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Journal articles on the topic 'History of Photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Kanicki, Witold, and Geoffrey Batchen. "Magical Thinking: Conversation with Geoffrey Batchen." Magic, Vol. 5, no. 1 (2020): 4–9. http://dx.doi.org/10.47659/m8.004.int.

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His long-standing interest in the history of early photography makes Geoffrey Batchen the appropriate speaker to discuss the question of photographic magic. Therefore, our conversation oscillates between magic and realism, but also other antonyms within the medium: negative and positive, analogue and digital. Taking in consideration all these oppositional notions, Batchen suggests that theoreticians “need to acknowledge and embrace photography’s abstractions and contradictions”. Different contradictions within photography’s theory and history became pivotal in our conversation. We also discuss

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von Brevern, Jan. "Fototopografia: The “Futures Past” of Surveying." reproduire, no. 17 (September 8, 2011): 53–67. http://dx.doi.org/10.7202/1005748ar.

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This article examines a particular problem in the early history of photographic land surveying: the unwavering desire to use photography to capture accurate topographical information for map-making, even in light of practical difficulties. It considers how both the practical survey work and the status of photography changed when, instead of the landscape itself, photographs were measured. Photography’s promise to simplify strenuous fieldwork was almost as old as photography itself—but in practice, it took decades of experimenting until the process was feasible.

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Foliard, Daniel. "Photography as Absence: Implicit Histories (Africa, Late Nineteenth and Early Twentieth Centuries)." Sources 6 (2023): 65–84. http://dx.doi.org/10.4000/11tb8.

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Photographic material can sometimes pose an overwhelming and distorting presence, especially when it comes to the writing of history. Some of the first visual recordings of African social worlds via photography would long serve as a model for images of the continent. This phenomenon has only been reinforced by recirculations of images from the late nineteenth and early twentieth centuries. Intended as a counterpoint, this article will contemplate a paradoxical history of photography by considering it based not on its presence but on its very absence. A work of history supported by photographic

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Chervonik, Olena, and Geoffrey Batchen. "Negative Thinking - A History of the Photographic Negative as a Repressed Other: Conversation with Geoffrey Batchen." Master, Vol. 5, no. 2 (2020): 106–10. http://dx.doi.org/10.47659/m9.106.int.

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Olena Chervonik talks with Geoffrey Batchen about his two most recent publications: Apparitions: Photography and Dissemination, that reached bookshelves in 2018, and Negative/Positive: A History of Photography, slated for release later in 2020. The conversation revolves around the photographic condition of reproducibility, repetition and difference, embedded in the medium from the time of its inception. While Apparitions explores photography’s relation to various newsprint outlets of the nineteenth century, Negative/Positive traces a comprehensive history of the medium’s propensity for multipl

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Markiewicz, Małgorzata. "„Takie jak w rzeczywistości”. Obraz fotograficzny - obiektywne odwzorowanie czy subiektywna kreacja? Fotografia w badaniach archeologicznych." Folia Praehistorica Posnaniensia 28 (December 27, 2023): 207–30. http://dx.doi.org/10.14746/fpp.2023.28.09.

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The article reviews the current state of knowledge on photography and the use of photographs in archaeological research. The discovery of photography was a breakthrough in the history of archaeology. The mechanical method of image registration, considered to be devoid of subjective human intervention, was supposed to guarantee the neutrality and objectivity of the visual representation. Belief in realism of photography has led to it becoming the primary form of documentation in archaeology, for both the research process and the relics themselves. This article will attempt to answer the questio

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Kloster Poulsen, Steffen. "Når eksplosioner er kunst." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 100–115. http://dx.doi.org/10.7146/periskop.v2024i31.146623.

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This article argues for an expanded effort to search for, and actively utilize, concepts and methods from the sociolinguistic periphery of the otherwise anglocentric academic lit- erature on photography in order to achieve a more level playing field between vernacular concepts and purportedly universal ones. Taking the history of public debate on photo- graphy in Japan as a departure point, this article aims to map out a new area of explora- tion for photographic research in the academic field of art history. Japan has been home to a vivid public and intellectual debate on photography since th

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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.

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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in whi

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Mauzy, Carl. "Hiding in plain sight: visual histories in Greece." Byzantine and Modern Greek Studies 49, no. 1 (2025): 78–87. https://doi.org/10.1017/byz.2024.15.

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Photographs are seldom at the centre of Greek historical research, despite their frequent use as illustrations. Despite this neglect of photography, modern Greek history would seem unimaginable without photographs, highlighting photography's integral role in our thinking about the past. In this article I offer some theoretical reflections on the impact of photography on historical imagination. Thereafter I take a closer look at some examples that do consider photography's role in the practice of Greek history, showing how photographs have been both mistrusted and embraced in historical researc

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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.

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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photog

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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (1987): 510–18. http://dx.doi.org/10.2307/1159896.

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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa.

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Bragalini, Luca. "Buddy Bolden’s Photo." Journal of Jazz Studies 14, no. 1 (2023): 90–119. http://dx.doi.org/10.14713/jjs.v14i1.227.

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In their 1939 monograph Jazzmen, Frederic Ramsey Jr. and Charles Edward Smith presented the photograph of a sextet from New Orleans which prominently features a cornet player identifed as Buddy Bolden. From the time of its publication, this photo has been the subject of controversy and many unanswered questions. What is the correct orientation of the photograph? What are the mysterious spherical objects that are seen on the edge of the photograph? Who is the leader of the band? This article presents a detailed photographic analysis of this so-called first jazz photo, proposing a solution to an

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Battin, Justin Michael. "Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context." Review of International American Studies 15, no. 2 (2022): 49–70. http://dx.doi.org/10.31261/rias.14868.

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In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explore

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Clark, Catherine E. "The Commercial Street Photographer: The Right to the Street and the Droit à l’Image in Post-1945 France." Journal of Visual Culture 16, no. 2 (2017): 225–52. http://dx.doi.org/10.1177/1470412917716482.

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This article examines the history of the commercial street photographer, or photofilmeur, in France from 1945 to 1955. Although itinerant photographers had long operated, they organized as a new profession after the Second World War in response to hostile reactions from other ‘sedentary’ photographers, conservative officials, lawmakers, and the police. Tracing the fight to regulate and even ban photofilmeurs in state and police archives, courtroom accounts, and union publications, this article reveals a struggle over the who, what, and where of photography: Who has the right to photograph whom

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

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the se

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Androsova, Anastasiya Andreevna. "The development of photography in Samara in the middle of the 19th – beginning of the 20th centuries." Samara Journal of Science 9, no. 4 (2020): 246–51. http://dx.doi.org/10.17816/snv202094206.

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The paper deals with the development of photography in Samara and the Samara province during the period of the Samara province establishment to the beginning of the 20th century. The history of the photography as a technology is briefly presented. The paper also contains the data on the chronology of photo workshops appearance in Samara and the province as well as of the first photo business organizers. The author also describes methods of photography lovers organization in Samara at the turn of the 19th20th centuries. The main categories of photographs of the period under review are considere

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Tucker, Jennifer, Matthew Fox-Amato, Zeynep Devrim Gürsel, Marius Kothor, Sumathi Ramaswamy, and Olga Shevchenko. "Ambivalent: Photography and Visibility in African History." American Historical Review 126, no. 4 (2021): 1552–73. http://dx.doi.org/10.1093/ahr/rhab540.

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Abstract In this roundtable, five historians come together to review the collected essays in Ambivalent: Photography and Visibility in African History. Jennifer Tucker provides an overview of the content of the book and its significance in terms of scholarship on photography and African history. Matthew Fox-Amato studies how powerful photographs can be as evidence when combined with other kinds of sources such as oral narratives. Referring to the essays of Patricia Hayes and Isabelle de Rezende, Marius Kothor notes how the intersection between photography and oral tradition create new ways of

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Laroche, Hervé. "Observation as photography: A metaphor." M@n@gement 23, no. 3 (2020): 79–99. http://dx.doi.org/10.37725/mgmt.v23i3.5513.

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From its invention in the middle of the 19th century to the present date, photography has generally been considered as a highly reliable means for capturing data about a wide range of objects and for a huge variety of purposes. Though debated, photography’s relationship with reality is specific and powerful. Because of its long and rich history, photography has encountered many problems and challenges observation methods and practices in management studies. Taking photography as a metaphor for observation in general, this article explores the successive steps of a research project relying on o

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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.

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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed th

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Akhtari, Nazli. "Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet." Camera Obscura: Feminism, Culture, and Media Studies 37, no. 3 (2022): 1–29. http://dx.doi.org/10.1215/02705346-10013590.

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Abstract This article reveals how engagements with the photographic archives of premodern Iran and the Persian carpet break open transtemporal, affective, and queer interplays in diaspora. Examining a digital remix of a photograph of a Qajar princess, ‘Ismat al-Dowlah, from the archives of nineteenth-century Iran, the article argues that the digital (mis)use of archives exposes what forms such as the Persian carpet and photography erase: each medium's close ties with power, labor, gender, and sexuality. It develops a relational approach to understandings of photography that highlights the perf

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Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.

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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic

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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.

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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generat

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Colner, Miha. "Miroslav Zdovc: Contextualising the Archive." Život umjetnosti, no. 111 (July 2023): 132–45. http://dx.doi.org/10.31664/zu.2022.111.10.

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In this paper a case study of constructing a photographic archive in a museum context, and the ways of contextualising seemingly marginal and insignificant photographic material, is being showcased and analysed. The focal point of the paper is the personal photographic archive of Miroslav Zdovc (1929–2009), a prominent Slovenian professional photographer as well as an artist using photography who, however, did not receive a deserved place in local and regional history of photography and art. Therefore, his extensive body of work that has nearly disappeared from the public eye is now in the pro

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Нецић, Неда. "ДОКУМЕНТАРНОСТ И ФОТОЖУРНАЛИЗАМ У ПРОМЕНИ ГУТЕНБЕРГОВОГ ДРУШТВА". БАЛКАНСКЕ СИНТЕЗЕ 9, № 1 (2022): 31–44. http://dx.doi.org/10.46630/bs.1.2022.03.

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The appearance of photography in 19. century had stopped the fluidity of time and enabled the future generations to have an insight into history. Photographs are a visual testimony of the past and in the period of their occurrence people believed that photographs could provide a true and objective account of reality. Documented war conflicts, people, places and events can enable us an insight into the past. Implementation of photographs into the press gave rise to photojournalism. The press had abundantly used the photography as an illustration to the texts, and the people craved for informati

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Salu, Luc. "A library and a bibliography to cope with the torrent of pictures? A glimpse into the Antwerp FotoMuseum." Art Libraries Journal 33, no. 3 (2008): 25–29. http://dx.doi.org/10.1017/s0307472200015443.

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Between 1965 and 1985, the library of the FotoMuseum Provincie Antwerpen acquired three large collections: that of the library of the Association Belge de Photographie, the collection of magazines from Fritz L. Gruber and the company library of the photographic firm Agfa-Gevaert. The bibliographic activities associated with the history of photography were started in 1978 at the European Society for the History of Photography and resulted in a four-part History of photography: a bibliography of books, published 1989 to 1999. The FotoMuseum Provincie Antwerpen produced an augmented version of th

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Pevec, Iza, and Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.

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The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program S

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Koole, Simeon. "Photography as Event: Power, the Kodak Camera, and Territoriality in Early Twentieth-Century Tibet." Comparative Studies in Society and History 59, no. 2 (2017): 310–45. http://dx.doi.org/10.1017/s0010417517000068.

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AbstractThis article rethinks the nature of power and its relation to territory in the photographic event. Focusing on thousands of photographs taken during the British Younghusband Expedition to Lhasa between 1903 and 1904, it reorients understandings of photography as either reproducing or enabling the “negotiation” or contestation of power inequalities between participants. It shows how, in the transitory relations between Tibetans, Chinese, and Britons during and after photographic events, photography acted as a means by which participants constituted themselves as responsible agents—as ca

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Blanchard, Antoine. "Microhistoire des portraits composites: Le cas Arthur Batut (1846-1918)." REVISTA DE HISTORIOGRAFÍA (RevHisto) 27 (November 27, 2017): 287. http://dx.doi.org/10.20318/revhisto.2017.3975.

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Résumé: A partir d’une enquête portant sur le cas du photographe francais Arthur Batut (1846-1918) qui s’est emparé de la technique du composite portraiture de Francis Galton, nous révélerons dans un premier temps l’importance considérable du portrait photographique dans la constitution, à la fin du XIXe siècle, d’une nouvelle image de soi particulière correspondant à une identité “physicalisée”. Pour ce faire, nous mettrons à l’épreuve les questions et la méthode de la microstoria. Dans un second temps, nous envisagerons la possibilité que la technique historiographique de la microstoria elle

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Poluektova, Tatiana A. "‘Camera is the Eye of History’: On the Genre-Forming Potential of Photographic Ekphrasis in G. Swift’s Novel ‘Out of This World’." Вестник Пермского университета. Российская и зарубежная филология 16, no. 2 (2024): 110–19. http://dx.doi.org/10.17072/2073-6681-2024-2-110-119.

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The article deals with the role of photography in the novel Out of This World (1988) by the contemporary British writer G. Swift, which is not translated into Russian. The changed socio-cultural status of photography as an artefact is traced: from the ‘pencil of nature’ (G. F. Talbot) in the middle of the 19th century. to ‘simulacrum’ (L. Hatcheon) in the postmodern paradigm, implying ambiguity and variability in the ‘reading’ of a photographic image. Photography is presented in the novel at the main poetological levels: level of the plot, of the characters, spatiotemporal, narrative, motive-t

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Currie-Williams, Kelann. "Makers and Keepers: Two Lives, through Photographs." Canadian Journal of History 56, no. 3 (2021): 292–319. http://dx.doi.org/10.3138/cjh.56-3-2021-0044.

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Looking through the pages of family photo albums or the folders of photographic archival fonds can only be described as holding history in your hands. Whether it is in the form of colour or black and white prints, negatives, or slides, these photo-objects carry histories of lives lived that go beyond their frames. Focusing on a set of oral history interviews conducted with two Black women living in Montréal — a community photographer or image “maker” who was most active during the 1970s–1990s and a photo-collector or “keeper” who is currently active in preserving and sharing photographs for he

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Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.

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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evo

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Pierce, Kathleen. "Photograph as Skin, Skin as Wax: Indexicality and the Visualisation of Syphilis in Fin-de-Siècle France The William Bynum Prize Essay." Medical History 64, no. 1 (2019): 116–41. http://dx.doi.org/10.1017/mdh.2019.79.

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In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis – the colour, texture, and patterns of primary chancres or secondary r

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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.

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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, wit

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de Rapper, Gilles. "Photographic Archives and the Anthropology of Communism in Albania." Comparative Southeast European Studies 70, no. 4 (2022): 608–41. http://dx.doi.org/10.1515/soeu-2021-0083.

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Abstract The communist period in Albania was a time of intense photographic production. Much more than in previous periods, photography was perceived by those in power as an indispensable tool while at the same time becoming accessible to almost the entire population. Many photographs from the time survived the end of the communist regime and can now be used to study the history and memory of that period. To be of historical value, however, the diversity of photographic genres and practices, as well as the history of the constitution of photographic archives demands consideration of the contex

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Kukorenchuk, Volodymyr, and Nataliia Vdovychenko. "Photography as a Proof of Our Existence." Bulletin of KNUKiM. Series in Arts, no. 37 (December 10, 2017): 36–45. https://doi.org/10.31866/2410-1176.37.2017.155607.

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The purpose of the article is to supplement the overall picture of the history of photography and its ability to influence reality. Photography is by its very nature a technical art, but the sophisticated modern equipment is controlled by people. The question of what modern photography is gains ground due to the fact that, thanks to the introduction of completely new technology, the 21st century is witnessing the emergence of the alternative development of photography. The research methodology. The article traced the evolution of photography from the appearance of the first

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Stafford, Andy. "Bazin and Photography in the Twenty-First Century: Poverty of Ontology?" Paragraph 36, no. 1 (2013): 50–67. http://dx.doi.org/10.3366/para.2013.0077.

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According to André Rouillé (2005) the search for photography's ontology is both fruitless and pointless. Six decades after André Bazin's seminal essay, ‘The Ontology of the Photographic Image’ (1945), there is a concerted attempt to remove photography from the ‘reliquary’ of death in which Bazin had (seemingly) locked it. Preferring ‘genesis’ to ‘result’, Bazin had suggested that photography benefited from an ‘essential objectivity’ and that it was close to being a ‘natural phenomenon’: for the first time in history, representation of the external world emerges, mechanically, without human int

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Nair, Janaki. "Seeing like the Missionary: An Iconography of Education in Mysore, 1840–1920." Studies in History 35, no. 2 (2019): 178–217. http://dx.doi.org/10.1177/0257643019865233.

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Missionaries working in Mysore, as elsewhere in India, took enthusiastically to the new art of photography from the 1840s, to record their ‘views’ of the society they undertook to transform. Evangelising was, however, early on, allied with education as a way for missionaries to make their way into a complex, hierarchical society with learning traditions of its own. How did the missionary ‘see’ the Indian classroom, and invite the viewer of their photographs to participate in its narrative of ‘improvement’? What was the place of the photograph at a time when meticulous written records were kept

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Morris-Reich, Amos. "Science and “Race” In Solomon Yudovin’s Photographic Documentation of Russian Jewry, 1912–1914." Images 6, no. 1 (2012): 52–78. http://dx.doi.org/10.1163/18718000-12340004.

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Abstract From the perspective of Central European developments in scientific photography, this article studies the photographs taken by Solomon Yudovin as part of S. An-sky’s ethnographic expedition to the Pale of Settlement between 1912 and 1914. The first part of the article argues that the scientific goals of the expedition demanded the introduction of photography less out of an inherent interest in the medium than out of the desire to employ advanced scientific techniques. The second part identifies various strains of scientific photography in Yudovin’s photographic practice. It shows that

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Goodrum, Sarah. "International Photography Networks and Walter Hahn’s Museum for Photography, Dresden." International Journal for History, Culture and Modernity 5, no. 1 (2017): 130–68. http://dx.doi.org/10.18352/hcm.526.

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The Museum für Photographie, founded, developed and directed by Dr. Walter Hahn for only twelve years in the city of Dresden, has only recently emerged in scholarship on East German photographic culture. Although the museum definitely enjoyed a relationship with the East German cultural authorities within the Cultural League, or Kulturbund, it does not sit easily in the historiographical category of ‘official’ photography in the GDR. Hahn’s version of the history of photography was challenging to the socialist establishment, which hampered the further development of the museum and did not pres

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Knazook, Elizabeth. "Collecting Nineteenth-Century Books with Photographs." Reading Room: A Journal of Special Collections 1, no. 1 (2015): 19–37. http://dx.doi.org/10.69772/trrajsc.3.

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In the years before photographs could be reproduced in ink alongside letterpress text, some publishers experimented with photographic illustration by pasting original photographs into books. Most of these books went unnoticed in library collections and used bookseller shops until a sudden interest in photography and photographic history in the 1970s turned the attentions of librarians, scholars, curators, and collectors to the treasure trove of historical photography that could be found between the pages of a book. Since that time, only a few institutions with an interest in photography have a

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Pabedinskas, Tomas. "Personal Photo Album and Collective Memory: The Case of Romualdas Požerskis’ Photographs and Diary." Art History & Criticism 16, no. 1 (2020): 115–24. http://dx.doi.org/10.2478/mik-2020-0008.

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SummaryHistory and memory have been the conceptual core of many Lithuanian photography based contemporary art works as well as international curatorial art projects, including authors from different Baltic countries. On the one hand, this indicates the relevance of the subject related to photography and memory; on the other hand, it also shows the overexploitation of personal and historical memory in contemporary photography and in contemporary art in general.In this context the article analyses Romualdas Požerskis’ personal album photographs from the years 1971–1975 and his written diaries fr

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Bunn, Rex. "Photographic embellishment and fakery at the Pink and White Terraces." New Zealand Legacy 31, no. 1 (2019): 5–10. https://doi.org/10.5281/zenodo.7820274.

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This 2020 version of my 2019 paper in "New Zealand Legacy", the official Journal of the "New Zealand History Federation", has the front cover and previously unpublished painting of the Pink Terrace. This painting, signed by Hochstetter, was published for the first time, with Sascha Nolden's notes, on the outside rear cover of the Legacy issue Volume 31, No. 1. It is noteworthy as it records a terrace photograph by Mundy from which a striking artwork was prepared with embellishments (see notes). The painting was presented to Hochstetter by Mundy during their post-expedit

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Palmer, Daniel, and Katrina Sluis. "The Automation of Style." Media Theory 8, no. 1 (2024): 159–84. http://dx.doi.org/10.70064/mt.v8i1.1072.

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In histories of photography, the notion of ‘seeing photographically’ is associated with so-called ‘straight’ photographers such as Edward Weston. It means to train the human-camera eye – to ‘previsualise’ – by conforming to the conditions of what Vilém Flusser calls the “photographic program”. At the same time, seeing photographically is a constant dynamic between a protean technical practice and aesthetic conventions or styles. This paper revisits the notion of seeing photographically to contextualise how notions of photographic style operate in generative imaging practices and AI discourse.

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De Leon, Adrian. "Frank Mancao's “Pinoy Image”: Photography, Masculinity, and Respectability in Depression-Era California." Journal of American Ethnic History 41, no. 2 (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 m

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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.

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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide

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PEMBERTON, S. GEORGE, and ERIN A. PEMBERTON. "ROLE OF ICHNOLOGY IN THE HISTORY OF PHOTOGRAPHY." Earth Sciences History 37, no. 1 (2018): 63–87. http://dx.doi.org/10.17704/1944-6178-37.1.63.

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ABSTRACT Vertebrate ichnology in North America has a long and distinguished history, starting with the remarkable discoveries by Edward Hitchcock of dinosaur footprints and trackways in the Connecticut River Valley. Hitchcock assembled a unique collection that is currently housed in the Beneski Museum of Natural History, Amherst College, and his work essentially constituted the beginnings of ichnology as a viable sub-discipline of paleontology. Although his original interpretation that these Late Triassic locomotion traces were bird tracks was incorrect, he indirectly linked birds and dinosaur

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Cullen, Frances. "Analog(ue) photography." Philosophy of Photography 15, no. 1 (2024): 113–21. http://dx.doi.org/10.1386/pop_00095_7.

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This encyclopaedia entry defines ‘analog(ue) photography’ as a construct of the digital age. After first situating the concept’s history in relation to that of the larger field of ‘the analog’, thereby exposing its connection to the American field of cybernetics, the entry describes how analog photography’s identity as a synonym for film was initially constructed and has subsequently evolved. Then it elaborates on the category’s formulation as a site of resistance to emerging technologies. Analog photography’s ongoing usage, the entry suggests, is a testament to the way that information-age ep

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Sidorova, Olga G., and Tatiana A. Poluektova. "Reconstruction of Photographic Images in the Novel Sixty Lights by Gail Jones." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 30, no. 3 (2024): 85–96. http://dx.doi.org/10.15826/izv1.2024.30.3.050.

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The article is devoted to the analysis of the neoVictorian novel “Sixty Lights” (2004) by the modern Australian writer Gail Jones. The purpose of the study is to identify the role of photographic images presented in the form of photographic ekphrasis and further substantiate the genre status of the novel. The plot centers on the history of the formation and development of photography in the second half of the XIXth century, the history intertwined with the life of the main character, Lucy Strange, who became a professional photographer. With the help of photography, or “writing of light” (Jea

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Kazakevych, Gennadii. "Ethnographic photography by Jozef Kordysz (1824-1896)." Text and Image: Essential Problems in Art History, no. 2 (2023): 133–62. http://dx.doi.org/10.17721/2519-4801.2023.2.10.

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The paper explores the personality and artistic endeavours of Jozef Kordysz, a professional photographer of Polish-Ukrainian background who worked in Kamianets-Podilskyi and Kyiv during the late nineteenth century. Kordysz is renowned for his photographic expeditions in Podolia and Kyiv regions, as well as his trip to the zone of the Russo-Turkish war (1877-1878). Despite belonging to the Polish nobility and having close ties to the nationally conscious Ukrainian intelligentsia in Kyiv, Kordysz hardly identified himself with either Polish or Ukrainian national projects. His interest in ethnogr

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Jakab, Tibor. "A tények megjelenítése a fotográfia médiuma segítségével – megrendezett és manipulált képek." Symbolon 22, no. 2 (2021): 79–87. http://dx.doi.org/10.46522/s.2021.02.07.

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"In the history of photography, we come across many staged and manipulated photographs. Most of these are press photos that would be intended to show as accurately as possible the recording of an event, for those who could not be there and only learn about everything that happened based on the image. The most important requirement of press ethics forums for press photos is to be as objective as possible in presenting the event. The photographer may not use any intentional image modification or manipulation to take the image. After it became clear that many of the images, we were dealing with a

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Junevičius, Dainius. "Lietuvos fotografų nuotraukos pirmojoje Rusijos etnografijos parodoje 1867 m." Lietuvos kultūros tyrimai 10 (2018): 142–62. https://doi.org/10.53630/lkt.2018.10.

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In 1867, Russia’s first major ethnographic exhibition was held in Moscow. The exhibition consisted of dioramas with at least 300 mannequins portraying over 60 ethnic groups, and a wide range of additional displays representing the material culture and physical features of the peoples of the Russian Empire. The Exhibition was an important event in the history of photography, since photographs were extensively used at the exhibition. First of all, the photographs of the typical representatives of different nations were used to model the heads of the mannequins. Around 1500 photographs sent from

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