Dissertations / Theses: 'History of Photography'

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Cooper, Elena Sophia Christina. "Art, photography, copyright : a history of photographic copyright, 1850-1911." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283882.

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Napier, Ellen Bethany. "Thomas Struth's Museum Photographs and the Textual Experience of Photography." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.

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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.

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Belknap, Geoffrey David. "'From a photograph' : photography and the periodical print press 1870-1890." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609850.

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Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.

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Baird, Jaime. "Looking at Ethiopia history, photography, and power /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0011902.

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Ruminski, Jarret. "“A Terrible Fascination:” Civil War Photography and the Advent of Photographic Realism." Youngstown State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1194962162.

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Skidmore, Colleen Marie. "Women in photography at the Notman Studio, Montreal, 1856-1881." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq46921.pdf.

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Humayun, Saalem. "Constructing family photograph albums : how the process of archival acquisition writes history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99722.

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This thesis is about photographic archives. Specifically, it concerns the process of acquisition for family photograph albums as archival texts. It argues that the process of acquisition writes history, and not one sole author. Additionally it argues that the institutional policy of an archive governs this process. Further, it argues that there is a homology between a public and private archive. In this light, it pursues an autobiographical approach, and compares the author's family photograph album with a family photograph album in the McCord Museum of Canadian History.

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Dolce, Mark A. "History and Ethics of Electronic Manipulation in News Photography." Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/292188.

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Birkhofer, Melissa Dee DeGuzmán María. "Voicing a lost history through photography in Hispaniola's diasporic literature." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1038.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master in the Department of English and Comparative Literature." Discipline: English; Department/School: English.

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COSTA, AMANDA DANELLI. "IMPRESSIONS ON IMAGES: HISTORY MEMORY AND AUGUSTO MALTA CARIOCA PHOTOGRAPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11419@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A presente dissertação busca aproximar memória e fotografia, bem como o ato de fotografar do ato de historiar. A partir daí, se volta para a proposta específica de analisar um grupo de fotografias que Augusto Malta fez das ruas da cidade do Rio de Janeiro no início do século XX. Já no século XIX foi atribuída aos fotógrafos a função de registradores de um mundo que se dissipava e de outro que se anunciava. Esses profissionais eram contratados como os responsáveis por guardarem as imagens que se transformavam rapidamente, especialmente nas cidades. Tratava-se de um desejo de construir um álbum que conservasse a memória do antes, do durante e do depois, e que servisse de registro confiável das mudanças promovidas. Esta é a função que Augusto César Malta de Campos assumiu na prefeitura da cidade-capital, comandada por Francisco Pereira Passos. É através desse caminho que se busca analisar a fotografia como artifício capaz de inventariar as transformações da cidade, uma representação fiel do mundo visível. Assim, as imagens dos Kiosques, dentre outras tantas, se tornaram instrumentos com valor de prova a serviço de um projeto modernizador da cidade-capital, numa íntima relação com a mobilização nacional em torno de uma identidade moderna que se forjava naquele tempo.
This work tries to approximate memory and photography, and at the same time the act of make photography and act of writing history. Then the work persecutes the propose of analyze a group of four photos that Augusto Malta made in the streets of Rio de Janeiro in the beginning of the 20th century. In the 19th century was given to the photographers the function of recorders of a world passing through many changes. Those professionals were hired as the responsibles to keep the images that were changing quickly, especially in the cities. There was a desire to build an album dedicated to the memory of times, and prove of the changes in the world. This was the work that Augusto Malta did for the mayor Pereira Passos. Through this way the photography is analyzed as a faithful representation of the visible world. The Kiosque s images became a prove to the project of modernization of the city, in a relation to the national mobilization around a modern identity.

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Lai, Kin-keung Edwin, and 黎健強. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hdl.handle.net/10722/210323.

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Stumberger, Rudolf. "Klassen-Bilder : sozialdokumentarische Fotografie 1900 - 1945 /." Konstanz : UVK-Verl.-Ges, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2961071&prov=M&dok_var=1&dok_ext=htm.

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Hammond, Mary Sayer. "The camera obscura : a chapter in the pre-history of photography /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984314364.

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Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.

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Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photography
the second to theinteraction between architectural photography and architectural theory/practice
and the third to the relation between architectural photography and architectural historiography.

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Delmas, Didier. "Why 1839? : the philosophy of vision and the invention of photography." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83176.

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1826 is the date attributed to the very first known photograph, Nicephore Niepce's "View from the Window at Gras." For traditional historians of photography this date marks the moment when the genius of man was finally able to merge the knowledge of chemistry with that of optics to create the most amazing technology of visual representation. However, those same historians recognize that the two essential components of photography---the camera and the properties of silver halides---had been known for centuries before the first photograph was ever taken.
This thesis explores two fundamental questions: Why wasn't photography invented soon after its major technological components were discovered c. 1650? And why was it invented in the early decades of the nineteenth century c. 1830? This gap of some 200 years separating the feasibility of photography from its actualization has remained largely unexplained.
The answers to both questions is found by situating the genealogy of the invention of photography within the development of the Western philosophy of vision. The fact that photography was invented at the junction of the Classical and Modern epistemes offers a unique opportunity to approach the history of photography from the perspective of the history of thought. Hence this thesis takes its inspiration from the work of Michel Foucault and some of his followers---in particular Jonathan Crary and Geoffrey Batchen. The result of this radical shift from the technical to the intellectual environment allows the history of photography to transcend the narrow confines of technology and formal appearances. From a Foucauldian perspective I argue that photography was invented as a response to the epistemic instability experienced during the transition from the Enlightenment to Modernity.

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Paz, Maria Del Making Flores. "The Visual Making of a Regional Society. Photography and Amazonian History." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499193.

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Hammond, Mary Sayer. "The camera obscura : a chapter in the pre-history of photography /." Ann Arbor : University microfilms international, 1987. http://catalogue.bnf.fr/ark:/12148/cb370317960.

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Shanks, Sarah M. "Re:Visions : A Mother's Secondary Images." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417785128.

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Bauman, Emily. "Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438626.

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Zhu, Christine. "Rejecting the front row| Guy Marineau and the evolution of runway photography." Thesis, Fashion Institute of Technology, SUNY, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1603005.

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This paper is a review and discussion of the career of French runway photographer, Guy Marineau. It specifically explores his tenure at Fairchild Publications between the years 1975-1985, contextualized by his personal experience and the history of the fashion show. Prior to shooting the runway, Marineau photographed conflicts in Portugal and Israel. Traumatized by war, Marineau, decided to realign his career towards capturing beauty.

Fashion shows emerged around the turn of the century, and press coverage of them has been long fraught with complications due to the threat of copyists reproducing unlicensed designs. During the mid-1950s John Fairchild tirelessly challenged the strict embargo set by the Chambre Syndicale that restricted the immediate release of images taken at couture shows. Yet by the 1960s, the demise of the haute couture was imminent, and couturiers resorted to licensing to keep their houses afloat, which in turn, reestablished their relationship with the press.

Since his start at Fairchild Publications, Marineau approached runway photography through the eyes of a war photographer. Marineau's work improved vastly as he grasped how to shoot fashion shows and was one of the first to challenge the established protocol by leaving his editor for the end of the runway. His photographs kept pace alongside his continuously evolving subject, the fashion show, and with advancements to camera technology. Relatively unknown, Marineau's work remains an undiscovered wealth of fashion history. His photographs are a testament to the once-diverse genre of runway photography that is slowly being replaced by the standardized runway photographs now linked with fashion websites.

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Leister, Wiebke. "Unjoyful laughter and the non-likeness of photographic portraiture." Thesis, Royal College of Art, 2006. http://ualresearchonline.arts.ac.uk/13247/.

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This research investigates photographic portraits that can be considered as potentially non-mimetic images. It uses the portrait of laughter in theory and in practice to explore a ́non-like ́, iconic relation between a photograph and its model. In opposition to portraying a specific laughing sitter, here the photograph is more informed by what the viewer brings to his or her subjective encounter with that photograph. Among other subjects, my research compares portraiture to clownish performance. Hence, the photographic portrait shifts register, becoming less a likeness of the sitter, rather a portrait of the viewer ́s process of interpretation. As an extension of our understanding of the genre portraiture, I am using and testing the German term 'Bildnis', trying to find a clearer understanding of portraits that are Non-Likenesses. My main case study looks at 19th-century photographs by the French physician Duchenne de Boulogne. Duchenne researched emotional expressions by capturing the moving face twice: with medical electrization and with photography. Based on muscular contraction, he also established a theory distinguishing 'true' from 'false' laughter. Starting by isolating one photograph from the context of Duchenne ́s medical work as a leitmotif for my studies, considering it as an image in its own right, my research raises questions regarding the relation between model and photographer in photographic portraiture. It investigates what is commonly thought to be the Photographic – the photograph ́s referential status as an index in opposition to the meaning arising from its surface. In re-considering Duchenne ́s photograph within photographic histories, theories of representation aesthetics, and in relation to other photographs, I aim to lift his image out of its strictly utilitarian context as a record of an experiment. Expanding the discussion on its genres and applications, this change of context opens up a new emphasis on content and encourages its interpretation as an imaginary photograph. This claims to be not just image-informed, but also informed about the nature of images in general and photography in particular. Methodologically, the first part consists of a visual investigation into the depictibility of 'unjoyful' laughter as a 'non-like' photographic image. The second part re-stages the play of questions and answers arising from the studio practice by re-contextualizing them within a specific theoretical and historical framework of portraiture. Ultimately being two separate practices, both parts inform and reflect upon each other in approach and subject matter, deepening and widening an understanding of the medium of photography as a multi-faceted research tool.

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Adams, James Mack. "Tybee Island." Digital Commons @ East Tennessee State University, 2000. https://www.amzn.com/B01NANDHB1/.

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Tybee Island is a tiny piece of land, only-two-and-a-half miles long and two-thirds of a mile wide; however, its strategic location near the mouth of the Savannah River assigned to it an important role in the birth and history of the state of Georgia. Over this coastal community five flags have flown, representing Spain, France, England, the Confederate States of America, and the United States of America. Using numerous vintage photographs from the archives of the Tybee Island Historical Society, Tybee Island guides the reader through over two hundred years of history. Although much of its history is linked to nearby Savannah, Tybee is singular among Georgia’s coastal islands, and has a history and lore that is uniquely its own. This visual journey begins with the building of Georgia’s oldest and tallest lighthouse, and continues through Tybee’s involvement in the Civil War. Also covered are the island’s later roles as a military installation, a popular coastal resort, and a residential community. Vintage photographs recall earlier days on Tybee, when the island was known as “Ocean City,” “Savannah Beach,” and, to some, “the best kept secret on the East Coast.”
https://dc.etsu.edu/alumni_books/1029/thumbnail.jpg

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Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.

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Jones, Susanne Lenné. "What’s in a Frame?: Photography, Memory, and History in Contemporary German Literature." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1132239561.

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Jones, Susanne Lenné. "What's in a frame? photography, memory, and history in contemporary german literature /." Cincinnati, Ohio : University of Cincinnati, 2005. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1132239561.

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Thesis (Ph.D.)--University of Cincinnati, 2005.
Advisor: Katharina Gerstenberger. Title from electronic thesis title page (viewed April 22, 2009). Keywords: Photography; Memory; History; Holocaust; German literature; Jewish; fact; fiction; Sebald; Maron; Liebmann. Includes abstract. Includes bibliographical references.

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Wang, Han-Chih. "The Profane and Profound: American Road Photography from 1930 to the Present." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.

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Art History
Ph.D.
This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank’s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank’s commentary on postwar America during his cross-country road trip—the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha’s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander’s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank’s snapshot. Shore’s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore’s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore’s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans’s and Frank’s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie’s Freeway Series, 1994–1995; Andrew Bush’s Vector Portraits, 1989–1997; Martha Rosler’s The Rights of Passage, 1995; and Amy Stein’s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.
Temple University--Theses

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Laurence-Allen, Antonia. "Class, consumption and currency : commercial photography in mid-Victorian Scotland." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3469.

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This thesis examines a thirty year span in the history of Scottish photography, focusing on the rise of the commercial studio from 1851 to assess how images were produced and consumed by the middle class in the mid-Victorian period. Using extensive archival material and a range of theoretical approaches, the research explores how photography was displayed, circulated, exploited and discussed in Scotland during its nascent years as a commodity. In doing so, it is unlike previous studies on Scottish photography that have not attended to the history of the medium as it is seen through exhibitions or the national journals, but instead have concentrated on explicating how an individual photographer or singular set of images are evidence of excellence in the field. While this thesis pays close attention to individual projects and studios, it does so to illuminate how photography functioned as a material object that equally shaped and was shaped by ideological constructs peculiar to mid-Victorian life in Scotland. It does not highlight particular photographers or works in order to elevate their standing in the history of photography but, rather, to show how they can be used as examples of a class phenomenon and provide an analytical frame for elucidating the cultural impact of commercial photography. Therefore, while the first two chapters provide a panoramic view of how photography was introduced to the Scottish middle class and how commercial photographers initially visualized Scotland, the second section is comprised of three ‘case studies' that show how the subject of the city, the landscape and the portrait were turned into objects of cultural consumption. This allows for a re-appraisal of photographs produced in Scotland during this era to suggest the impact of photography's products and processes was as vital as its visual content.

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Swensen, James R. "The Rephotographic Survey Project (19770-1979) and the Landscape of Photography." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194916.

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In 1976 two young photographers, Mark Klett and JoAnn Verburg, and a photo-historian named Ellen Manchester came together with an idea to rephotograph sites in the American West that had originally been documented by survey photographers such as William Henry Jackson and Timothy O'Sullivan. By the spring of 1977 and with the support of various organizations they began a project that spanned the next three years and would eventually become known as the Rephotographic Survey Project (RSP). In many ways, the RSP represents an important moment in the history of photography and the representation of the American West. Through analysis of their work, archival documents, contemporary sources, and interviews with the original members of the RSP and several others, this dissertation examines the activities of the project and its various members, which also included Gordon Bushaw and Rick Dingus. More than the RSP, this dissertation also focuses on the growing culture of photography that boomed in the 1970s. Photography was no longer seen as an outsider to the world of art but was benefiting from newfound opportunities and growth. Without such a culture, this work argues, it would not have been possible for the RSP to take place. By the end of their project, however, photography was undergoing another important transition as modernism was giving way to the more critical climate of postmodernism. When the RSP finally published their work In 1984, their project and the community of photography that fostered their ideas was undergoing profound changes. This study also closely examines the RSP's fieldwork in the American West and the various discourses that the project encountered in this meaningful space. Like photography, the West was undergoing significant changes that the RSP was able to observe and document. Through their process that matched images from the past with photographs of their present, the RSP was able to record diverse landscapes that had or had not changed over the subsequent century. Furthermore, it also provided insight into the ways in which the West had been represented and perceived over time and in a new history of the West.

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Isenogle, Melanie R. "Anna Atkins: Catalyst of Modern Photography Through The First Photobook." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522796885194359.

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Brusius, Mirjam Sarah. "Preserving the forgotten : William Henry Fox Talbot, photography and the antique." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609959.

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Donkin, Hazel. "Surrealism, photography and the periodical press : an investigation into the use of photography in surrealist publications (1924-1969) with specific reference to themes of sexuality and their interaction with commercial photographic images of the period." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/2584/.

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This thesis examines the use of photographs in surrealist publications in Paris between 1924 and 1969, analysing how images functioned both in relation to surrealism and a wider cultural, social and political context. The thesis contends that developments in the illustrated press had a substantial impact on surrealist publications and that commercial photographic practices were both exploited and subverted by the group. I defend this assertion by demonstrating how photographers associated with the surrealist movement in its formative years, were closely involved in the process by which the photographic image became a major means of communication. I argue that the surrealists were conscious that photography was central to the circulation of ideas and developed a radical notion of the illustration of text. The thesis examines how photographs used in surrealist publications were integrated into the complex surrealist project and how due to the currency in images in society, the medium offered opportunities for disruption. In each of the five chapters I examine the surrealist deployment of photographic images to articulate cultural and political radicalism. The thesis argues that the photographs published by the surrealists made an important contribution to contemporary discourse on sexuality This thesis makes an original contribution to knowledge as it expands the understanding of photographs published by the surrealist group by exploring their relationship to contemporary commercial images circulating in the press. It analyses works that have been marginalised, many of the images in the first two journals in the inter war period, the images in the illustrated books 1929, Banalité, Le septième face du dé and the images in the post war journals have been neglected as subjects of study.

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Burdine, Michelle Marie. "Value Perspective: A Necessary Condition for Photographic Art." Wright State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wright1367575871.

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Supartono, Alexander. "Re-imag(in)ing history : photography and the sugar industry in colonial Java." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11909.

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This thesis seeks to examine the ways that the success of the Dutch Empire at the turn of the twentieth century was represented and celebrated in the photographic albums of Dutch sugar industrialists in Java. It aims to show how the photographic practices that developed in the colony in parallel with its industrialisation informed the ways that the colony was imagined in the metropolis and the colony. Whether social portraiture, topographic studies or depictions of industrial machinery and infrastructure, the photographs of the sugar industry were part and parcel of a topical vernacular tradition that generated distinct visual themes in the development of popular photographic genres, and which reflected the cultural hybridity and social stratification of the local sugar world. This analysis is pursued through close reading of the photographic albums of the Pietermaat-Soesman family from the Kalibagor sugar factory in Java. These albums exemplify how the family albums of sugar industrialists retained the familiarity and cult value of the family album whilst illustrating the values and attitudes of the colonial industry and society. What is more, the Pietermaat-Soesman albums underline the significance of the albums' materiality; their story is not only one of images, but also a story of objects. I specifically pay attention to the role of photographers and commercial photo studios in the formulation of the pictorial commonplace of the sugar industry. It is the collaboration between sugar industrialists and colony-based photographers that reveals the social necessity, ideological constraints, pictorial conventions and cultural idioms of colonial industry and society in the Dutch East Indies. Largely understudied in both the Dutch and Indonesian histories of photography, this material, I argue, may problematise the ideological premises of ‘colonial' photography.

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Dracup, Liza. "Photographic strategies for visualising the landscape and natural history of Northern England : the ordinary and the extraordinary." Thesis, University of Sunderland, 2017. http://sure.sunderland.ac.uk/7467/.

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This critical commentary reviews and contextualises existing research on Photographic strategies for visualising the landscape and natural history of Northern England: the ordinary and the extraordinary. The commentary examines three major bodies of photographic work that have each been publicly disseminated as major exhibitions, Sharpe’s Wood (2007) nominated for the Prix Pictet (Earth) Photography Award (2009), Chasing the Gloaming (2011) nominated for the Deutsche Börse and Re: Collections (2013). Each case study has been subject to critical peer and public review and this is evaluated in the commentary and a comprehensive box of evidential research material is presented to support the practice-led research submission. The commentary positions the practice-led enquiry against the overall research aims and objectives. The research focus has made a significant contribution to landscape photographic discourse, through experimental and transformational analogue and digital photographic methodologies (camera and non-camera) in the visualisation of the hidden and unseen aspects of the landscape and natural history of the north of England. The commentary frames and highlights the wide-ranging historical collections based research across photographic, artistic and science disciplines, and it tracks their impact on the research trajectory and on my contemporary photographic practice. Photographic critical thinking (Walter Benjamin and Roland Barthes) supported the theoretical research aims; their ideas provided critical filters for practice-led experiments with camera and non-camera seeing and the aim of visualising the hidden through experimental photographic methodologies. Historical and contemporary nature writing also informed the photographic research trajectory, specifically with ideas around the locale within a wider cultural context and ideas around the (lost) meaning of landscape. The resulting research outputs have culminated in an examination of the wider cultural value of the ordinary and the local landscape visualised photographically.

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Wolfe, Kimberly. "Flat Files: The Absence of Vernacular Photography in Museum Collections." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/163.

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This thesis will explore the causes and consequences of the absence of vernacular photography from museum collections. Through historical analysis of vernacular photography and a close interpretation of a contemporary family snapshot, I will argue that vernacular photographs are important objects of great cultural significance and poignant personal meaning. Photography has always defied categorization. It serves multiple functions and roles, is studied in a vast number of disciplines, and exists in a variety of institutions and collections. Furthermore, it is difficult to classify a single photograph. Vernacular photography thus poses a challenge to museum methods of sorting documents, artifacts, and art. Consequently the photographs that are most significant in everyday life are often missing from the museum setting or are misinterpreted and stripped of their meaning.

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Opal, Jack A. "Documentary Photography and the Edge of the Sword." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492608162938188.

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Yoon, Hyewon. "Exile at Work: The Portrait Photography of Gisèle Freund, Lisette Model, and Lotte Jacobi, 1930-1955." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493363.

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My dissertation examines the emergence of photographic portraiture as a vehicle for illuminating the experience of European exiles and their cultural migrations under the threat of fascism. I anchor my study in the works of three women European émigrés, each of whom produced a series of portraits while in exile: the German-born French Gisèle Freund (1908-2000), the Austrian-born American Lisette Model (1910-1983), and the German-born American Lotte Jacobi (1896-1980). Despite different working trajectories and methods, each photographer grounds her work in an idiom of traditional portraiture that was subject to testing, revision, preservation, and critique. My dissertation demonstrates that exile granted these artists a double vision, leading them to turn to the human figure to address the end of European modernism (and its attendant form of subjectivity) and to assess the new mass culture and subjectivity on the rise in the United States. Chapter One considers Gisèle Freund's volte-face from the portrayal of collectivities in interwar Frankfurt to the depiction of individual faces of French intellectuals in color during her period of exile. I describe this abrupt turn to individuality and color - the latter of which was an emblem of American mass culture - as Freund's attempt to address the joint failures of leftist politic in Weimar Germany and the French Popular Front in its fight against fascism's spectacularization of culture. Chapter Two discusses how Lisette Model adapted the caricature style in her portraits, using it as a means to critique the French bourgeoisie in interwar Europe. This is followed by a discussion of how the photographer later used the caricature style to articulate the conditions of the American lumpenproletariat in 1930s and 1940s New York. Chapter Three reads Lotte Jacobi's close-up portraits of the mass-mediated personalities in Weimar Germany as a symptom of the transition from a bourgeois culture of secrecy and autonomy during the nineteenth century to a culture of spectacle in the twentieth. This is followed by a consideration of the aesthetic and commercial “failure” of Jacobi's work in the American visual market during her time of exile, which I argue resulted from a lack of mnemonic space in post-war America. As a whole, this dissertation addresses how the gaze of exiled photographers created new ways to conceptualize the representation of the human form as the specific instrument for transmitting exiles' experiences of dislocation and continuity.
History of Art and Architecture

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Saraogi, Avantika. "Art and Dance: Sediments, Segments, and Movement." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.

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Art and Dance: Sediments, Segments, and Movement (A&D) is a series of photographs that studies dance movement, with the added element of flour to exaggerate and exhibit motion. A&D captures the different styles of dance out of their usual context, so that the actual movement becomes the central focus. This paper on the other hand provides the academic foundation for the artwork. It traces the history of dance photography as a genre. It not only sheds light on the photographic techniques that were used, but also how dance photography has evolved as an art form in its own right. The paper also presents my inspiration for the project and explains how those sources have influenced my images.

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Hujar, Brittany A. "Kozo Miyoshi: An Interpretation of Water Through Photography." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1563967017677073.

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Rawles, Erica M. "The Changing Meanings of Memory, Space, and Time in Photography." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1520.

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What happens to the memories that are left behind in photographs when the person who’s memories they are passes away? After the passing of both my mother and my grandmother, I began to notice the fleeting significance of photographs. I spent time going through boxes of pictures they had saved and every so often I would come across an old photo of someone or something that no one in my family could find a meaning behind or attach a significance to. This paper reveals how the meaning and importance of photographs shift over time from the perspective of the photographer to that of the preserver. I discuss the history of photography and its evolution from a purely scientific method of recording to fine art. I also discuss the psychology behind taking a photograph, looking at the art historical and philosophical writings of Susan Sontag and John Berger to discover how photography relates to memory, nostalgia, mortality, and the presence of the absent. Putting my own work in a historical context, I examine the works of contemporary artists dealing with similar themes of photography, physical space, and memory, such as Carmen Argote, Manal Al Dowayan, Christian Boltanski, and Doris Salcedo. For my senior project, I contemplate the mystery behind my mom's decision to photograph unsuspected places. I explore the passage of time and the vulnerability of memories as they relate to photography. Through an installation of hanging panels of photographs printed on sheer fabric, my piece works to explore these two main themes: the preservation of memory and the space that grief fills.

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Ford, Ivey C. "Mythologies: Sarah Charlesworth’s Photography, 1977-1988." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242859054.

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Hendrickson, Laura M. "Against photography : the idea of music in Pre-Raphaelite visual reform." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318327.

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Butler-Roberts, Jessica. "Fashioning distinction| construction of identity through dress and photography in nineteenth-century Paris." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10252491.

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In mid-nineteenth-century Paris those associated with the intellectual and artistic sectors used distinction in dress as a defining characteristic in the creation of their social image and identity. With the growing bourgeois masses due to the vast expansion and modernization of the city, distinction became the way in which one could separate from the crowd to emerge as an individual. This notion grew out of two specific factions: the awareness of dress as an outward reflection of the self, and the newly developed medium of photography as a tool for capturing one’s likeness. This thesis will trace the utilization of these concepts by examining Nadar’s portraits of Charles Baudelaire, Théophile Gautier, and Sarah Bernhardt, as well as Countess de Castiglione’s collaborative portrait work with the photographer Pierre-Louise Pierson.

Baudelaire and Gautier, both prolific poets and art critics, were some of the first to bring about critical discourse on the distinction of clothing, as well as the importance of inserting modern dress into art. Both men implemented these methods when making their individual choices for representation, with Gautier often presenting himself far outside the sartorial norm. While most women of Parisian society abided by strict moral rules of dressing, Bernhardt and Castiglione instead challenged these norms and used dress to represent themselves as individuals apart from family or a husband. More than solely focusing on everyday dress, this thesis will concentrate on the utilization of distinction in their public image captured through photography.

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Assubuji, Rui. "A visual struggle for Mozambique. Revisiting narratives, interpreting photographs (1850-1930)." University of the Western Cape, 2020. http://hdl.handle.net/11394/7291.

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Philosophiae Doctor - PhD
‘A Visual Struggle for Mozambique. Revisiting narratives, interpreting photographs (1850 – 1930)’ is a study that requires an engagement with the historiography of the Portuguese empire, with reference to Mozambique. This is initially to provide some context for the East African situation in which photography began to feature in the mid- to late 19th century. But the other purpose is to see what impact the inclusion of visual archives has on the existing debates concerning Portuguese colonialism in Mozambique, and elsewhere. The rationale for this study, therefore, is to see what difference photographs will make to our interpretation and understanding of this past. The central issue is the ‘visual struggle’ undertaken to explore and dominate the territory of Mozambique. Deprived of their ‘historical rights’ by the requirements of the Berlin Treaties that insisted on ‘effective occupation’, the Portuguese started to employ a complex of knowledge-producing activities in which photography was crucially involved. Constituting part of the Pacification Campaigns that led to the territorial occupation, photographic translations of action taken to control the different regions in fact define the southern, central and northern regions of the country. The chapters propose ways to analyze photographs that cover issues related to different forms of knowledge construction. The resulting detail sometimes diverges from expectations associated with their archival history, such as the name of the photographers and exact dates, which are often unavailable.1 In discussing processes of memorialization, the thesis argues that memory is fragile. The notion of ellipsis is applied to enrich the potential narratives of the photographs. The thesis reads them against the grain in search of counter-narratives, underpinned by the concept of ‘visual dissonances’, which challenges the official history or stories attached to the photographs. Besides a participation in the general debates about the work of photography in particular, this research is driven by the need to find new ways to access the history of Mozambique. Ultimately the project will facilitate these photographic archives to re-enter public awareness, and help to promote critical approaches in the arts and humanities in this part of southern Africa.

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Bork, Debora J. "History and criticism of photographically illustrated children's books /." Online version of thesis, 1988. http://hdl.handle.net/1850/11490.

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Downs, J. "Ministers of 'the Black Art' : the engagement of British clergy with photography, 1839-1914." Thesis, University of Exeter, 2019. http://hdl.handle.net/10871/35917.

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This thesis examines the work of ordained clergymen, of all denominations, who were active photographers between 1839 and the beginning of World War One: its primary aim is to investigate the extent to which a relationship existed between the religious culture of the individual clergyman and the nature of his photographic activities. Ministers of 'the Black Art' makes a significant intervention in the study of the history of photography by addressing a major weakness in existing work. Taking an interdisciplinary approach, the research draws on a wide range of primary and secondary sources such as printed books, sermons, religious pamphlets, parish and missionary newsletters, manuscript diaries, correspondence, notebooks, biographies and works of church history, as well as visual materials including original glass plate negatives, paper prints and lantern slides held in archival collections, postcards, camera catalogues, photographic ephemera and photographically-illustrated books. Through close readings of both textual and visual sources, my thesis argues that factors such as religious denomination, theological opinion and cultural identity helped to influence not only the photographs taken by these clergymen, but also the way in which these photographs were created and used. Conversely, patterns also emerge that provide insights into how different clergymen integrated their photographic activities within their wider religious life and pastoral duties. The relationship between religious culture and photographic aesthetics explored in my thesis contributes to a number of key questions in Victorian Studies, including the tension between clergy and professional scientists as they struggled over claims to authority, participation in debates about rural traditions and church restoration, questions about moral truth and objectivity, as well as the distinctive experience and approaches of Roman Catholic clergy. The research thus demonstrates the range of applications of clerical photography and the extent to which religious factors were significant. Almost 200 clergymen-photographers have been identified during this research, and biographical data is provided in an appendix. Ministers of the Black Art aims at filling a gap in scholarship caused by the absence of any substantial interdisciplinary research connecting the fields of photohistory and religious studies. While a few individual clergymen-photographers have been the subject of academic research - perhaps excessively in the case of Charles Dodgson - no attempt has been made to analyse their activities comprehensively. This thesis is therefore unique in both its far-ranging scope and the fact that the researcher has a background rooted in both theological studies and the history of photography. Ecclesiastical historians are generally as unfamiliar with the technical and aesthetic aspects of photography as photohistorians are with theological nuances and the complex variations of Victorian religious beliefs and practices. This thesis attempts to bridge this gulf, making novel connections between hitherto disparate fields of study. By bringing these religious factors to the foreground, a more nuanced understanding of Victorian visual culture emerges; by taking an independent line away from both the canonical historiography of photography and more recent approaches that depict photography as a means of social control and surveillance, this research will stimulate further discussion about how photography operates on the boundaries between private and public, amateur and professional, material and spiritual.

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Johnson, Stacey. "Taking pictures, making movies and telling time : charting the domestication of a producing and consuming visual culture in North America." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35900.

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The dissertation examines how image-making, a common pastime, was made common. It investigates the ways in which the production and consumption of images in the context of the North American family contributed to the development of a distinctly domestic and privatized visual culture, and the transformation of the home into a site for privatized spectatorship.
Four cultural forms (No. 1 Kodak, Box Brownie, Cine Kodak and Cine Kodak 8) are specified in this development, all pioneered by the Eastman Kodak Company. The dissertation traces Eastman Kodak's direct involvement in the popularization of image practices. It analyzes strategies used by them to make this possible, namely an appeal to the becoming lifestyles of the bourgeois and middle-classes.
The analysis links the popularization of image-making and consuming practices to other popular amusements (i.e. cycling, cinema-going) to work against an artifact-centred analysis. Issues of gender and generation are critically evaluated as concepts used to instill image-making as a popular, family practice. Shifts in modern temporal and spatial experience, as well as mobility are also explored in relation to popular image-making.

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Marner, Anders. "Burkkänslan : surrealism i Christer Strömholms fotografi : en undersökning med semiotisk metod." Doctoral thesis, Umeå universitet, Institutionen för estetiska ämnen, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-236.

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This dissertation is mainly concerned with the photography of Christer Strömholm. In studying his work semiotics is used as a method in analysing the rhetoric of his photographs and their relations to the photographic world, the artworld and the lifeworld. Especially the phenomenologically based visual and cultural semiotics of Göran Sonesson is adopted. The work of Strömholm is first understood in the context of surrealism; especially in the ”dark” surrealism of Georges Bataille´s. In relation to the I - here and nowposition of the lifeworld the surrealism of Bataille can be seen as a downwardgoing rhetoric on the Great Chain of Being, the hierarchy of the lifeworld, from stone, via object, plant and man, to society or God. Bataille´s highlighting of the material and animal nature of man is an opposition to the upwardgoing spiritualising rhetoric of André Breton´s. The main rhetorical device in Strömholm’s photography is a downwardgoing isolation of the object from the lifeworld, according to Jan-Gunnar Sjölin surrealism’s first maneuvre. However, Bataille´s rhetoric and Strömholm´s photography may also be seen as a modern variant of the ancient grotesque degradation that according to Michail Bakhtin once took place in popular carnivals and marketplaces. The degradation of Bakhtin, George Lakoff and Mark Turner’s notion of conceptual metaphor suggests a rhetoric of the lifeworld itself, which may allow us to understand pictorial rhetoric without the help of the theories of the artworld, such as surrealism’s theories. Strömholm´s work is studied in relation to Roman Jakobsons functions in the process of communication. The dominant function in the photographs is the metasemiotic, since pictures and other signs are depicted and commented on. Also the photographs of transsexuals depict and comment signs, men that are signs of women. His photographs of transsexuals has been interpreted as a social realistic documentary, but is better understood as a surrealist union of two terms as unlike as possible, femininity and masculinity. Another important function in his photographs is the interpersonal function suggesting a conjunction of emotive and conative functions. Along with isolation concealment of the object is used, which makes the object difficult to identify. We are not allowed to complete the act of perception, we see only the point of view. In Strömholm’s photography, the point of view of the invisible ”picture-self” with its unique perspective replaces the customary photographic referential image supposed to show “reality.” The notion of ”picture-self” suggests a differentiation between photographer and ”picture-self”, a ready-prepared position for a subject, that the photographer or viewer can place him/herself in. In being placed in this position an existential particualrization occurs, which is termed ”la condition humaine”. Walter Benjamin´s idea of ”the outmoded” and ”the ruins of the bourgeoisie”, Susan Sontag´s idea of the role of ugliness in modern photography, is seen in relation to Strömholms photography and the downwardgoing surrealist rhetoric. In Benjamin´s ”age of reproduction” there is in the photographic work of Strömholm, a tension between ”centripetality” and ”centrifugality”; of remaining in or departing from the artworld. His work is also discussed in relation to postvisualization as an opposition to the well known photographic notion of previsualization. In order to explain different rhetorical maneuvres semiotically in relation to the spatial lifeworld, the notion of familiarization is used as an opposition to Victor Shklovskys well known notion of estrangement. In the model of “the Great Cross”, with its origo as the familiarity of the I-here-nowposition of the core of the lifeworld, a vertical axis is the Great Chain of Being, ending on both ends with what is considered strange. Also ending with what is strange is a horizontal axis with rhetorical relations on the same level. A similar cross is used to explain rhetorical temporal movements between past and present and present and future with the present I - here and nowsituation of the origo. A conclusion is that visual and cultural semiotics is an enlightening tool for practical analyses even of an œuvre that is as enigmatic as that of Strömholm´s.

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Dissertations / Theses on the topic 'History of Photography'

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