Relevant bibliographies by topics / Advertising photography

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Advertising photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Advertising photography"

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Kotsev, Angel. "The Rise of the Image Banks – a Threat for the Advertising Photography?" Sledva : Journal for University Culture, no. 39 (August 20, 2019): 36–47. http://dx.doi.org/10.33919/sledva.19.39.6.

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The study presented in this article is part of the topic The Impact of Image Banks on the Advertising Photography in Bulgaria, which in turn is part of the doctoral thesis Trends in the Development of Bulgarian Advertising Photography in the Period 2000 – 2017. The purpose of the research is to explore the trends in the selection of an advertising image, i.e. when the preferred images are from image banks and when they are custom-made. The survey will present the number of photographs in Bulgarian advertisements taken from an image bank and the amount of custom made ones. Another issue considered is at what stages of the working advertising process stock images appear. What is also discussed is whether the stock image generating industry is detrimental to customized advertising photography and if it provides additional business opportunity for advertising photographic studios. Through analysis and in-depth interviews with art directors, custom commercial photographers and stock image photographers, the research will attempt to present and systemize specific trends in the working process of advertising agencies on the Bulgarian market and how this affects the advertising photography in Bulgaria. The term advertising photography will be used in the sense of custom photography created for a particular advertising project, while the term stock photography will be used to define a photograph created without a specific assignment and of general commercial nature.
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KARMALITA, Anatoliy, Vitalii KARPENKO, and Iryna ZAKRYZHEVSKA. "PHOTO AS A MEANS OF VISUALIZING ADVERTISING AND INCREASING IMPACT ON THE CONSUMER." Ukrainian Journal of Applied Economics and Technology 7, no. 1 (January 26, 2022): 194–200. http://dx.doi.org/10.36887/2415-8453-2022-1-24.

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The article examines and analyzes the meaning of the image in the advertising message. In order to achieve effective communication with the consumer, it is advisable to use means of visual influence based on photography. Photography occupies a special place and plays an important role in the modern art of advertising. According to the marketing concept, if there is a product, then a buyer will definitely appear for it. In search of effective methods of influence on the consumer, they use means of visual pressure with the help of photography. The consumer's reaction to the visual component is more important than to the word. A person is configured in such a way that he reacts more quickly to the image of the object than to the text that describes it, viewing such advertising messages causes emotions, experiences that encourage the consumer to look for the advertised product. Thanks to the new trends in the development of visual design, the stylistic features of art photography in modern advertising practice are formed and developed. With the emergence of new requirements, the professional level of Ukrainian photographers is increasing. Today, they can simultaneously generate an idea, look for ways to develop it, and gradually implement it in practice. The effectiveness of photography as an advertising genre depends on the various techniques used in it. The photo can be black and white or colored. Black and white photography has the strongest expression of emotions and images. The photo advertiser determines the nature of the color solution, the size of the first and other plans of the image, the direction of the linear pattern, the contrast of color spots, rhythm and perspective. The freedom of improvisation is limited by the given subject, and this must be taken into account by the photographer. As a result of the development of the latest technologies, photographic equipment is being improved, which allows creating accurate images of the surrounding world, improving the technological process. In order to convey photo advertising to the consumer, it is necessary to choose a method successfully. In today's conditions, when choosing a site for an advertising campaign, one of the most effective tools is the Internet. After all, thanks to the development of technologies, the World Wide Web is not only constantly growing with new users, but it is also becoming more and more convenient for advertisers. Today, the Internet is the main channel for the distribution of advertising and one of the industries that demonstrate the most dynamic development of advertising, which is an integral part of a successful business. Keywords: photography, advertising, visualization, advertising photography, Internet.
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Dorofeeva, Yuliya, and Aleksey Moiseev. "Systematization of theory and methodology for teaching advertising and portrait photography based on the Russian experience." E3S Web of Conferences 210 (2020): 18112. http://dx.doi.org/10.1051/e3sconf/202021018112.

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This article aims at systematizing the key methods, principles, and approaches that underlie the proprietary integrated methodology for teaching advertising and portrait photography. Summarizing the authors’ wealth of educational expertise and successful experiments in teaching photography in Russia has become the primary objective of this article. The main research methods we employed were as follows: comparative analysis and pedagogical experiment (ascertaining, searching, educational). Findings: Essential aspects of the proprietary integrated methods of teaching advertising and portrait photography have been described; the global and domestic experience of teaching photography has been summarized. The proprietary integrated methods for teaching advertising and portrait photography has been tested by the authors in the systems of higher education, secondary vocational education, and continuing professional education in various fields and areas: design, computer graphics, art photography / photo art, the history, theory, techniques, and technology of photography, including advertising and portrait photography. The following institutions have become the main testing platforms: GOU VO MO Moscow State Regional University, the Arts and Design School under ANO VO Business and Design Institute, the School of ANOO VO Russian University of Cooperation under the Central Union of Consumer Societies of the Russian Federation (Centrosoyuz of Russia). The article suggests a classification of the aspects essential for advertising and portrait photography, provides recommendations for how to teach these types of photography, along with featuring the statistics on successful/failed students’ assignments and providing examples of copyrighted photographs taken for magazines.
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Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (January 2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.

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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evocative as well. Each of four pairs of photographs discussed reflects a significant period in the historical evolution of crime scene photography as well as an observable aesthetic influence: the earliest days of police photography and pictorialism; professionalization in the 1930s, documentary photography, and film noir; postwar photographic expansion to the suburban and middle class, advertising images of the family and home; and postwar elegiac landscape photography in the 1950s and compassion shown to infanticidal mothers. Crime scene photographs also demonstrate a remarkable shift in twentieth-century forensic technologies, and they reveal a collection of ordinary domestic and pastoral scenes at the moment when an act of violence made them extraordinary.
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Li, Sijie. "The Role of Commercial Photography in E-Commerce." Financial Forum 9, no. 2 (July 16, 2020): 133. http://dx.doi.org/10.18282/ff.v9i2.900.

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<p>Photographic technology has become increasingly mature and been widely used in various of business activities. From traditional advertising photography to online store photo gallery, the value of commercial photography in the business field has gradually increasing. With the analysis of the relationship between commercial photography and e-commerce, this article introduces the development history of commercial photography, and envisages its future application in the field of e-commerce.</p>
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Soshnikova, Irina Anatol'evna. "St. Petersburg’s ballet in fashion photography." Культура и искусство, no. 5 (May 2021): 25–36. http://dx.doi.org/10.7256/2454-0625.2021.5.35687.

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The subject of this research is the St. Petersburg&rsquo;s ballet in interpretation of the masters of fashion photography. The goal of this article consists in the analysis of specificity of modern fashion photography, and examination of the phenomenon of reference to the theme of ballet on the example of works of the prominent fashion photographers, such as Richard Avedon, Patrick Demarchelier, Deborah Turbeville, as well as certain Russian photographers. Special attention is given to examination of fashion photography not so much as the genre of photographic art, but as an important advertising tool. The relevance of fashion photography is associated with the increasing importance of visualization in life of a modern person; it plays a significant role in the social, cultural, and mythological life of the society. The article outlines the aspects of reference of fashion photographers to the theme of ballet; analyzes the peculiarities of using ballet images in photography; determines their role as a visual component of advertising campaigns in fashion industry; describes the advantages and effectiveness of their use in advertising and presentation of products. The author notes the frequency of referring to the theme of ballet in fashion photography, which leads to the increase of its artistic and cultural significance.
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Cronin, Anne M. "Researching Urban Space, Reflecting on Advertising." Space and Culture 14, no. 4 (September 19, 2011): 356–66. http://dx.doi.org/10.1177/1206331211412278.

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This photo essay places into dialogue practices of photographing urban space and the market research practices of the U.K. outdoor advertising industry. It explores photography as a method for accessing understandings of cities, and it examines ways of analyzing the interplay between photographic practices and data gathered through ethnography. Through personal reflections on the research process, the essay considers the spatial practices of the outdoor advertising industry and how its billboards and panels act to space out cities and city imaginaries.
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Chandra, Aldi Amandha, and Pongky Adhi Purnama. "PHOTOGRAPHY ADVERTISING JAM TANGAN CASIO CLASSIC SEBAGAI MEDIA PROMOSI DI INSTAGRAM." Jurnal Dimensi Seni Rupa dan Desain 17, no. 2 (February 16, 2021): 151–74. http://dx.doi.org/10.25105/dim.v17i2.8846.

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AbstractThis scientific assignment aims to be a promotional material on Instagram and the Casio Indonesia website. The objects used in this work are 8 (eight) Casio Classic watches. This work was carried out using literature study and observation methods. In doing this Final Project shows that photographing an object is not only about conveying a visual about something that is raised in photo media, but also how the photographer can convey the characteristics of each object, in this case the Casio Classic watch and can convey messages that are persuade (persuasively) into a work in the form of Advertising Photography. The resulting photos are aimed at increasing individual buying interest in the Casio classic watch.Keywords: photography, advertising photography, casio classic watches, instagram promotion mediaAbstrakKarya Tugas Ilmiah ini bertujuan untuk menjadi bahan promosi di instagramdan website casio Indonesia. Obyek yang digunakan dalam karya ini adalah jam tangan Casio Classic sejumlah 8 (delapan) buah. Karya ini dilakukan dengan menggunakan metode studi pustaka dan observasi. Dalam mengerjakan Tugas Akhir ini menunjukkan bahwa memotret suatu obyek bukan hanya sekedar menyampaikan secara visual mengenai suatu objek yang diangkat dalam media foto, namun juga bagaimana fotografer dapat menyampaikan karakteristik dari setiap obyek. Dalam hal ini jam tangan Casio Classic dapat menyampaikan pesan-pesan yang bersifat membujuk (persuasif) ke dalam sebuah karya berupa advertising photography. Foto yang dihasilkan bertujuan untuk meningkatkan minat beli individu terhadap jam tangan casio classic..
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JOBLING, P. "Real Fantasies: Edward Steichen's Advertising Photography." Journal of Design History 11, no. 4 (January 1, 1998): 349–51. http://dx.doi.org/10.1093/jdh/11.4.349.

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Blaszczyk, Regina Lee. "Real Fantasies: Edward Steichen's Advertising Photography." Technology and Culture 40, no. 3 (1999): 705–7. http://dx.doi.org/10.1353/tech.1999.0124.

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Dissertations / Theses on the topic "Advertising photography"

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Овчарек, Володимир, Анна Штонда, Ярослав Дякон, Станіслав Потанін, and Богдан Чернявський. "Рекламна фотографія." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18129.

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Розглянуто фотографію, як складову візуальної реклами та визначено її основні характеристики як частини рекламного проекту. Визначено та виокремлено мету фотографії в рекламі.
The photo as a component of visual advertising is considered, its main characteristics as a part of advertising are allocated, the purpose of a photo in advertising is allocated.
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Sliva, Jofre. "The aesthetic of illusion in advertising photography : an investigation of the aesthetic of illusion in advertising, 1980-1995, based on Peircean semiotics, and how photographic technologies have contributed to the consolidation of this aesthetic." Thesis, Open University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286954.

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Voith, Kathryn Lynn. "Recognition and Denotation of Photographic Manipulation." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1512670071235856.

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Callens, Anne-Céline. "Création photographique publicitaire et industrie. Le cas des Editions Paul-Martial." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES031.

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Durant la période de prospérité des années 1920, avec l’accroissement de la consommation résultant de la seconde révolution industrielle, de nouvelles stratégies commerciales se mettent en place. Alors que la publicité moderne en est à ses premiers balbutiements, les Éditions Paul-Martial — qui sont créées à Paris en 1926 — deviennent, grâce à leur fondateur Paul Martial Haeffelin, une des entreprises les plus novatrices dans le domaine. Elles proposent plusieurs types de prestations : la conception de lignes graphiques, de logotypes, d’affiches, d’annonces, d’encarts qui sont publiés dans les magazines, l’édition de brochures, catalogues et ouvrages publicitaires, ou encore la conception de stands d’exposition. L’entreprise se spécialise dans le domaine industriel. Elle est dotée d’un atelier de graphisme et de typographie, d’une imprimerie et d’un studio photographique. Entre 1929 et 1960, de nombreux reportages extérieurs sont également réalisés sur l’ensemble du territoire français à la demande de grandes sociétés comme la Compagnie des Forges et Aciéries de la Marine et d'Homécourt, les Établissements Arbel, la Société des aéroplanes Henry Potez, la SNCF, Schneider & Cie, Moët & Chandon ou encore l’OTUA. Les archives du studio photographique de l’entreprise sont aujourd’hui réparties dans quatre grandes collections : celle du musée d’art moderne et contemporain de Saint Étienne Métropole, celle du département des estampes et de la photographie de la Bibliothèque nationale de France, celle du Kunstmuseum de Bâle et celle du collectionneur Marc Pagneux. Elles permettent de constater que l’entreprise a œuvré à la promotion de l’industrie durant plus de trente ans en développant une esthétique photographique propre à l’époque, faisant preuve de nombreuses affinités avec l’avant-garde artistique
During the prosperity period of the 1920’s, new commercial strategies are implemented since the consumers society expands as the result of the second industrial revolution. At the beginnings of modern advertising, the Éditions Paul-Martial — created in Paris in 1926 — became, thanks to their founder Paul-Martial Haeffelin, one of the most innovative compagny in this field.Specialized in the field of the industry, the Éditions Paul-Martial offer several kinds of services : the design of graphical lines, logos, posters, advertisements, inserts that are published in magazines, the edition of brochures, catalogs and advertising works, or the design of exhibition stands. The compagny is equipped with a workshop of graphic design and typography, a printing press and a photographic studio. From 1929 to 1960, many external reports were also made on the whole French territory at the request of large companies such as the Compagnie des Forges et Aciéries de la Marine et d'Homécourt, the Établissements Arbel, the Société des aéroplanes Henry Potez, the SNCF, Schneider & Cie, Moët & Chandon or the OTUA.Today, the archives of the company’s photographic studio are mainly divided into four large collections: that of the musée d’art moderne et contemporain de Saint-Étienne Métropole, of the departement des estampes et de la photographie of the Bibliothèque nationale de France, of the Kunstmuseum Basel and that of the Marc Pagneux collection. Their study allows to note that the Paul Martial editions have worked for the promotion of industry for over thirty years. During the years between the two world wars, the photographers of the company have developed an aesthetic which is characteristic of this period, having many affinities with the avant-garde art movement
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Lima, Cristina Schroeder. "Um jogo sem regras explícitas: investigação sobre o lugar das técnicas e das tecnologias nas leituras da fotografia publicitária." Universidade do Vale do Rio dos Sinos, 2013. http://www.repositorio.jesuita.org.br/handle/UNISINOS/4230.

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Esta dissertação tem como preocupação mais ampla compreender o impacto da associação de técnicas e tecnologias digitais ao processo produtivo da fotografia publicitária através e a partir das próprias fotografias postas em circulação pela publicidade nos últimos anos. Nesse sentido, as questões motivadoras das reflexões aqui desenvolvidas dizem respeito ao estatuto da fotografia na contemporaneidade e, em particular, da fotografia publicitária. Para enfrentar tal problemática de modo operacional optou-se por analisar as fotografias selecionadas no “Prêmio Fundação Conrado Wessel – Categoria Fotografia Publicitária”, entre os anos de 2003 e 2006, recorte legitimado pelos próprios agentes envolvidos com a prática da fotografia publicitária, já que o referido prêmio consolida-se como um lugar onde concepções, limites e valores inerentes a este campo tão fluído e poroso são firmados e afirmados tanto pela própria instituição como pelos agentes por ela mobilizados. Neste contexto empírico, buscou-se compreender e definir a diferenciação que a publicidade, através de suas práticas sugere para o conceito de fotografia; elaborar o lugar das tecnologias e técnicas de manipulação digital na construção de fotografias para a publicidade considerando as leituras possíveis; formular tensões entre a utilização destas técnicas e tecnologias e a nossa compreensão e leitura das imagens fotográficas no contexto publicitário; buscar inferências de definição de fotografia publicitária a partir das relações entre as dimensões semio-técnicas e os processos de leitura e produção da fotografia publicitária. Na análise das imagens procedeu-se, inicialmente, a uma leitura “interna”, de caráter técnico-iconográfico, e a seguir foram empregados recursos “externos”, em especial entrevistas, com a finalidade de devolver as fotografias ao seu contexto publicitário original.
This dissertation has as its wide preoccupation understand the impact of the association of techniques and digital technologies to the productive processes of advertising photography through and from actual photographs put into circulation by advertising in the last years. In this sense, the questions that motivated the reflections developed here concern the contemporary photographic statute and, in particular, of advertising photography. To face such problematic in a operational mode, we chose to analyze the finalist photographs at Prêmio Conrado Wessel – Advertising Photography Category, between the years of 2003 and 2006, a selection legitimated by the players involved in the practice of advertising photography, since the referred prize consolidates itself as a place where conceptions, limits and values inherent to this field so fluid and porous are consolidated and affirmed by the institution itself and the agents mobilized by it. In this empirical context, it was sought to comprehend and define the differentiation that advertising, through its practices, suggests to the concept of photography; elaborate the place of technologies and digital manipulation techniques in the construction of photographs produced for ads considering possible readings; to formulate tensions between the use of these techniques and technologies and our understanding and reading of photographic images in the advertising context; to seek for inferences about definitions of advertising photography out from the semio-technical relations and the reading and productive processes of advertising photography. In the image analysis it was proceeded initially a “internal” reading, of technical- iconographic character, and thereafter it was employed “external” resources, specially interviews, with the purpose of returning the photographs to its original advertising context.
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Zwiener, Nicole V. "One in Four." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/770.

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One in Four is an ad campaign targeted at raising awareness of on-campus sexual assault and the effects that assault has on survivors. This ad campaign will include testimonies of survivors of sexual assault within the Claremont Colleges and will be shared through social media and printed on physical flyers. This thesis will explore how marketing strategies, such as, social norms marketing, has the potential to change the audiences behavior in relation to their peers’ behavior. It will also explore the work of the Guerrilla Girls and how anonymity was crucial to their success. In addition, One in Four will examine the work of Barbara Kruger and her use of graphics and red text. Through the use of various marketing strategies and influence of the work of the Guerrilla Girls and Barbara Kruger, One In Four will be successful in it's goal of raising awareness, destigmatizing sexual assault and have survivors feel that their stories are important and they are not alone.
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Burmester, Cristiano Franco. ""Fotografia - do analógico para o digital: um estudo das transformações no campo da produção de imagens fotográficas"." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-24102006-145909/.

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Esta pesquisa foi desenvolvida com o objetivo de nos aprofundarmos nas questões que decorrentes do advento das mídias digitais, permeiam a fotografia atualmente. Para isso, tomamos como objeto de estudo o campo da fotografia publicitária, uma área que trabalho e expressão com imagens que tem sofrido significativas transformações. Os focos da pesquisa empírica são as a dinâmica de trabalho – criação e produção - dos fotógrafos publicitários, as mudanças tecnológicas na fotografia e a percepção e a recepção das questões estéticas inerentes à imagem.
This research was conducted to develop a broader comprehension of the transformations occurred within the area of photography after the advent of the digital media. In order to do so, we have chosen as our object of study the field of advertising photography, an area of work and expression through images that has suffered significant transformations. The focuses of the empirical research are the dynamics of work – creation and production – of advertising photographers, the technological transformations within photography and the perception and reception of aesthetical matters regarding the photographic image.
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DEL, ZOTTO LUCIA. "Una piattaforma web per l'indagine storica. Grafici e fotografi pubblicitari in Pubblicità in Italia tra gli anni Cinquanta e Settanta." Doctoral thesis, Università IUAV di Venezia, 2020. http://hdl.handle.net/11578/286436.

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L’oggetto di indagine considerato nella ricerca è il rapporto tra grafici e fotografi in Italia tra gli anni Cinquanta e Settanta all'interno della produzione di artefatti pubblicitari a stampa. Prendere in esame, osservare e indagare tali relazioni ha significato identificare i protagonisti e ricostruire una vicenda lacunosa e dimenticata dalla storiografia ufficiale. L'indagine, svolta grazie alla combinazione di dati quantitativi, fonti secondarie e materiali d’archivio, intende offrire un resoconto ragionato sul dialogo che fotografia e grafica hanno affrontato in ambito pubblicitario. Si tratta dunque di un viaggio teso a ricostruire una cartografia, dai tracciati multipli, che si propone non solo di portare alla luce le relazioni fra grafici e fotografi ma anche quelle intercorse fra altre figure professionali coinvolte e i loro committenti, delineando il clima culturale e storico in cui si sono consolidate queste collaborazioni e aprendo la strada per possibili ricerche future sulla tematica. Attraverso la digitalizzazione della pubblicazione Pubblicità in Italia: Suggestioni Pubblicitarie, edita dal 1953 al 1987 dall'Ufficio Moderno, è stata sviluppata la piattaforma www.pubblicitainitalia.com. Creata come supporto alla ricerca storica, diventa un tool open source utilizzabile e implementabile per ulteriori ricerche, permettendo inoltre la verifica e l'incrocio dei dati con quelli provenienti dagli archivi e dalla letteratura di settore. L’ampia quantità di dati digitalizzati ha permesso di rilevare pattern, ricorrenze e relazioni con l'obiettivo di elaborare osservazioni storiche su di essi. Sono state così identificate tre fasi, la prima dal 1953 al 1960, la seconda dal 1961 al 1970 e la terza dal 1971 al 1980, ognuna delle quali riflette su determinati nodi storici che intersecano grafica e fotografia.
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Furrow, Ashley D. "Race and Gender Bias in Editorial and Advertising Photographs and in Sources in Sports Illustrated Kids, 2000-2009." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1288385066.

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MemÃria, Paula Roberta Fernandes. "A Imagem da mulher na moda: uma anÃlise das representaÃÃes dos corpos femeninos nas fotografias publicitÃrias da marca Dolce & Gabbana." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=7489.

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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico
Esta pesquisa aborda a representaÃÃo da beleza feminina nos corpos exibidos em vinte e quatro fotografias publicitÃrias da marca Dolce & Gabbana, analisadas sob a perspectiva de dois mÃtodos: a anÃlise composicional, sugerida por Rose (2001), e um mÃtodo desenvolvido por Dyer (1982) para a interpretaÃÃo das repr esentaÃÃes dos corpos na publicidade. Em um primeiro momento, se discute o conceito de representaÃÃo e a construÃÃo de um habitus (BOURDIEU, 1992, 2004), pelo corpo feminino nas fotografias. Apesar da elevada variaÃÃo do conceito de beleza, percebemos nas imagens dos corpos os valores atribuÃdos por uma determinada sociedade e que, na publicidade de moda, encontra-se vinculado ao consumo. Portanto, torna-se efÃmero para sustentar o mercado, que envolve, tanto os produtos dos anÃncios (que nem sempre estÃo diretamente vinculados à beleza feminina) como o prÃprio corpo que se tornou um produto e que possui toda uma indÃstria da beleza que o mantÃm. Em um segundo momento, percebemos a imagem da mulher na moda vinculada à seduÃÃo, pois como afirmou Mitchell (2009), as imagens pretendem nos beijar e tal seduÃÃo ocorre na maior parte das vezes com o espetÃculo. Surgem mulheres perfeitas, âas VÃnusâ da contemporaneidade sÃo apresentadas nas imagens publicitÃrias com medidas ideais, sem marcas de expressÃo, idiossincrasias, poros, quase âplastificadasâ (MAGALHÃES, 2006). Os âcorpos dÃceisâ na perspectiva de Foucault (1997), vÃm à tona, pois seguem a mesma linha e forma e precisam anular-se em funÃÃo do produto, tendo os seus gestos, atitudes e expressÃes controladas, reiterando estereÃtipos sociais femininos. Tais padrÃes sÃo difundidos pelas mÃdias nos discursos imagÃticos, que como afirmou Foucault (1997), engendram relaÃÃes de poder sobre modelos e espectadores, os quais alÃm de adquirirem os produtos da moda, terminam almejando os corpos. Conforme Garcia (2006, p. 9) âCompramos os produtos, mas desejamos o corpoâ e nÃo somente o corpo, mas toda a felicidade efÃmera apresentada pela publicidade. No terceiro momento da pesquisa percebemos que as imagens pautam a vida e os corpos dos indivÃduos na contemporaneidade e que, como Kamper (2002a) argumentou, as pessoas passam a viver tanto em funÃÃo das imagens que terminam morrendo por elas. Em um sentido metafÃrico ou literal, percebemos o argumento do filÃsofo nas imagens que apresentam mulheres neutras, sem vida, bonecas de âmarionetesâ da publicidade. O sÃculo XX agregou a mulher magra e longilÃnea, surgiram as modelos e top models, que se distanciam dos antigos valores agregados à beleza feminina (fecundidade) onde a gordura prevalecia nos corpos, hoje visualizamos o corpo magro, quase anorÃxico. Ao analisar as fotografias da marca Dolce & Gabbana percebemos que a mulher representada segue uma linha âquaseâ andrÃgena, com aspecto robotizado que se tornou evidente tanto pela sua atitude na cena como pelo corpo demasiadamente editado por softwares de tratamento. As fotografias possuem estreita relaÃÃo com o social, reiteram os valores atribuÃdos por nossa sociedade à beleza, onde corpos e tecnologias se unem e transformam as formas de ver e lidar com as imagens.
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Books on the topic "Advertising photography"

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Trades, London College of Printing and Distributive. MA Photography and advertising dissertation 1991: Photographic p ortrait in advertising. London: LCPDT, 1991.

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1917-, Nakai Kōichi, ed. Komāsharu foto: Advertising photography. Tōkyō: Shōgakkan, 1986.

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London College of Printing and Distributive Trades. MA Photography and advertising dissertation 1991: The influence of documentary photography on advertising. London: LCPDT, 1991.

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Satterwhite, Joy. Lights! Camera! Advertising! New York: AMPHOTO, 1991.

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London College of Printing and Distributive Trades. MA Photography and advertising dissertation 1991: Advertising and shared experience. London: LCPDT, 1991.

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Printing, London College of. MA in photography and advertising thesis 1990: Surrealism - art - advertising. London: LCP, 1990.

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Photography, International Center of, ed. Art & advertising: Commercial photography by artists. New York: International Center of Photograpy, 1986.

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A, Johnston Patricia. Real fantasies: Edward Steichen's advertising photography. Berkeley, Calif: University of California Press, 1997.

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London College of Printing and Distributive Trades. MA Photography and advertising dissertation 1991: Advertising : dis course contextspeech-acts. London: LCPDT, 1991.

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Rencontres internationales des arts graphiques de Chaumont (9th 1997). La photographie. Paris: Somogy, 1998.

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Book chapters on the topic "Advertising photography"

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Johnston, Patricia. "Art and Commerce: The Challenge of Modernist Advertising Photography." In Cultures of Commerce, 91–113. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-07182-8_6.

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Proverbio, Paola. "The Value System of Objects Through the Interpretation of Photographic Language." In Springer Series in Design and Innovation, 156–64. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_15.

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AbstractThe design object finds in photographic representation a way - parallel to that of graphics - to the indispensable process of design reading. Photographic research has long been intertwined with the process of cultural qualification of the design object. The project that photography brings to bear on design is a visual narrative which, through an immediately comprehensible language, stands as a true parallel narrative, interrelated, yet not necessarily coinciding altogether with that of the written word. The object begins to circulate through the different channels of communication - from corporate catalogs to advertising pages and magazines - reaching distant people and places, sometimes even before the physical object enters the channels of distribution. This symbiotic relationship means that the object is very often accompanied by a valuable wealth of images, documenting and communicating its value system and its design, production and commercial processes, enriched over time by the shots taken by several ‘hands’, that is, by different authors who offer the opportunity for a multifaceted reading of the product. This text intends to give an example of the added value that photography represents for design through a series of paradigmatic cases (such as Gio Ponti’s Superleggera or Ettore Sottsass’s Valentine), which traverse the history of Italian industrial design from its early stage.
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Brown, Elspeth H. "Rationalizing Consumption: Lejaren à Hiller and the Origins of American Advertising Photography, 1913–1924." In Cultures of Commerce, 75–90. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-07182-8_5.

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Medcalf, Alexander. "Railway Advertising: Theory and Practice 1900–1939." In Railway Photographic Advertising in Britain, 1900-1939, 35–69. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70857-7_2.

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Medcalf, Alexander. "Introduction." In Railway Photographic Advertising in Britain, 1900-1939, 1–34. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70857-7_1.

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Medcalf, Alexander. "In the Country." In Railway Photographic Advertising in Britain, 1900-1939, 71–109. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70857-7_3.

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Medcalf, Alexander. "By the Seaside." In Railway Photographic Advertising in Britain, 1900-1939, 111–52. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70857-7_4.

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Medcalf, Alexander. "Around Town." In Railway Photographic Advertising in Britain, 1900-1939, 153–82. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70857-7_5.

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Medcalf, Alexander. "On the Train." In Railway Photographic Advertising in Britain, 1900-1939, 183–215. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70857-7_6.

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Medcalf, Alexander. "Conclusion." In Railway Photographic Advertising in Britain, 1900-1939, 217–27. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70857-7_7.

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Conference papers on the topic "Advertising photography"

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Petenji Arbutina, Sibila, and Jelena Kovacevic Vorgucin. "Demand for/ Consumption of Culture Advertising Photography." In InSITE 2010: Informing Science + IT Education Conference. Informing Science Institute, 2010. http://dx.doi.org/10.28945/1272.

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Yu, Yi-Lin. "Mixed-Style Print Advertising Combining Fashion Photography and Digital Illustrations: Examining the Print Advertising of Consumer Products in Taiwan." In 2012 IEEE 9th Int'l Conference on Ubiquitous Intelligence & Computing / 9th Int'l Conference on Autonomic & Trusted Computing (UIC/ATC). IEEE, 2012. http://dx.doi.org/10.1109/uic-atc.2012.16.

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Tongyu, Cai. "The Application Mechanism of Emotional Demand in Advertising Photography from the Perspective of Symbols." In 2020 5th International Conference on Humanities Science and Society Development (ICHSSD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200727.139.

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Zuza, Lara, and Jure Ahtik. "Analysis and design of animated posters." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p77.

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Using a static or animated information on a medium, such as a poster, is a common decision to be made nowadays. Advertising solutions in the form of a screen that mimics a traditional poster format offer us a way to bring to life something that has been static for more than a century. Deciding if and when it is better to use an animated rather than a static (printed) poster is not always easy. The campaign budget has to be higher, and a decision must be based on the proven effectiveness and communicativeness of the medium in question. Research is focused on whether and how animation can improve perception. The main hypothesis is that animation of some graphic elements can improve the visibility and therefore the effectiveness of a poster. The first step of the research was to prepare a test material. In cooperation with Cankarjev dom, we animated five of their posters, the original of which was prepared only for printing. Different artistic styles and compositions were chosen. The second step was to animate some of the elements, focusing on the effectiveness and communicativeness of the final result. In order to determine the difference in the perception of static and animated posters, different methods could be used. Previous research has shown that the use of eye-tracking provides useful results. Like many other areas of graphic communication, e.g. photography, copywriting, graphic design... eye-tracking has been influenced by the use of artificial intelligence as well. The use of neural networks fed with big amounts of real eye-tracking measurements gives us the ability to predict with great confidence the way the human eye looks at something. In our research, we used software called Expoze that analyses the content of an image or video and predicts heatmaps of how real observers would see the test material. The end result of the research gives us a detailed view of how we receive information from static and animated posters.
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Li, Ken W. "REFORMULATING APPROACH TO USING PHOTOGRAPHIC IMAGES FOR ADVERTISING DESIGN." In Bridging Asia and the World: Global Platform for Interface between Marketing and Management. Global Alliance of Marketing & Management Associations, 2016. http://dx.doi.org/10.15444/gmc2016.10.04.03.

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Contero López, Pilar, Jorge Camba, and Manuel Contero. "An Analysis of Influencer Marketing Effectiveness in Luxury Brands using Eye tracking Technology." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002051.

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In this paper, we examine the advertising impact of influencers on the promotion of a luxury fashion item and the effect of the presentation style. More specifically, we focus on the application of eye-tracking technologies to analyze how consumers respond to different presentation strategies used by influencers when promoting a product in a photograph.We report the results of an experimental study in which a group of participants were exposed to a set of static visual stimuli (i.e. photographs) related to new product launches by luxury fashion brands in the form of promotions by social media influencers. Individual responses were evaluated based on the participant’s ability to recall information from the stimuli as well as their recorded gaze points and fixations, which were tracked to identify areas in which the viewer had a particular interest at a specific time during exposure.Our results revealed that consumers tend to be impacted more heavily and recall a luxury item more easily when the product is promoted by influencers who appear not to be looking directly at the camera in the pictures (i.e. not making eye contact with the viewer). The percentage of individuals who correctly identified the luxury item with this type of stimulus was 87.5% as opposed to 46.25% when the influencer was looking directly at the camera. In addition to the influencers' visual contact, two other aspects were evaluated: the impact of the influencers' popularity and the aesthetic characteristics of the photographs used as stimuli.Our study confirms the effectiveness of the marketing strategies pioneered by some of the most recognized luxury fashion brands and delivered by influencers, particularly if the influencer does not establish visual contact with the target audience. This type of communication enables a more targeted type of advertising which moves from the exclusivity of promoting luxury fashion brands in certain events and marketing campaigns by celebrities to influencers that can reach large audiences on social networks.
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