinary art. Apart from her work as a writer and museum curator, in 1978– 1993, Czartoryska also lectured: at the University of Lodz (1978–1986), Warsaw School of Photography (1985–1993), and at the State College of Fine Arts (today University of Fine Arts) in Poznan (1989–1993). Urszula Czartoryska represented the type of critic, museologist, and researcher opened to multiplicity of relations present in contemporary art, and drawing from numerous methods of its analysis and description.

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Green, Hilary N. "Teaching Black Educational Philanthropy Through Photography, 1863–1920s". Public Historian 46, n.º 2 (1 de maio de 2024): 62–78. http://dx.doi.org/10.1525/tph.2024.46.2.62.

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This article explores the use of photography as a strategy for teaching Black educational philanthropy. Ordinary consumer-philanthropists, white and Black, saw value in the production, sale, and circulation of photography for the support of African American schools in the former Confederate states. In reading these historic photographs, students bear witness to the curated photographic collection of liberated children, traveling choirs, and Historically Black College and University (HBCU) campus communities who left little-to-no written records. The materiality and content of the historic photographs enhances the teaching of Black educational philanthropy from the Civil War to the early Jim Crow era.

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