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Journal articles on the topic 'American Photographers'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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1

Kaeppler, Adrienne L. "Early photographers encounter Tongans." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 209–26. http://dx.doi.org/10.1386/nzps_00038_1.

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Four early photographers are examined here in relation to their encounters with Tongans and Tonga. These photographers are Andrew Garrett, Gustav Adolph Riemer, Clarence Gordon Campbell and Walter Stanhope Sherwill. Garrett, an American natural historian who specialized in shells and fish, took two ambrotypes of Tongans in Fiji in 1868, which are two of the earliest Tongan photographs known. Riemer, born in Saarlouis, Germany, was a marine photographer on S.M.S. Hertha on an official diplomatic visit and took at least 28 photographs in Tonga in 1876. Campbell, a tourist from New York, took 25 culturally important photographs in 1902. Sherwill, a British subject born in India, moved to Tonga about the time of the First World War. He probably took many photographs with more modern equipment, but only two have been identified with certainty. This article presents information about the photographers and those depicted, where the original photographs can be found and the research that made it possible to glean cultural information from them. These early photographers are placed in the context of other more well-known early photographers whose works can be found in archives and libraries in New Zealand, Australia, Hawai‘i and Germany. In addition, summary information about two Tongan-born photographers is presented, as well as where their photographs/negatives can be found.

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2

Troy, Tim. "Modern American photographers." History of Photography 16, no. 1 (March 1992): 74–76. http://dx.doi.org/10.1080/03087298.1992.10442525.

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3

Swensen, James R. "New cartographics: Photography and the artistic mapping of the American West, 1969‐79." European Journal of American Culture 39, no. 1 (March 1, 2020): 83–104. http://dx.doi.org/10.1386/ejac_00012_1.

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This article examines the work of a diverse group of photographers who in the late 1960s and 1970s employed mapping techniques and devices as a means of artistic creation. Products of photography’s unprecedented growth, photographers John Pfahl, Michael Bishop, Kenneth Josephson and the participants of the Rephotographic Survey Project employed cartographic and topographic strategies as part of their exploration of the history of their medium and the American West. These artist-photographers, moreover, responded to the nineteenth-century surveys of the West as well as its relation to other, better-known contemporary movements like ‘New Topographics’. In all, this article provides the first exploration of this distinctive group of American photographers which may be collectively termed: ‘new cartographics’.

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4

De Leon, Adrian. "Frank Mancao's “Pinoy Image”: Photography, Masculinity, and Respectability in Depression-Era California." Journal of American Ethnic History 41, no. 2 (January 1, 2022): 58–94. http://dx.doi.org/10.5406/19364695.41.2.03.

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Abstract This article examines the construction of respectability politics and ethnic identity in the visual archives of Frank Mancao, a Filipino labor contractor and photographer in California. By investigating Mancao's relationship with the male Filipino farmworkers he managed and photographed, it argues that ethnic photographers and migrant workers as photographic subjects turned to the camera as a means of constructing a respectability politics to refashion a denigrated masculine Filipino identity in the American West. It begins with an investigation of Mancao's photographic practice and moves into how his work as a studio photographer provided Filipino men—including Mancao himself—opportunities to represent themselves against the popular image of the Filipino vagrant and criminal. However, this study also suggests that the “Pinoy image” crafted around the camera was not a revolutionary one; instead, the photographs reified industriousness and participation in capitalist production as the merits of good citizenship.

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Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.

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Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.

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Quirke, Carol. "Imagining Racial Equality." Radical History Review 2018, no. 132 (October 1, 2018): 96–125. http://dx.doi.org/10.1215/01636545-6942440.

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Abstract Local 65 United Warehouse Workers Union (1933–1987), which became District 65 United Auto Workers, promoted photography with a camera club, and a member-edited newspaper New Voices, featuring photographs taken by members. This left-led, New York City distributive industry union began in 1933 on the Lower East Side, and it became the city’s second largest local. The union utilized photography to normalize the role of African American members within the union and to advance a civil rights and anti-racism agenda. This article includes photographs taken by member-photographers, and photo-reproductions of New Voices. New Voices’ photographs included African Americans in the everyday life of the union, challenged race-based labor segmentation, supported community struggles, and defied racial norms in midcentury America.

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7

Saretzky, Gary D., and Joseph G. Bilby. "New Jersey Photographers of the Civil War and Postwar Era: John P. Doremus." New Jersey Studies: An Interdisciplinary Journal 8, no. 1 (January 27, 2022): 152–223. http://dx.doi.org/10.14713/njs.v8i1.267.

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Of the more than 3,000 photographers active in New Jersey in the nineteenth century, a number of them were itinerant camera workers at some point during their careers, operating with a horse-drawn wagon. Some photographers, especially those taking views, circulated locally even when they had a gallery where they did portraits and sold other kinds of photographs. Like many other American photographers who did not always wait for customers, John P. Doremus began working in the medium during the Civil War, when there was a strong market for portraits. Doremus is distinguished in that, for much of the latter 1870s and 1880s, he lived and worked on a floating gallery on the Mississippi River while his business back home in Paterson, Passaic County, was managed by his family. For this remarkable episode in his career, he was inducted into the National Rivers Hall of Fame in 1991. He is also exceptional in that he kept a journal in which he recorded fascinating details about his experiences. This essay provides a case study of an able and ambitious photographer and entrepreneur whose career, characterized by both typical and unique experiences, sheds light on photographic and business practices of his era. You can find additional John P. Doremus photographs here: https://web.ingage.io/6jsPH2p.

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8

Rule, Amy. "Archives of American women photographers." History of Photography 18, no. 3 (September 1994): 244–47. http://dx.doi.org/10.1080/03087298.1994.10442358.

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9

Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.

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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.

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10

Brower, Matthew. "Trophy Shots: Early North American Photographs of Nonhuman Animals and the Display of Masculine Prowess." Society & Animals 13, no. 1 (2005): 13–32. http://dx.doi.org/10.1163/1568530053966661.

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AbstractThis essay examines the relationship between the display of non-human animal trophies and masculinity through an analysis of progressive-era American wildlife photography. In the 1890s, North American animal photographers began circulating their images in sporting journals and describing their practice as a form of hunting. These camera hunters exhibited their photographs as proof of sportsmanship, virility, and hunting prowess.

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11

Luskey, Judith. "Early American Anthropologists as Photographers of North American Indians." Visual Resources 4, no. 4 (January 1988): 359–72. http://dx.doi.org/10.1080/01973762.1988.9659144.

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12

Kreisel, Martha. "American Women Photographers: A Selected and Annotated Bibliography." Woman's Art Journal 22, no. 2 (2001): 61. http://dx.doi.org/10.2307/1358948.

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Herr, Pamela, and Susan Bernardin. "Trading Gazes: Euro-American Women Photographers and Native North Americans, 1880-1940." Western Historical Quarterly 35, no. 2 (July 1, 2004): 246. http://dx.doi.org/10.2307/25442995.

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Link, Alessandra. "Editing for Expansion: Railroad Photography, Native Peoples, and the American West, 1860–1880." Western Historical Quarterly 50, no. 3 (2019): 281–313. http://dx.doi.org/10.1093/whq/whz043.

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Abstract In the nineteenth century, both railroad expansion and photography influenced relations between the United States and Native peoples in powerful ways. Scholars have often dealt with these two technological developments separately, but photographs and railroads have a shared history. Throughout the mid-to-late nineteenth century railroad companies engaged with photographs and photographers to promote travel on their lines. This article evaluates the production and circulation of transcontinental railroad photographs, and it concludes that the so-called golden age of landscape photography was built on the suppression of peopled scenes in the West. Images of Indians and trains that reached broad audiences placed Indigenous peoples in opposition to the modern forces cast in steel and running on steam. Picturing an unpeopled West and anti-modern Indians brightened business prospects for those investing in the promise of U.S. expansion beyond the 100th meridian.

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15

Marini, Candela. "War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)." Fotocinema. Revista científica de cine y fotografía, no. 22 (January 25, 2021): 49–74. http://dx.doi.org/10.24310/fotocinema.2021.vi22.11650.

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In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.

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Miller, Bonnie. "Trading Gazes: Euro-American Women Photographers and Native North Americans, 1880-1940 (review)." Biography 26, no. 4 (2003): 757–60. http://dx.doi.org/10.1353/bio.2004.0015.

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17

Francisco, Jason. "A Tower to Console the Dead and the Living: Masumi Hayashi and the Image of History." Asian Diasporic Visual Cultures and the Americas 3, no. 3 (October 4, 2017): 275–91. http://dx.doi.org/10.1163/23523085-00303002.

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This article critically investigates the work of the Japanese American photographer Masumi Hayashi (1945–2006), with special attention to her series on World War II era internment camps for people of Japanese ancestry. It has three goals: to describe Hayashi’s unusual working method through close attention to the works themselves; to articulate the aesthetic, philosophical and ethical dimensions of Hayashi’s practice; and to position Hayashi within the field of late twentieth-century and early twenty-first century photographers concerned with the problem of giving-image to traumatic histories. The author argues for recognition of Hayashi’s deeply accomplished, ground-breaking work.

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18

Volkova, Galina V. "RUSSIAN ÉMIGRÉS – PHOTOGRAPHERS IN THE USA: PATH TO ART AND BUSINESS (1930s-1960s)." Articult, no. 4 (2020): 113–21. http://dx.doi.org/10.28995/2227-6165-2020-4-113-121.

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The article is devoted to the Russian diaspora in the USA as one of the centers for the development of photography as an art and a type of private enterprise. The author examines the destinies and creative heritage of the leading masters of photography in Russian America, revealing their interaction with the world of innovative art of the Russian artistic emigration. The author's hypothesis is that the main factors of the outstanding achievements of the leading figures of Russian-American photographic art were the synthesis of artistic and aesthetic innovations of European and Russian art, perceived or directly created by Russian émigré photographers in the 1920s, and the capabilities of the American publishing industry, the ability of its leaders to take creative experimentation and commercial risk for future success. The article also examines the social environment and personalities of the development of photography as a service sector, which has become an integral part of the life of the Russian diaspora in the USA in the twentieth century.

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19

Rose, Francesca. "Ambassadors of Progress: American Women Photographers in Paris 1900-1901." Woman's Art Journal 24, no. 1 (2003): 55. http://dx.doi.org/10.2307/1358829.

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Mason, Matthew D., and John Vincent Jezierski. "Enterprising Images: The Goodridge Brothers, African American Photographers, 1847-1922." Michigan Historical Review 29, no. 2 (2003): 172. http://dx.doi.org/10.2307/20174046.

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21

Wenger, Gina L. "Documentary Photography: Three Photographers' Standpoints on the Japanese-American Internment." Art Education 60, no. 5 (September 2007): 33–38. http://dx.doi.org/10.1080/00043125.2007.11651122.

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22

Peeler, David P., and Peter Maslowski. "Armed with Cameras: The American Military Photographers of World War II." American Historical Review 100, no. 2 (April 1995): 608. http://dx.doi.org/10.2307/2169190.

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23

Roeder, George H., and Peter Maslowski. "Armed with Cameras: The American Military Photographers of World War II." Journal of American History 81, no. 4 (March 1995): 1808. http://dx.doi.org/10.2307/2081822.

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24

Voss, Frederick S., and Peter Maslowski. "Armed with Cameras: The American Military Photographers of World War II." Journal of Military History 59, no. 2 (April 1995): 356. http://dx.doi.org/10.2307/2944602.

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25

Moore, Deborah Dash. "After Weegee: Essays on Contemporary Jewish American Photographers (review)." American Jewish History 97, no. 1 (2011): 93–94. http://dx.doi.org/10.1353/ajh.2011.0012.

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26

Shneer, David. "When Soviet Jewish photographers confront the very American question of identity." East European Jewish Affairs 46, no. 3 (September 2016): 390–98. http://dx.doi.org/10.1080/13501674.2016.1244761.

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27

Allen, David, and Agata Handley. "“The Most Photographed Barn in America”: Simulacra of the Sublime in American Art and Photography." Text Matters, no. 8 (October 24, 2018): 365–85. http://dx.doi.org/10.1515/texmat-2018-0022.

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In White Noise (1985) by Don DeLillo, two characters visit a famous barn, described as the “most photographed barn in America” alongside hordes of picture-taking tourists. One of them complains the barn has become a simulacrum, so that “no one sees” the actual barn anymore. This implies that there was once a real barn, which has been lost in the “virtual” image. This is in line with Plato’s concept of the simulacrum as a false or “corrupt” copy, which has lost all connection with the “original.” Plotinus, however, offered a different definition: the simulacrum distorts reality in order to reveal the invisible, the Ideal. There is a real building which has been called “the most photographed barn in America”: the Thomas Moulton Barn in the Grand Teton National Park. The location—barn in the foreground, mountain range towering over it—forms a striking visual composition. But the site is not only famous because it is photogenic. Images of the barn in part evoke the heroic struggles of pioneers living on the frontier. They also draw on the tradition of the “American sublime.” Ralph Waldo Emerson defined the sublime as “the influx of the Divine mind into our mind.” He followed Plotinus in valuing art as a means of “revelation”—with the artist as a kind of prophet or “seer.” The photographers who collect at the Moulton Barn are themselves consciously working within this tradition, and turning themselves into do-it-yourself “artist-seers.” They are the creators, not the slaves of the simulacrum.

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Ehrmann, Lauren Elizabeth. "On the Edge of a New Perception: The Art of Moran and Watkins." IU Journal of Undergraduate Research 3, no. 1 (September 5, 2017): 18–23. http://dx.doi.org/10.14434/iujur.v3i1.23324.

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This essay examines the ways in which views about documentation and representation were shifting in mid-nineteenth-century America, using Thomas Moran’s The Grand Canyon of the Yellowstone (1872) and Carleton Watkins’s Grizzly Giant (1861) as case studies. The work of Moran and Watkins demonstrates an interest in utilizing and uniting concepts of the sublime and the scientific with economic concerns. The goal of the paper is to demonstrate that the advent of photography caused landscape artists and photographers to reexamine the ways in which they chose to portray landscapes, specifically the landscapes of the American West.

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BLINDER, CAROLINE, and CHRISTOPHER LLOYD. "US Topographics: Imaging National Landscapes." Journal of American Studies 54, no. 3 (February 12, 2020): 461–69. http://dx.doi.org/10.1017/s0021875819000987.

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In 1975, the New Topographics: Photographs of a Man-Altered Landscape exhibition, organized by William Jenkins, at George Eastman House, changed the scope and aesthetics of American landscape photography. Ostensibly pared-back and banal, these black-and-white images formally presented the United States as a series of streets, suburban new builds, industrial sites and warehouses. None bigger than eleven inches by four or thirteen by thirteen, the photographs were also small and unassuming, refusing the grandness and potential sublimity of previous evocations of the US landscape. Rather than present the United States as a series of locations marked by regional and economic differences, photographers such as Robert Adams, Frank Gohlke, Lewis Baltz and Bernd and Hilla Becher now focussed on an increasing homogeneity across terrains, terrains often indeterminable in terms of actual locations, and, more often than not, eerily devoid of human presence. In Neil Campbell's words, the images were “unemotional, flat and appeared everyday, aspiring to ‘neutrality’ with a ‘disembodied eye.’” The New Topographics – according to such readings – differed from earlier depictions of the United States, moving away from the documentary focus on agrarian poverty and urban slums as seen during the Depression, as well as the humanist vision of postwar photographers such as Robert Frank. As William Jenkins put it in the original introduction to the exhibition, New Topographics was a study more “anthropological than critical,” one that would recentre everyday lived experience – not as a collection of individualized narratives, but as a cultural landscape marked by commercial interests above all.

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Klahr, Douglas M. "Stereoscopic Architectural Photography and Merleau-Ponty’s Phenomenology." ZARCH, no. 9 (December 4, 2017): 84–105. http://dx.doi.org/10.26754/ojs_zarch/zarch.201792269.

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Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every building that was deemed to be culturally significant by the European and American photographers who pioneered the medium, starting with its introduction to the general public at the Crystal Palace in London in 1851. By the early 1900s, consumers in Europe and America could purchase from major firms stereoscopic libraries of buildings from around the world. Stereoscopic photography brought together the emotional, technical and informed acts of looking, especially with regard to architecture. In this essay, the focus in upon the first of those acts, wherein the phenomenal and spatial dimensions of viewing are examined. Images of architecture are used to argue that the medium not only was a manifestation of Maurice Merleau-Ponty’s phenomenology of perception, but also validated the philosophy. After an analysis of how stereoscopic photography and Merleau-Ponty’s philosophy intersect, seven stereographs of architectural and urban subjects are discussed as examples, with the spatial boundaries of architecture and cities argued as especially adept in highlighting connections between the medium and the philosophy. In particular, the notion of Fundierung relationships, the heart of Merleau-Ponty phenomenology, is shown to closely align with the stereoscopic viewing experience describing layers of dependency.

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Buchner, Bradley Jay. "Book Review: Armed with Cameras: The American Military Photographers of World War II." Armed Forces & Society 22, no. 4 (July 1996): 659–62. http://dx.doi.org/10.1177/0095327x9602200413.

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32

Denny, Margaret. "Royals, Royalties and Remuneration: American and British women photographers in the Victorian era." Women's History Review 18, no. 5 (November 2009): 801–18. http://dx.doi.org/10.1080/09612020903282183.

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Sandweiss, Martha A. "Rachel McLean Sailor. Meaningful Places: Landscape Photographers in the Nineteenth-Century American West." American Historical Review 120, no. 1 (February 2015): 260–61. http://dx.doi.org/10.1093/ahr/120.1.260.

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Peeler, David P. "The Art of Disengagement: Edward Weston and Ansel Adams." Journal of American Studies 27, no. 3 (December 1993): 309–34. http://dx.doi.org/10.1017/s0021875800032059.

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Edward Weston (1886–1958) and Ansel Adams (1902–1984) were two of the foremost American photographers of the twentieth century. In their own day Weston and Adams attracted the attention of both critics and collectors, and more recently they have been given prominent places in the scholarship and exhibitions accompanying photography's 150th anniversary. These two Californians were good friends, achieved an influential modernist aesthetic, and created images with an enduring power and grace. They concentrated upon natural subjects, Adams tending towards monumental depictions of hulking mountains or clouds, and Weston tending more toward intense close ups of smaller objects such as fruits and vegetables. Such subjects were consistent with their deepest principles, for Weston and Adams believed that the artist should remain beyond the turmoil and confusion of current events, and instead focus upon the more enduring and transcendent qualities of nature. Thus stability and solidity became the leitmotifs of Adams's art, and even in those photographs where he included some turbulence to counterbalance the granite of his compositions – images such asNevada Fall, Yosemite National Park(c. 1946) (figure 1) – Adams usually chose to focus upon the rush of a mountain stream or some other natural movement, rather than the social or political currents of his day. Likewise Weston brought a deep timelessness to his photographs. Images likeShell(1927) (figure 2) seem to hover in a decontextualized void of shimmering geometrical shapes, and have little connection to the predatory forces or environmental disasters that may have threatened a particular mollusk.

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Romakina, Maria. "Architectural hybrids in kaleidoscopic photography." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 241–53. http://dx.doi.org/10.5937/saj1502241r.

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This paper focuses on the topic that is somehow a crossroad between two fields: photography and architectural morphogenesis. The particular interest of the article is contemporary photographic tendency to explore the kaleidoscopic technique and aesthetics in relation to the architectural objects and urban environment. Paradoxically these are the photographers who investigate this special type of morphogenesis of architectural form. However some of them are architects originally. Giving attention to the historical and evolutional aspects of the kaleidoscopic image in 19th century and kaleidoscopic photographic practices of American artist Alvin Langdon Coburn and his followers in 20th and 21th centuries the paper aims to analyze the potential of photography in developing the architectural form by examples of projects of Mattia Mognetti, Borbála Sütő-Nagy, Cory Stevens, Stéphane Laniray, Panos Papanagiotou, Andrey Chegin, Mohammad Domiri and those photographers who were inspired by camera work from the movie "Inception"-Ben Thomas, Kazuhiko Kawahara, Simon Gardiner, Nickolas Kennedy Sitton.

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Saltz, Laura. "Clover Adams's Dark Room: Photography and Writing, Exposure and Erasure." Prospects 24 (October 1999): 449–90. http://dx.doi.org/10.1017/s0361233300000454.

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Marian Hooper Adams, called Clover, was one of the few American women who were serious amateur photographers before the mass marketing of the Kodak in 1889. Clover first learned her craft in 1872–73 while on her honeymoon with her husband, historian Henry Adams. Henry brought along a camera to document their journey up the Nile, and Clover took up his hobby. Henry, in the tradition of expeditionary photographers, took pictures of Egyptian monuments and landscapes, whereas Clover's only extant photograph from the honeymoon portrays interior realms: it shows Henry in the stateroom of the Isis, the dahabieh that carried the couple up the Nile (Figure 1). In the image, Henry sits within a displaced parlor, casting his gaze down and directing us inward to some subjective space. But though Henry appears before the camera, he is not the subject of the image. Clover's own interior terrain, made invisible and inaccessible, is pictured here.

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Vermaas, L. "Meaningful Places: Landscape Photographers in the Nineteenth-Century American West. By Rachel McLean Sailor." Environmental History 20, no. 2 (March 18, 2015): 335–37. http://dx.doi.org/10.1093/envhis/emv028.

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38

Byrnes, Corey. "Chinese Landscapes of Desolation." Representations 147, no. 1 (2019): 124–60. http://dx.doi.org/10.1525/rep.2019.147.1.124.

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This essay explores how landscape forms are used by writers, photographers, filmmakers, and other artists from inside and outside of China to represent environmental problems in that country. It considers the “landscape of desolation” as an ecocritical mode designed to change how people see and act in the world in relation to both the shifting status of “Chinese tradition” and to earlier moments in Euro-American landscape art, particularly the so-called New Topographics Movement of the 1970s.

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Ben-Choreen, Tal-Or K. "Emergence of Fine Art Photography in Israel in the 1970s to the 1990s Through Pedagogical and Social Links with the United States." Contemporary Review of the Middle East 6, no. 3-4 (September 2019): 252–65. http://dx.doi.org/10.1177/2347798919872588.

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The flourishing of photography as a tool for expressive reportage and artistic practice transformed photographic education during the mid-twentieth century. American-based academic institutions quickly established reputations in the emerging fine art field as leaders in photographic education drawing international students from diverse locations, including Israel. Many Israelis who studied photography in American institutions returned to Israel bringing with them the knowledge they had gained while abroad. This article considers the impact of American pedagogical models and social networks on the development of the Israeli photographic field. Included in this discussion is an exploration of the emergence of Israeli photography programs in institutions of higher education, photography galleries, museum collections, and exhibitions. By approaching the study through a network methodological approach, this article traces the transnational movements of individuals: photographers, program graduates, and curators in order to demonstrate the significant impact American photographic education had on the emerging Israeli photographic field.

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Sánchez-Fung, José R. "Examining the life-cycle artistic productivity of latin american photographers: álvarez bravo, larraín, and salgado." Ciencia, Economía y Negocios 4, no. 1 (June 30, 2020): 85–119. http://dx.doi.org/10.22206/ceyn.2020.v4i1.pp85-119.

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The paper examines the life-cycle artistic productivity of three leading Latin American photographers of the twentieth century: Manuel Álvarez Bravo (Mexico), Sergio Larraín (Chile), and Sebastião Salgado (Brazil). The analysis constructs narratives using art books and other sources of expert commentary, following the approach in earlier contributions to the economics literature on the subject [David W. Galenson, 2007, Old masters and young geniuses: The two life cycles of artistic creativity, Princeton University Press]. The research identifies Manuel Álvarez Bravo as a ‘conceptual innovator’, a feature that caught the French surrealists’ attention early in his career. In contrast, Sergio Larraín and Sebastião Salgado accomplish their contributions to photography like ‘experimental innovators’. The investigation assembles and evaluates metrics from museum holdings and selected retrospectives to gauge the robustness of the conclusions emerging from the benchmark narratives. The results can be useful from the academic and public policy viewpoints: a better understanding of life-cycle artistic productivity can inform deliberations on the allocation of public funding for creative industries.

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Arnold, Rebecca. "Behind the Scenes with Louise Dahl-Wolfe and Toni Frissell: Alternative Views of Fashion Photography in Mid-Century America." Fashion Studies 1, no. 1 (2018): 1–35. http://dx.doi.org/10.38055/fs010110.

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This essay explores the process and labour involved in creating fashion editorials. It is focused on the work of Louise Dahl-Wolfe and Toni Frissell, as case studies of photographers who worked at America’s two leading fashion magazines: Harper’s Bazaar and Vogue. Images that show these women “backstage” form the basis of this analysis, to expose the images’ compositions and the teams of people involved in their creation. Both photographers worked at a key moment in American fashion, as designers such as Claire McCardell created a simple, interchangeable wardrobe of readymade clothes that catered to the increasingly active lives of middle-class women. They were significant to the “Modern Sportswear Aesthetic” that emerged during this period and which exploited Kodachrome’s rich tones to compose alluring images that showed sportswear as adaptable and fashionable. Frequently shot outside, or using carefully contrived sets, their imagery provides a case study for the ways fashion’s creative workers collaborated to construct convincing visions of sportswear’s emergent style. Drawing upon Bruno Latour’s theories of organization, this article examines these networks of people, working to varied briefs and deadlines to create each magazine issue. From contact sheets and shots of fashion editors and models, to glimpses of the photographers’ efforts to find the right angle, this essay uses Dahl-Wolfe and Frissell’s photobooks and archival materials, including memos between Bazaar Editor-in-Chief Carmel Snow and Frissell, to challenge the idea of the seamless fashion page and look at the professional work and negotiations necessary to create a successful image.

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McPherson, Elizabeth. "Mutual Inspiration: Choreographers and Composers at the Bennington School of the Dance." Congress on Research in Dance Conference Proceedings 2012 (2012): 108–17. http://dx.doi.org/10.1017/cor.2012.14.

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Visual artists, designers, composers, photographers, poets, and choreographers were vital participants in the Bennington School of the Dance, which ran on the Bennington College campus in Bennington, Vermont, from 1934–1942 with one year, 1939, spent at Mills College in California. Collaborations were an integral component of the school, occurring between faculty and staff members as well as between students and faculty/staff. Of particular importance were the collaborations between musicians (including Louis Horst, Gregory Tucker, Norman Lloyd, and Alex North) and choreographers (including Martha Graham, Hanya Holm, Doris Humphrey, and Charles Weidman). These collaborations influenced the direction of American modern dance, which was establishing itself with new breath as a form that could express American life and traditions without necessarily drawing upon European composers to do so.

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Kim, William, and Torunn Sivesind. "Patient Perceptions of Dermatologic Photography: Scoping Review." JMIR Dermatology 5, no. 1 (January 26, 2022): e33361. http://dx.doi.org/10.2196/33361.

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Background Medical photography is used extensively in dermatology to record disease progression, measure treatment response, and help teach patients about skin disease; such photos are also commonly utilized in teledermatology, medical education, research, and medical reference websites. Understanding patient perceptions of medical photographs obtained during dermatologic care in the clinic or hospital setting is critical to enable the delivery of high-quality, patient-centered medical care. Objective The aims of this study were to elucidate patient perceptions of skin photos in dermatology and to explore possible next steps in improving the patient experience with medical photography in the hospital or clinic setting. Methods A scoping review of the literature was performed using the PubMed database, with clinic- or hospital-based full-text publications in English spanning the last 10 years considered for inclusion. Results The majority of included studies (10/11, 91%) found positive patient attitudes toward medical photographs. The majority of patients (1197/1511, 79.2%) felt that medical photographs could improve medical care in the clinic setting. Written consent detailing all photo uses, including secondary uses (such as research or teaching), was preferred, apart from in 1 study. Patients preferred or found it acceptable for the photographer of their medical photos to be a physician (1301/1444, 90.1%). Clinic-owned cameras with departmental record storage were the preferred modality. Latinx and African American patients expressed less trust in the utility of medical photographs to improve care, compared with Asian and White patients. The minimal number of available publications on this topic and the inclusion of articles older than 5 years are limitations, since patient perceptions of medical photography may have rapidly changed during this time span, particularly in light of the COVID-19 pandemic and the subsequent increase in teledermatology visits. Conclusions Patients reported positive perceptions of dermatologic photography for improving their medical care. Ethnic disparities in patient perceptions require further exploration to better elucidate nuances and develop interventions to improve the experience of marginalized patients. Building patient trust in nonphysician photographers may enhance clinic efficiency. Although clinic-owned cameras are well-accepted by patients, improved patient education surrounding the safety of electronic medical record phone applications is needed.

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Vonog, E. A. "ON THE PHOTOGRAPH COLLECTIONS TAKEN BY AMERICAN MILITARY OF THE POLAR BEAR EXPEDITION ON THE NORTH OF RUSSIA DATED TO THE CIVIL WAR PERIOD 1918–1919." Northern Archives and Expeditions 5, no. 3 (September 30, 2021): 26–37. http://dx.doi.org/10.31806/2542-1158-2021-5-3-26-37.

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Nowadays visual history and its significance characterized by a broad interdisciplinary approach cannot be overestimated. Since 1991 when the Austrian historian and researcher of images Gerhard Jagschitz (1940–2018) first used the term «visual history», photographs and, perhaps, film documents began to be perceived by the scientific world not only as illustrative material, but also as a storehouse of new, but somewhere forgotten information, for example, concerning the appearance of settlements and people living there, everyday life and imperatives of human behaviour, as well as events in certain historical periods. In this article the author presents the data concerning the American military that gathered collections of photographs from the Polar Bear Expedition of the period 1918–1919. During the First World War, this expedition was undertaken by the United States to the territory of the European part of the North of Russia in order to prevent the German Empire from encroaching on the resources of Russia, taking advantage of its weakness as a result of the political crisis. This military mission, carried out jointly with other allied states, in the history of Russia will be called a foreign military intervention, which, unfortunately, became a catalyst for a bloody civil confrontation. In the course of the study, not only the names of the founders were revealed, but also the modern holders of photo collections located in the United States, providing almost free access to all of them. Particular attention is paid to such an important component of attribution of photographic documents as the identification of the American photographers personalities involved in the creation of the visual image of the Civil War in the North of Russia.

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Snyder, Robert E. "Margaret Bourke-White and the Communist Witch Hunt." Journal of American Studies 19, no. 1 (April 1985): 5–25. http://dx.doi.org/10.1017/s0021875800020028.

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Margaret Bourke-White (1904–1971) has been called “the most famous woman photographer” and “the finest woman photographer of our times.” Indeed, in a photographic career that spanned nearly five decades, Bourke-White demonstrated great professional versatility, registered many photographic firsts, and in a male-dominated field set standards by which others were measured. During the 1920s, Bourke-White carved out her first reputation in architectural and industrial photography. Her pictures of steel mills, shipyards, packing houses, logging camps, quarries, auto plants, skyscrapers, banks, and terminals captured the atmosphere of the industry and the dynamics of the capitalist system. Her industrial photography was of such outstanding quality that, as one critic observed, it “transformed the American factory into a Gothic cathedral.”Henry Luce was so impressed by her early work that he hired her as the first photographer for his business magazine Fortune. Under a unique arrangement she was allowed six months out of the year to pursue her own private studio practice for advertising agencies and corporations. When Henry Luce added the pictorial magazine Life to his growing publishing empire in the 1930s, he selected Margaret Bourke-White to become one of the four original staff photographers. At Life she established the tradition of negatives printed full frame and proved by black borders, and pioneered the synchronized multiple flash picture. Bourke-White revealed the range of her photographic talents in photo essays, murals, and documentary travelogues. “As a result of her twelve- and fourteen-page essays,” Carl Mydans noted, “her monumental work became known throughout the world — beyond that of any other photographer.”

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Farmer, J. "Book Review: Sailor, Meaningful Places: Landscape Photographers in the Nineteenth-Century American West, by Jared Farmer." Pacific Historical Review 84, no. 3 (July 20, 2015): 366–68. http://dx.doi.org/10.1525/phr.2015.84.3.366.

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Saretzky, Gary, and Joseph Bilby. "Photographers of the Civil War Era: Frank H. Price of Elizabeth and Newark." New Jersey Studies: An Interdisciplinary Journal 7, no. 2 (July 22, 2021): 159–75. http://dx.doi.org/10.14713/njs.v7i2.254.

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This article is another about the generation of New Jersey photographers who began their career during the U.S. Civil War, initiated with the consideration of Theodore Gubelman in the Winter 2020 issue of New Jersey Studies. Please see that issue for a general introduction. This essay is a case study about Frank H. Price, who also served in the Union Army, and although, like Gubelman, Price had a successful business over a number of years, he had different personal and professional experiences that broaden our understanding of life in the Garden State in the second half of the nineteenth century. Experiencing many of the same events as his portrait subjects, Price is an exemplar of the ambitious young men who personified what Ralph Waldo Emerson characterized in 1844 as “the Young American,” who engaged in the marketplace of ideas and commerce in “a country of beginnings, of projects, of designs, and expectations.” Although Price did not live to old age, he made his mark among his contemporaries. His story includes typical and exceptional experiences, triumphs and tragedies. Note: You can find additional Frank Price photos here: https://web.ingage.io/Pfs9hng.

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Acuña, Pedro. "Playing across the Andes: Sports Media and Populism in Argentina and Chile." Journal of Latin American Studies 51, no. 4 (July 8, 2019): 855–82. http://dx.doi.org/10.1017/s0022216x19000907.

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AbstractThis article examines the central role of sports media in the discussions about national sports programmes at the peak of Latin American populism, particularly during the governments of Juan Perón in Argentina (1946–55) and Carlos Ibáñez in Chile (1952–8). By exploring sports publications such as the Argentine magazines Mundo Deportivo and El Gráfico and the Chilean weekly Estadio, I argue that sports media staged stories and images that were both inspired by, and critical of, the larger populist projects in Argentina and Chile. Photographers and cartoonists, often in collaboration with sportswriters, produced and crafted populist ideas about class collaboration, the inclusion of children in the state project and women's participation in politics.

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Struk, I. О., M. M. Kalinichenko, and Yu S. Harabuga. "EXPERIENCE OF NORTH AMERICAN SPECIALISTS ON RESEARCHES OF PHOTOGRAPHIC PRODUCTS AS OBJECTS OF THE COPYRIGHT." Theory and Practice of Forensic Science and Criminalistics 17 (November 29, 2017): 373–81. http://dx.doi.org/10.32353/khrife.2017.48.

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In the modern epoch of digital techniques the photographic works gained considerable popularity and widespread use through the Internet. Because of easy access to the high- quality digital copies of photographs, unfair individuals in their business activities often use copyrighted photographic works without a license from the authors or copyright holders. Taking into account the actuality of this problem for the Ukrainian authors and national legal system, considering the prospect of establishing the High Specialized Court for Intellectual Property, and also in view of the urgent need of creating an adequate official technique for the research of photographic works as intellectual property objects, the experience of the United States specialists who studied the materials of court cases concerning infringement of copyright to the photographic works, has a significant practical value to the forensic experts of our country. Review study of the high profile case «Shepard Fairey v the Associated Press», known as «The Hope Poster case», as well as the conclusions of the expert commission, allows to consider main analytical techniques of research on photographic works as intellectual property objects, which have entered into the range of research means of modern North American court experts. The expert committee for this case reached the following conclusions: the photograph of B. Obama, created by photographers from the agency «Associated Press», cannot be considered as an original work; the graphic work under the title «The Hope Poster» authored by Sh. Fairey was found to be a variation of the photographic work of «The Associated Press»; in consideration of the low level of creative «transformativeness» of the image in the work of Sh. Fairey, his poster does not meet the conditions of the «Fair Use Doctrine». The findings of the experts forced the parties of court case to sign a conciliation agreement on such terms which are still not disclosed.

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Santamarina-Macho, Carlos. "La cambiante simbología de lo ordinario. Una aproximación visual americana." VLC arquitectura. Research Journal 4, no. 1 (April 26, 2017): 97. http://dx.doi.org/10.4995/vlc.2017.6954.

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<p><em>The concept of “the ordinary” has become an ever more usual reference in the analysis of certain architectonic and territorial situations; but also social ones, which seem to escape any order set by planning. Nonetheless, the word still carries a rather ambiguous meaning, because not only the term is in itself polysemic, but also because it can have several interpretations, sometimes in a contradictory way, depending on the area of study, the time or the place in which it is used. This text addresses some of these apparent contradictions through a selection of visual expressions that emerge from the reassessment of “the ordinary” within a particular context: America in the seventies. To illustrate our views, we will use the work of two renowned photographers: David Plowden and Stephen Shore. Architecture was the centre focus of their images, which are part of the broad tradition of depicting American everyday life. We will analyse and compare them with the purpose of identifying their frictions and, more importantly, the values that transformed each of them from the ordinary into a perfect tool to deal with the strange and unstable material situation lived in post-war America.</em></p>

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