Dissertationen zum Thema „Professional photography“

Thesis submitted in fulfillment of the requirements for the degree Magister of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2013
This study investigates the perspective of Capetonian professional photographers on issues of integrity, regarding the impact of digital imaging technology. Key objectives are to establish how the concept of photographic integrity manifests itself throughout the history of the documentary genre, prior and subsequent to the introduction of digital imaging technology; to ascertain the extent to which the Capetonian professional photographer uses digital imaging technology compared to film technology; to discover how Capetonian professional photographers perceive various concepts related to integrity in a documentary photograph; to identify what Capetonian professional photographers regard as acceptable digital editing to the photojournalistic documentary photograph; to ascertain whether Capetonian professional photographers believe that digital imaging technology impacted on the integrity of the documentary photograph; and finally, to discern whether Capetonian professional photographers who have practiced professional photojournalism see the need for a national regulating body, which clearly makes known what acceptable picture taking (in terms of content, e.g. staging of a photograph) and digital editing entails, for the South African photojournalist. The rationale for this study is that we exist in an era where we are faced with a digital revolution which transforms perceptions of integrity and it is essential to ascertain how technology influences the perceptions of the very professionals who produce documentary photography images. The literature review evolves a context for this study. This empirical study’s data collection and analyses has a mixed-method design. The survey’s instrument of data collection is a questionnaire, which captured quantitative data and with half of one question captures qualitative data. I analysed quantitative data with the help of SPSS and I analysed qualitative data much akin to a case study. The statistical test used to analyse quantitative data is a chi-square test and there are 66 participants in the study. I found that a breach of integrity, for instance manipulation, was always possible in the era prior to the introduction of digital imaging technology. Now it is only done faster, more thorough and more people have access to editing technology. Many who lack moral fiber are tempted now, more than ever, to illicitly manipulate. Capetonian professional photographer’s experience in digital image creation and editing technology outweighs the equivalent in the film medium. Digital camera usage takes precedence over film cameras. An example of a perception of a concept related to integrity in documentary photography is the sub-group which has practiced professional photojournalism insisted (73.5% of them strongly agreed) that it is possible to be creative and truthful at the same time in documentary photography. With regard to what acceptable editing entails, for cropping respondents favoured slight cropping; for dodging and burning in respondents favoured very light dodging and burning in; for pasting in respondents favoured no pasting in is acceptable; and for removing of objects respondents favoured no removing of objects. The Capetonian professional photographer believes that digital imaging technology has impacted on the integrity of the documentary photograph. For instance, the study has measured and proved that a majority of Capetonian professional photographers believe that a documentary essay taken in film and processed in the traditional darkroom feels more consistently trustworthy than its digital equivalent. This study has shown that there is a need for a body that clearly makes known what acceptable picture taking and digital editing entails for the professional photojournalistic photographer in South Africa.

During the last decades, the presence of visual media has increased dramatically. However, very little empirical research has been carried out to determine the implication of the medium photograph as a visual information transmitter. The aim of this study was therefore to investigate the characteristics of professional press photos that relate to war and armed conflicts and to examine the framing of victimhood. A thorough literature review as well as an iconographic interpretation of World Press Photos serves to ascertain data in order to permit answering the research questions.   The World Press Photo Foundation is the subject of research as it represents the most prestigious international competition for press photography at present and thus acts as an agenda-setter. That highlights the implication of its decisions about professional photographs since its coverage of certain issues biases the international media coverage of the same. It also affects the development of professional photojournalism. In this context the meaning of photographs in today’s visual media societies can be discussed.

Dans la seconde moitié du XIXe siècle, l’amélioration des techniques photographiques offre de nouveaux outils aux architectes et au monde de la construction ou de la restauration d’édifices. Certains photographes se spécialisent alors dans la photographie d’architecture et de chantier et développent ce marché nouveau. Dans ce contexte, Louis Emile Durandelle, actif à Paris entre 1860 et 1890, illustre cette adaptation de certains photographes à la demande des architectes dont l’utilisation des images d’architecture est alors en transition entre l’héritage du siècle précédent où les gravures étaient essentiellement diffusées dans des publications spécialisées et des pratiques nouvelles de diffusions plus larges des photographies d’architecture. La représentation architecturale connaît alors elle-même une transition importante, bouleversée notamment par la rapidité d’exécution des photographies. Ayant réalisé plus de dix mille photographies de reproductions d’objets d’art et d’architecture et un nombre difficile à évaluer de portraits-cartes, Durandelle joue par l’abondance de sa production et sa présence sur des chantiers parisiens majeurs un rôle important dans l’évolution des usages de la photographie par le monde de la construction. On lui doit un important corpus photographique fournissant de précieuses informations au sujet des travaux de l’Opéra Garnier, du Sacré-Cœur de Montmartre, du Mont-Saint-Michel, du Comptoir d’Escompte de la ville de Paris, de la gare Saint-Lazare, de l’Hôtel-Dieu de Paris, de la Tour Eiffel, du Palais du Louvre ou encore du musée des Beaux-Arts d’Amiens. L’étude retrace sa biographie, son activité de photographe de chantier, d’édifices achevés et de décors monumentaux, depuis sa réalisation des clichés jusqu’à leurs usages variés faits par ses commanditaires. Elle replace l’activité du photographe parmi celles de ses pairs, à une époque où le métier de photographe d’architecture nécessite une importante maîtrise technique notamment pour lutter contre la parallaxe et les distorsions de la perspective. Elle analyse la manière dont certains architectes, certaines administrations ou certains entrepreneurs du bâtiment ont fait usage des clichés de Durandelle pour servir leurs intérêts économiques et professionnels aussi bien lors de la conception architecturale qu’au cours du chantier de construction ou pour promouvoir leur réalisation une fois l’édifice achevé
In the second half of the 19th century, the improvement of photographic techniques offers new tools to architects and the world of construction or restoration of buildings. Some photographers then specialize in architecture and construction photography and develop this new market. In this context, Louis Emile Durandelle, active in Paris between 1860 and 1890, illustrates this adaptation of some photographers at the request of architects whose use of architectural images is then in transition between the legacy of the previous century when the engravings were mainly disseminated in specialized publications and new practices of wider dissemination of architectural photographs. The architectural representation itself underwent an important transition, shattered notably by the speed of execution of the photographs. Having produced more than ten thousand photographs of reproductions of works of art and architecture and a number difficult to evaluate portraits-cards, Durandelle plays by the abundance of its production and its presence on major parisian sites an important role in the evolution of the uses of photography by the world of construction. He took many photographs providing valuable information about the works of the Opéra Garnier, the Sacré-Cœur of Montmartre, the Mont-Saint-Michel, the Comptoir d'Escompte of Paris, Lazare, the Hôtel-Dieu of Paris, the Eiffel Tower, the Louvre palace and the Amiens Museum of Fine Arts. Our study presents his biography, his activity as a photographer of construction sites, finished buildings and monumental decorations, from his realization of the photographs to their varied uses made by his customers. It places the photographer's activity amongst his peers, at a time when the profession of photographer of architecture requires an important technical knowledge in particular to avoid parallax and the distortions of the perspective. Our study analyzes the way in which architects, administrations or building contractors have used Durandelle's photographs to serve their economic and professional interests both during the architectural design and during the construction or to promote their realization once the building is completed

Les coopérations de plus en plus proches et fréquentes entretenues par des photojournalistes et des ONG humanitaires soulèvent des réactions diverses. En même temps que l’on célèbre les bénéficies du témoignage photojournalistique pour faire avancer des causes humanitaires, on soupçonne les photojournalistes de perte d’indépendance ou de brader leur profession. L’objectif de la recherche est de comprendre les conditions de ce rapprochement, dans un contexte de critique et d’incertitude. À partir de l’analyse de 17 entretiens auprès de photographes et du personnel de l’humanitaire, et de documents liés aux expositions photo-humanitaires, nous avons exploré l’hypothèse selon laquelle, pour construire ensemble, les acteurs de ces deux mondes doivent se mettre d’accord sur la base de valeurs communes. L’objectif des acteurs est de sauvegarder la cohérence de chaque monde et de pouvoir argumenter leurs choix d’une manière qui puisse être considérée comme acceptable face aux critiques. Notre approche consiste à restituer les contraintes matérielles et discursives auxquelles font face ces professionnels quand ils coopèrent ensemble. Nous montrons comment le photographe est reconnu pour son attachement à des causes sociales, pour son engagement sur le long terme et pour les risques qu’il entreprend, devenant ainsi un personnage du récit humanitaire. En effet, les ONG humanitaires proposent la création d’espaces qui contribuent à la légitimation du photojournalisme comme profession spécifique. De manière paradoxale, en légitimant ce photojournalisme, le risque est rendre flous les contours de la profession, en lui accordant un sens nouveau, en dehors de la presse
The increasing, close and regular cooperation between humanitarian NGO and photojournalists raises diverse reactions. As some people will extol the virtues of photojournalistic testimony to promote humanitarian causes, other will make claims of photographs having relative little independence or making a negative impact on their own professional group's economy. The purpose of our research is to understand the conditions that make possible this cooperation in a context of criticism and uncertainty. The hypothesis is that in order to build on and move forward, actors involved in the cooperation have to agree on the basis of common values. Their purpose is to protect the coherence of their world and to support their choices with arguments that can be considered as acceptable. We base our analysis on the content of 17 interviews to both photographers and humanitarian workers, as well as of documents related to photo-humanitarian exhibitions. Our approach, comprehensive and axiological, allows us to highlight the material and discursive constraints that these professionals face when they create together. Our study shows that photographers are recognized for their engagement to social causes, for their long-term commitment and for the risks they undertake, becoming eventually characters of the humanitarian narrative. Indeed, NGO workers make considerable efforts to create spaces that contribute to the legitimization of photojournalism as a specialized profession. The paradox is that, by legitimizing this kind of photojournalism, this regular cooperation to make unclear the outlines of the profession, redefining this practice in a way that doesn’t include the press

Este estudo analisa a formação profissional na assistência e assessoria jurídica universitária que trabalha com direitos da mulher. A análise do estudo toma a experiência forjada pelo Grupo 8 - Generalizando (G8G) do Serviço de Assessoria Jurídica Universitária da Faculdade de Direito da Universidade Federal do Rio Grande do Sul (UFRGS) para problematizar a formação profissional nesse contexto. A formação profissional é tomada como referência por ampliar e abarcar a formação acadêmica, uma vez que o grupo é composto por estudantes de Direito e de Psicologia, advogados, advogadas e psicólogas que trabalham voluntariamente no Serviço. A proposta metodológica utilizada nessa pesquisa contemplou as ferramentas da pesquisa-intervenção e a experimentação fotográfica, baseada nas estratégias da intervenção fotográfica. A fotografia colocou-se no processo de pesquisa, inserida em um longo acompanhamento junto ao grupo, e mostrou-se como disparadora do dispositivo da visibilidade, potencializando que os sujeitos da pesquisa falassem sobre suas experiências através de outra linguagem que não a jurídica. O momento das oficinas de fotografia com a produção de fotografias pelos sujeitos da pesquisa configurou-se em um espaço no qual questões referentes à formação profissional, enquanto experiência de si e trabalho de si sobre si mesmo, puderam ser explicitadas e, sobretudo, compartilhadas. Os efeitos desse estudo apontam para a elaboração de um trabalho ético, produzido por uma experiência de dobrar-se sobre si para produzir-se sujeito de sua própria conduta. Estas transformações tornaram-se possíveis na medida em que, ao trabalharem com direitos da mulher e com gênero, aqueles e aquelas que fazem parte do G8G foram convocados e convocadas a produzirem outros modos de fazer Direito, através das composições de assistência e assessoria e Direito e Psicologia, tensionando as noções de público-privado. As transformações possíveis passam pela construção do “afetar-se” como elemento da formação jurídica, tensionando as noções de neutralidade e de imparcialidade sustentadas pelo discurso jurídico. Dessa forma, este estudo possibilitou “dar a ver” outra formação jurídica que se forja com outros modos de fazer Direito e de fazer Psicologia no contexto da assistência e da assessoria jurídica universitária em direitos da mulher.
This study analyses the professional training in legal university assistance and advice that works with women rights. The study analysis uses the experience forged by Grupo 8-Generalizando (G8G) from the Serviço de Assessoria Jurídica Universitária da Faculdade de Direito da Universidade Federal do Rio Grande do Sul (UFRGS) to discuss the professional training in this context. The professional training is taken as a reference because it expands and covers the academic training, since the group consists of Law and Psychology students, lawyers and psychologists who work voluntarily in the Service. The methodological proposal used in this research included the intervention-research and photography experimentation tools, based on the strategies from the photography intervention. The photography took part in the research process inserted in a long-term attendance with the group and it proved to be like a trigger of the visibility device, enhancing the research subjects to speak about their own experience through a non-legal language. The photography workshop moment with the photography output by the research subjects worked as a space in which issues related to professional training, while "self-experience" and "training of oneself", could be explained and, mostly, shared. The effects of this study point to the preparation of an "ethical work", reached by an experience of "double up on yourself" in order to produce oneself as a subject of his own conduct. These transformations were possible as, when working with women rights and with gender, those who take part of the G8G were convocated to produce other ways of understanding Law, through advice and assistance compositions of Law and Psychology, questioning the public-private notions. Among the possible transformations is included the construction of "affect yourself" as an element of the legal training, tensing the notions of neutrality and impartiality sustained by the legal speech. Thus this study enabled "the possibility to see" another legal training that is forged with other ways of understanding Law and Psychology in the context of legal university assistance and advice in women rights.

Les perversions sexuelles en milieu professionnel : la violence de la pulsion scopique traite du choix des professions, des structures psychiques et de la violence fondamentale. L'hypothèse part de l'idée que le choix des professions est, comme la presque totalité des choix humains, en corrélation avec le mode de structuration ou d'aménagement du sujet. Nous avons pu conclure que les photographes et modèles de mode sont aménagés dans le tronc commun des états limites, l'aménagement dit « pervers », indépendamment de leur sexe et de leur nationalité. Nous pensons pouvoir aussi transposer ce que nous avons pu conclure de cette recherche concernant les photographes et les modèles de mode aux autres professions exigeant l'utilisation du regard comme pour les tireurs embusqués ou les photographes de guerre et dans un second temps à toutes les professions impliquant l'art visuel et l'art en général, qui dissimule la prégénitalité perverse sous le masque de l'esthétique artistique
The sexual perversions in the professional field: the violence of the scopic drive deals with the choice of professions, the psychological structures and the fundamental violence. Our hypothesis is based on the idea that the choice of professions is, as almost as ail human choices, in conjunction with the personality structure. We could conclude that the photographers and fashion models can both be fitted into the core of the borderline personality organization regardless of their sex and nationality. We think we can also implement what we have been able to concede from this research on photographers and fashion models to other occupations requiring the usage of the sight as snipers or war photographers and later on to ail professions involving visual art and art in general, which is supposed to mask perverse tendencies under an artistic cover

Beaucoup d’observateurs s’accordent à dire que les professions du photojournalisme sont entrées ces dernières décennies dans une crise profonde, due à la concurrence accrue avec les banques d’images et avec les amateurs. On constate cependant que de nombreuses structures continuent à prendre en charge la fabrication des images d’actualité de manière spécialisée, tout en défendant l’importance de mettre en œuvre, face à ces objets, une attitude qualifiée de « professionnelle ». Comment certains acteurs peuvent-ils revendiquer avec succès la « licence » de produire ces artefacts et la possibilité de définir de manière autonome leur propre « mandat », à l’heure où le monopole sur ce type de production semble avoir perdu son évidence ?La réponse à cette question est cherchée à travers une double enquête, historique puis ethnographique. La seconde a été menée dans trois rédactions françaises : le service photo d’une agence de presse mondiale, la rédaction print d’un quotidien national et la rédaction web d’un news magazine. L’enquête a conduit à mettre en lumière que la forte division du travail dans les entreprises de presse n’est pas antinomique avec l’exercice, de la part des acteurs, d’une autonomie professionnelle, entendue comme la capacité à mettre en œuvre des arbitrages complexes tout en menant une réflexion sur les finalités mêmes de leur activité. La virtuosité des professionnels du photojournalisme consiste à faire tenir ensemble des contraintes hétérogènes, irréductibles à la seule logique du profit. Ces dernières se renforcent et se réactualisent à partir des interactions entre les acteurs qui composent les différents segments professionnels et lors des contacts de ces mêmes acteurs avec des groupes extérieurs aux entreprises de presse (ie. les sources et le public).L’autonomie est donc le résultat d’une organisation du travail sui generis qui permet aux professionnels de développer une morale spécifique articulée à celle de groupements voisins ainsi que l’« intelligence » de leur activité. Mais des tendances à la « déprofessionnalisation » sont également repérables : l’autonomie des acteurs peut être mise à mal à l’intérieur de dispositifs de production qui tendent à individualiser le travail et, en même temps, à réduire la multidimensionnalité de l’évaluation.Cette thèse entend ainsi contribuer aux réflexions actuelles sur l’impact des technologies numériques et des nouvelles formes d’organisation du travail sur l’autonomie professionnelle
Many observers argue that the professions revolving around photojournalism are facing a deep crisis in recent decades due to increased competition with image banks and amateurs. However, several organizations continue to handle the production of photojournalistic images in a specialized manner, championing the importance of maintaining what they refer to as a “professional” attitude towards these objects. How can some actors successfully claim the “license” to produce these artifacts and the possibility of autonomously defining their own “mandate”, while their monopoly over this activity is no longer taken for granted? A two-pronged inquiry, both historical and ethnographic, will provide an answer to this question. The ethnographic part of this research was carried out on three French editorial boards: the photo service of an international news agency, the editorial staff of the print edition of a national newspaper, and the web editorial team of a news magazine. This investigation showed that the strong division of labor in media companies is not at odds with the exercise of professional autonomy, understood as the ability, for actors, to implement complex assessments while reflecting on the very aims of their activity. The virtuosity of photojournalism professionals consists in bringing together heterogeneous constraints, which are not reducible to the simple logic of profit. These constraints are reinforced and updated through interactions between actors who compose the different professional segments and through the contacts they maintain with external groups (i.e. the sources and the public). Autonomy is therefore the result of a sui generis work organization that allows professionals to develop a specific morality in connection with that of neighboring groups as well as the “intelligence” of their activity. However, tendencies towards “deprofessionalization” are also noticeable: the actors’ autonomy is undermined when production systems tend to individualize work and, at the same time, to abolish complex judgment. This thesis thus aims to contribute to current discussions on the impact of digital technologies and new forms of work organization on professional autonomy

O objeto de estudo desta dissertação é o surgimento do campo fotográfico profissional paulistano entre 1939 e 1970, fenômeno intimamente ligado à consolidação da sociedade de consumo em São Paulo. Ela tem como objetivo investigar as diferentes forças sociais que atuaram na formação da imagem da metrópole de seus artefatos, edifícios, pessoas e espaços componentes procurando entender por que uma e não outra representação da cidade; por que determinados profissionais e não outros a produziram. O tema foi abordado em três escalas. O primeiro capítulo traz um zoom sobre a atividade de um estúdio fotográfico, o Fotolabor, propriedade dos irmãos Werner e Geraldo Haberkorn. Descreve sua produção, as relações de trabalho, de aprendizado, os clientes e outros aspectos relevantes. O segundo capítulo abre um pouco o foco e tem como tema os fotógrafos de estúdio do período, a relação entre fotografia, publicidade e o desenvolvimento dos meios de comunicação impressos no Brasil. O terceiro amplia o campo de visão, como uma lente grande angular, e traz à cena fotógrafos, comerciantes e importadores de produtos fotográficos, numa visão de conjunto do que se denominou mercado fotográfico. Espera-se, assim, contribuir para uma melhor compreensão do trabalho dos fotógrafos profissionais em São Paulo no século XX.
The subject of this thesis is the rise of the professional photographic field in São Paulo between 1939-1970, understood as a phenomenon that establishes a deep relationship with the consumer societys growth in the city at that time. It aims to investigate the different social forces that led to the conception and creation of the metropolis image its artifacts, buildings, people and spaces trying to understand why that image has been created and why a specific kind of professional produced it (foreign photographers in Brazil). The theme was approached on three levels. The first chapter gives a close up upon the activities of a photography studio, named Fotolabor, owned by the brothers Werner and Geraldo Haberkorn. This first chapter describes its production, its work relationships, the apprenticeship in the studio, its clients and other relevant aspects. The second chapter focuses on and looks at the photographers themselves (their life histories, the way they saw themselves and their colleagues) and at the relationship between photography, advertising and the press development in Brazil. The third chapter extends the field of view, much like a wide angle lens, and brings to the scene photographers, traders and importers of photographic products, an overview of what was called photographic market. It aims, therefore, to contribute to a better understanding of the work of professional photographers in São Paulo in the twentieth century.

COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Esta tese tem como objetivo central investigar, através de registros e reproduções fotográficas, as relações sociais, usos e costumes que emergem das imagens de professoras de escolas municipais do Rio de Janeiro, no período compreendido entre final do século XIX (década de 1890) e início do século XX (décadas iniciais), analisando como a imagem das professoras vem sendo veiculada e agregada a valores pelo documento fotográfico, refletida no cotidiano e nas práticas escolares da época focalizada neste estudo. Dessa forma, o trabalho tomou o curso de um estudo histórico-sociológico na de busca de significados, manifestos e latentes, no discurso visual das imagens fotográficas de professoras de escolas públicas do município do Rio de Janeiro, percorrendo documentos fotográficos do final do século XIX e início do século XX - Primeira República -, numa tentativa de mapear os usos e costumes pedagógicos da vida cotidiana, inseridos no trabalho docente dessas professoras que inscreveram suas identidades e como são olhadas ao longo das épocas. A escolha da cidade do Rio de Janeiro se deve ao fato de ter sido este município a capital do país, tendo abrigado e emanado, então, modos oficiais de conduta profissional para o magistério, assim como para outras profissões, além de, nos dias de hoje, continuar sendo uma cidade-pólo difusora de hábitos e costumes que se difundem por todo o país. A estrutura de análise tem como texto principal a fotografia como texto visual, tomando por base os caminhos teóricos nos estudos de Bóris Kossoy, Ana Maria Mauad, Lorenzo Vilches, Ruggiero Eugeni, Roland Barthes, entre outros autores apresentados. As considerações finais apontam que o estudo de imagens, documentos fotográficos de professoras de escolas públicas do município do Rio de Janeiro, pode trazer propostas de um novo olhar sobre a construção da identidade docente, sobre as redes onde essa identidade é tecida e se configura, não estando essas imagens alheias aos acontecimentos, tampouco às ideologias das épocas em que foram produzidas, registradas e veiculadas. Essas imagens não podem ser analisadas sem que o espectador do agora esteja impregnado da época em que vive, o que abre caminho para um dialogismo entre o registro e a visão desse observador atual.
This thesis aims mainly at investigating, through photographic records and reproductions, the social relations and customs which emerge from the analysis of images of Rio de Janeiro`s municipal school teachers, during the period between the end of the 19th century (the 1890s) and the beginning of the 20th century (its initial decades). By analyzing how the images of the teachers was made public and attached to values through photographic documents, reflected in everyday school practices of the period investigated, the work took the form of a historicalsociological study. This search for meaning in the visual discourse of the photographic images analyzed allowed the mapping of the everyday pedagogical customs of these female teachers who imprinted their identities. The structure used to analyze the photographs was based on the premise which also defines photography as a visual text, benefiting from the theoretical leads laid by Boris Kossoy, Ana Maria Mauad, Lorenzo Vilches, Ruggero Eugeni, Erwin Panofsky, Roland Barthes, among other authors cited. The city of Rio de Janeiro was chosen because it was the country`s capital until the year 1960, besides the fact that, nowadays, it remains a broadcasting hub in terms of habits and customs which spread throughout the country, having, therefore, welcomed and emanated official modes of professional conduct; in the case of this thesis, the identity of female schoolteachers. The final considerations of the work point out that the study of images and photographic documents of Rio de Janeiro`s elementary public school teachers offers a new look on the construction of the teaching identity, on the networks from which this identity is woven. These images do reflect the facts as well as the ideologies of the periods in which they were produced, recorded and made public. They can only be analyzed if today`s audience is permeated not only by the time in which it lives, but also by the context in which these photographs were taken, which opens the way to a dialogue between the record and the view of the contemporary observer.

Bakgrund: Fotografering är på tapeten mer än någonsin. Försäljningen av systemkameror slår nya rekord för varje år och här Canon och Nikon de världsledande kameramärkena. Många av deras respektive kunder anses vara mycket lojala gentemot varumärket och kan inte tänka sig att byta till det konkurrerande kameramärket. Hängivenheten kan dock tyckas märklig då de två fotogiganterna inte skiljer sig nämnvärt från varandra i sina produktutbud.

Syfte: Syftet med studien är att beskriva eventuella lojalitetsskillnader mellan Canons och Nikons hobbyfotografer i Sverige. Vi vill vidare reda ut varför dessa skillnader eller icke-skillnader finns då kameramärkenas produkter knappt skiljer sig åt.

Avgränsningar: Studien utförs främst utifrån ett konsumentperspektiv – producenternas perspektiv har således inte behandlats. Vidare är vi enbart intresserade av att kartlägga och analysera lojaliteten bland hobbyfotografer i Sverige som använder Canon eller Nikon.

Genomförande: Utifrån de tre områdena individ, grupp och märkesprodukt skapade vi en enkät som skickades ut till drygt 850 studenter på distanskursen Digital bildbehandling på Högskolan för lärande och kommunikation i Jönköping. Därmed använde vi oss av en kvantitativ ansats i form av en respondentundersökning. Med undersökningen ämnade vi kartlägga lojaliteten bland Canons och Nikons hobby-fotografer, vilket senare låg till grund för analysen där vi utifrån nämnda teoriområden undersökte varför lojaliteten uppkommit.

Resultat: Varumärkeslojaliteten bland Canons och Nikons fotografer visade sig vara likformad. Dock kunde tendensen att användare av Nikon generellt är mer extrema i sin lojalitet tydas; deras beteenden och attityder genererar högre såväl lojalitet som hyperlojalitet. Vidare kom vi fram till att de tre delarna individ, grupp och märkesprodukt tillsammans utgör grundstenar i varumärkeslojaliteten; denna process har vi sammanfattat i en modell. Vi menar vidare att nuvarande lojalitetsteorier borde fokusera mer på gruppen.

Background: Photography is more popular than ever. The number of sold single-lens reflex cameras increases every year. Canon and Nikon are the two leading brands when it comes to this type of camera. Many of their buyers are considered as being very loyal to their respective brand, and thus they cannot imagine switching to the competiting brand. The preference for a certain brand does seem somewhat strange as the products that the two giants offer do not differ a lot.

Aim: The aim of the study is to describe possible differences concerning loyalty among Canon’s and Nikon’s non professional photographers in Sweden. Also, the purpose of the study is to investigate why these differences exist even though the products are so much alike.

Demarcations: The study has been carried out first and foremost from a consumer perspective. Hence, the producers’ perspective has not been taken into consideration.

Method: A questionnaire based on the three main variables individual, group and brand was formed and sent to more than 850 students that have taken the distance course Digital Image Editing at the School of Education and Communication in Jönköping.

Result: Loyalty towards a specific brand turned out to be fairly similar among Canon’s and Nikon’s photographers. Yet the tendency that the loyalty of those who use Nikon is in general more extreme was discernible; their behaviour and their attitudes generate both stronger loyalty as well as stronger hyper loyalty. The study also shows that the three different variables individual, group and brand act jointly as foundation stones in the brand loyalty; this process has been summarized in a model. Furthermore, we suggest that present loyalty theories should focus more on one of the variables, namely the group.

Made available in DSpace on 2016-03-15T19:43:03Z (GMT). No. of bitstreams: 1 Mariana Peramezza Del Fiol.pdf: 9571108 bytes, checksum: 13c1053a06dd68cf79d98505086cbd20 (MD5) Previous issue date: 2015-08-12
The framework of this research is constructed through the pedagogue s eyes and examines how teachers, who are active in the market, learn how to become educators, working for an institution which is specialized in technical professional training. additionally, how teachers practicing their skills for the construction of a photographer s vision, with their students, could help them to achieve an outstanding position in their chosen careers. this concern has triggered a number of pedagogical questions such as: lesson planning, student s knowledge, organizational culture, including the pedagogical proposal of the institution and how it could interfere, or not, in the teacher s pedagogical work. this research deals with the identification of the constructing processes of didactic and pedagogical knowledge, through a photographer s vision, by professional teachers in a photography technical course. thus, the group selected for the research is formed by professionals working for such institutions. the methodology used was fieldwork, constant observation of teachers as well as interviews and analysis of data, described under the researcher s vision and interpretation. the construction of the teachers knowledge was identified by examining the teachers statements. they were classified according to several academic references. the relevance of this research is to contribute to the teachers education in specialized technical courses so that they can assist the education of young adults in their professional education. the result of the research shows clearly the ease and difficulties in the education of a photographer, as a teacher, and what needs to be changed in this process in order to enhance and stimulate a creative movement in the students and in the teachers themselves.
A pesquisa começa a ser enquadrada na lente da pedagoga a partir do problema apresentado; em como professores atuantes do mercado de trabalho aprendem a serem educadores, dentro de uma instituição voltada para o ensino técnico profissionalizante. professores exercendo a sua prática para a construção do olhar fotográfico junto aos seus alunos, para que estes se destaquem na profissão escolhida. isto desencadeou uma série de questões referentes a situações pedagógicas envolvendo desde o planejamento de aulas, conhecimento dos alunos, cultura organizacional, incluindo a proposta pedagógica e como ela consegue interferir favorecendo ou não o professor no seu trabalho pedagógico. esta pesquisa trata da identificação dos processos de construção dos conhecimentos didático pedagógico, pelo olhar fotográfico, dos professores do curso técnico de fotografia no exercício da profissão docente. para isso o grupo selecionado para análise, foram professores que atuam no ensino técnico do curso técnico em fotografia. a pesquisa teve como metodologia o trabalho de campo, o contato de observação intenso com os professores e foi utilizada entrevistas, além da observação, culminando na análise dos dados, descrita na visão e interpretação da pesquisadora. nas falas dos professores, foram identificados e classificados, segundo as referências teóricas, nas diversas tipologias da construção dos saberes docentes. a relevância da pesquisa é contribuir com a formação dos professores na modalidade de ensino técnico, na formação de jovens e adultos na educação profissional. a pesquisa, ao final do mestrado, deixa clara claras as facilidades e dificuldades na formação do fotógrafo como professor e o que se faz necessário mudar no processo de formação no contexto apresentado para favorecer e estimular a criatividade em sua profissão para que estes provoquem transformações nos alunos e em si mesmos.

碩士
國立屏東大學
行銷與流通管理學系碩士班
107
This study aims to explore the professional skills required for the role of "photographer". In the past, there were few related studies on the development of photography professional competencies. Therefore, in addition to using literature analysis, this study reviews the photography competencies and visual aesthetics in photography, and further conducts expert interviews to understand the photographic knowledge, professional skills and professional attitudes that photographers must possess. In order to make the interview materials more objective, this study interviewed two commercial photographers and one non-commercial photographer to share information through the experience of three professional photographers. After inductive analysis, the study has compiled seven major aspects of photographic capabilities: "device awareness", "photography knowledge", "aesthetic sense", "personal style", "skill application", "communication" and "professional attitude". 　　According to the interview results, the seven propositions are developed. Proposition 1: The basic understanding and operation of the equipment will contribute to the improvement of photography ability. Proposition 2: The more basic knowledge of photography, the more it contributes to the improvement of photography. Proposition 3: Cultivating personal beauty contributes to the quality of photographic works. Proposition 4: The performance of personal style will affect the degree of discrimination of photographic works. Proposition 5: The use of photography techniques will help to enhance the emotional expression of photographic works. Proposition 6: Effective and good communication will contribute to the emotional presentation of the work. Proposition 7: The professional attitude of the photographer will affect the level of personal and work. According to the seven propositions, a self-made scale was proposed, with a total of 43 questions. The experts and scholars discussed the scales to adjust the indicators, established expert validity, and finally retained 42 questions.

碩士
銘傳大學
新媒體暨傳播管理學系碩士在職專班
106
The humanity evolves has the enormous sensation to come from the vision, the phantom has the important influence regarding humanity's life, from the ancient times time cave mural, repairs chart APP immediately after the nowadays photography, we surpassed far regarding the phantom dependence oneself imagine, the photography from the 18th century development, must initially in order to have until now substituted for the drawing the basic function, but founded functions and so on recording and art and thought transmission, the good picture could let the human produce joyfully, the emotion approval and the artistic feeling function, simultaneously photographed also becomes an industry, group of people take provided the photographic service as industry, but because terminal use medium by paper this massive when moves to the computer or the hand-hold installment, provides the high quality phantom originally the practitioner can certainly receive certain degree the impact, for strives for the survival to have to seek the change in the new media control dissemination time, simultaneously the majority people all hoped has the photography high quality phantom ability, the payment study photography knowledge early is also accepted by the majority people, this research namely take photographs the teaching as a main body, assists take the new media in the social group network as the tool, tests by the advertisement delivery way is liked differently the audiences regarding the advertisement source material the degree, then has the payment study photography curriculum interest. The medical service advance in technology and the health insurance system are perfect, the populace mean lifetime grows, the Taiwan area aging of population increases hurriedly, enables the silver hair retiree to have many time to be possible to control, because in addition the Taiwan area and other countries compare also somewhat low, the unmarried race changes much, this group of person also suits the guidance to be engaged in photographic correlation or the curriculum, regarding photographic service industry reforming for the teaching or the traveling experience, has its development value. This research in advance will make the market exploration and the related literature research to the photographic service industry present situation, understood take will photograph as industry how the human regarding the market mechanism change will be supposed in accordance to or reforming, then the adjustment management strategy caters to the market development, regarding this and the industry will make the SWOT analysis, the understanding industry trend and the future possible development direction. The experimental technique uses the PDCA pattern, first draws up the delivery strategy before each time the advertisement delivery, after the test carries on to the data analyzes and makes the strategy adjustment, the material origin is in the Facebook advertisement manager's correlation data （Facebook Pixel）, the idea has the sex, the area, the age, the interest, the education level, the income and so on. The income amount arranges in order the correlation data analysis by （Google Analytics）, finally the data which will produce after the advertisement delivery carries on the KPI achievements analysis, the computation advertisement delivery expenditure and the real return relations, will take advantage of this takes the photographic teaching industry affiliation new media social group platform marketing the basis.

碩士
長庚大學
管理學院碩士學位學程在職專班經營管理組
101
Photography has a long of history over 170 years, with rapid advances in technology in recent years, thanks to booming consumer’s market cameras, the industry of photographic education is also accompanied by a rapid growth. However the studies of domestic and foreign scholars are not enough, so the purpose of this study is to explore which factors play the important roles on professional photography teaching and customer’s satisfaction, customer loyalty, and are willing to pay higher prices. In this study, there are questionnaires answered by 209 customers from professional photography teaching institutions, by using regression analysis, the findings are as below: (1) The generation of customer’s satisfaction, from curriculum price reasonable, learning outcomes in line with expectations, and lecturers on the services provided, such as the period. (2) If someone provide more than the same industry courses to meet customer demand, will produce the willingness to continue their studies. (3) It will be able to encourage customer’s willing to pay a higher price is that allows customers with a value for money experience, and professional photography teaching institutions can provide good hardware, high-quality learning environment, and make customers feel satisfied consumer experience. This study suggests that photography teaching institutions set their goals to improve customer satisfaction and provide superior course content, teaching ability and customer's creative, build a good place to learn and give attentive and spanking assistance, thus creating the customer's feelings with the ultra value.

Evelyn Jephson Cameron (1868-1928) was born to a wealthy merchant family outside London. At the age of twenty-five, she moved to Terry, Montana to raise horses and homestead with her husband, Ewen Cameron. Evelyn Cameron recorded their time in eastern Montana in her daily diary entries, which span over thirty-five years from 1893 to 1928. She became a self-taught professional photographer, and made thousands of photographs with large-format cameras of the people in the towns of Terry, Fallon, and Marsh. She photographed the landscape, birds, and other animals she kept as pets or encountered in the wild. She wrote in her private diary nearly every day, offering a first-person point of view of life for women in the late nineteenth-century in the American West. This thesis focuses on three particular aspects of Cameron’s life. The first chapter focuses on spaces or mediums that Cameron had access to that offered her autonomy and privacy, things which were often difficult for women to find at this time. These spaces and mediums include her photography, her diary, and her darkroom, all of which gave her different sorts of calm or control. The second chapter delves into Cameron’s photographic portraits of herself and other women, looking into how women portrayed themselves and others in the American West. Cameron depicted herself as a part of the natural world, and she also did so when capturing other women. The final chapter analyzes Cameron’s identity as a Montanan, from her conscious choice to move there to her refusal to return to Britain permanently. She gained American citizenship in 1918 and took living in Montana seriously. Her diary reveals a deep awareness of the natural world and records accomplishments and events that help to build and strengthen her relationship with her chosen home.
Graduate
2018-08-25

Dissertação de mestrado em Contabilidade
O presente estudo aborda a problemática da construção da identidade profissional do contabilista, de forma a contribuir para o melhor conhecimento deste grupo de profissionais. O objetivo geral desta pesquisa é estudar o processo de construção da identidade do contabilista e quais as dimensões que este grupo de profissionais valoriza na construção da sua identidade profissional. Adicionalmente, os objetivos específicos visam analisar as informações observadas por meio das respostas sobre perceções intrínsecas ao género, experiência profissional e idade dos participantes. A metodologia adotada enquadra-se no paradigma qualitativo, de caracter interpretativo, complementado com a utilização da metodologia visual, mais especificamente, a autofotografia. A amostra é constituída por doze contabilistas, que divergem em termos de experiencia profissional, idade e género. As técnicas que suportam este estudo são a análise visual de fotografias e a entrevista semi-estruturada. A análise das fotografias dos participantes permitiu concluir que o contabilista, ao fazer uma representação de si mesmo, associa o seu local de trabalho, assim como as ferramentas e materiais de escritório, que utiliza diariamente. Na construção da sua identidade profissional, os participantes acreditam que os valores intrínsecos à sua personalidade e carácter são de especial importância e realçam a formação e a experiência que adquirem na resolução dos problemas que surgem no dia-a-dia como as fases que mais contribuem para o seu desenvolvimento profissional. Caracterizam-se a si mesmos como responsáveis, honestos, organizados e bons conselheiros. Não foram encontradas evidencias que permitam retirar conclusões intrínsecas ao género, à faixa etária e à experiência profissional dos participantes.
The present study addresses the problematic of the professional identity construction of the accountant, in order to contribute to a better understanding of this group of professionals. The main goal of this research is to study the process of identity construction of the accountant and which dimensions this group of professionals values in the construction of their professional identity. In addition, the specific objectives aim to analyze the information observed through the answers regarding the perceptions intrinsic to gender, professional experience and participant’s age. The adopted methodology is positioned within the interpretative and qualitative paradigm, complemented with the use of visual methodology, more specifically, self-photography. The sample is composed by twelve accountants, who differ in terms of professional experience, age and gender. The techniques that support this study are the visual analysis of photographs and the semi-structured interview. The participant’s photo analysis allowed to conclude that the accountant, when doing a representation of himself, associates his place of work and the office tools and materials of daily use. In the construction of their professional identity, the participants believe that the intrinsic values to their character and personality represent particular importance. The participants also highlight the qualification and experience they acquire by solving everyday problems that arise, as well as the phases that contribute most for their professional development. They characterize themselves as responsible, honest, organized and capable to give good advice. No evidence was found that allow to draw conclusions intrinsic to gender, age group and professional experience of the participants.

This dissertation examines the role of the law in the development of photography in nineteenth century America, both as a technology and as a profession. My central thesis is that the social construction of technology and the definition of the photographic profession were interrelated processes, in which legislation and litigation were key factors: I investigate this thesis through three case studies that each deal with a (legal) controversy surrounding the new medium of photography in the second half of the nineteenth century. Section 1, “Peer Production” at Mid-Century, examines the role of another relatively new medium in the nineteenth century – the periodical press – in forming, defining, and sustaining a nation-wide community of photographers, a community of practice. It argues that photography was in some ways similar to what we would today recognize as a “peer produced” technology, and that the photographic trade press, which first emerged in the early 1850s, was instrumental in fostering knowledge sharing and open innovation among photographers. It also, from time to time, served as a site for activism, as I show in a case study of the organized resistance against James A. Cutting’s “bromide patent” (1854-1868). Section 2, Spirit Photography, Boundary-Work, and the Socio-Legal Shaping of Photography, focuses on the attempts of Oscar G. Mason and other photographers to get “spirit” photographer William H. Mumler behind bars for fraud and deception in 1869. Seeking to uphold the image of photography as a scientific, mechanically objective technology, and that of the photographer as an honest, trustworthy, and honorable professional, these photographers turned the courtroom into an arena for both the social construction of technology and for policing the boundaries of the photographic profession. Section 3, “Privacy, Copyright, and Photography in the United States, is about a question that photographers, publishers, courts and legislators spent much of the nineteenth century struggling to answer: who was the rightful author, and therefore owner, of a photograph? The Section details why that question arose when it did – in the final third of the nineteenth century – as well as the different ways in which photographers, their opponents, and representatives of the law struggled to define the nature of photography along with the meaning of photographic copyright. It also deals with the emergence, around the turn of the century, of a third party claiming ownership in the photograph – the sitter – and with how the “right to privacy” was formulated in part to accommodate that party. Finally, this third Section reveals the sometimes contradictory and often quite resourceful ways in which both the advocates and adversaries of photographic copyright enlisted the right to privacy in order to back up their own property claims, even when the nascent privacy right was meant to curtail the power of both these parties.

碩士
國立臺灣科技大學
資訊工程系
103
In recent years, the rise of smartphones and digital cameras makes it easier to take photos and a mass amount of photos are spread on the Internet. Photographic aesthetics is some sort of art which is expressed by the professional photographers’ aesthetic sensibilities and emotion. Moreover, many professional photographers make adjustments to the photos in post, and let photos much become more beautiful and meet the conditions of photographic aesthetics rules. Enhancing the images followed by ambiguous photographic aesthetics become a big task for computer. In this thesis, an automatically image enhancement based on the aesthetics images dataset from the internet is proposed. We used many method to analyze an image such as RMS method, Laplace of Gaussian method, saliency map method, Gabor filter method and so on. We can use above sixteen features extracted from image to judge an image is good or not. We present a new concept to enhance images by using cluster styles which are generated from X-means and CART decision tree. When an input image is judged as a bad image by CART decision tree, the reason can be traced back by the decision tree characteristic to know which features needs enhancement. We list ten features which can enhance image efficiently such as gamma correction, Gaussian blur and so on. We use Interval Halving method to approach the value which come from giving suggestion of a feature by CART decision tree based on contemporary aesthetics criteria. In the experiments, we apply cluster and classification to our dataset, and the average of cluster’s accuracy is 96.8%. In the enhancement part, we use CART decision tree aesthetic suggestion which means some feature are not enough or some feature are too high that can enhance our image step by step. Then we can get differently image style result like professional photographers do.

How I am becoming a teacher? Searching for professional identity Is the development of a professional identity in students in the teacher training program at the PedF UK based on similar foundation as the professional identity of the students at the Detroit Teacher Program? How much is this professional identity influenced by the city and social situation in which those students are living and studying? Is the discourse that is used by both sides similar or different? A comparison of related narratives, concepts and metaphors will be done. What is the role attributed to art disciplines in the teacher training curriculum in both countries? A case study will explore all of these issues, and will be based on an analysis and reflecting on of videos which were created as part of the project, "How I Am Becoming a Teacher", as well as curriculum documents and other related documents. Key words Art, photography, visusal story, professional identity, teacher training, reflective practice, city, school, university faculty, artography

This dissertation is the very first scholarly text to bring a wider perspective on the genesis of Czech sport journalism, starting with its beginnings in the latter half of the 1800's and extending to the year of 1918, when this profession became an independent branch of the newspaper business. Given the paucity of original literature, the present work is based primarily on the study of period newspapers and archival materials, employing mainly the direct and the indirect methods of historiography. The main purpose of it was to describe the formation of the discipline of sport journalism in the broader context of the Czech society, sports and media, rather than regarding it as an independent, isolated process. The constituent parts of this dissertation, which renders the dawn of Czech sport journalism, include the most important titles of the day as well as the key personalities in the publishing and journalism of the period, the issue of sport reportage within the established political press, and also the genesis of the professions of sport journalist and sport photographer. The chapters that place the main theme within a wider historical context compare the brief description of the evolution of sport journalism in the Czech lands to the origins of sport journalism in other countries (Great Britain, USA,...