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Journal articles on the topic 'Photo illustrations and portraits'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Syuderajat, Fajar. "Ideologi Surat Kabar dalam Pemberitaan Terorisme." Communicatus: Jurnal Ilmu komunikasi 1, no. 1 (2017): 1–12. http://dx.doi.org/10.15575/cjik.v1i1.1206.

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This paper this study was to determine the ideology of Newspaper Coverage Off Execution Amrozy Cs. on Newspaper Kompas and Republika. The method used in this research is the analysis method semiotics model of Ferdinand de Saussure with a qualitative approach. The results showed that: (a) Option speech text, as well as the news angle images of photographs or illustrations that reproduce the graph becomes a news event is strongly influenced by the ideology of the media is concerned. (B) Compass showing partiality to the international agenda by using the term "terrorists" in its message. This is

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Maurer, Andrey Markovich. "Composite photographic portrait as a tool for visualizing local anthropological variants (using the example of Bashkir men photographic materials)." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 14, 2021): 5–16. http://dx.doi.org/10.32521/2074-8132.2021.3.005-016.

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Based on individual images of Bashkir men from literary sources (early 20th century) and on the basis of our own photographs of the end of the 20th century, composite photographic portraits (full-face, in profile) were compiled using the "FaceOnFace" computer program. Based on the high similarity of composite photographic portraits, two samples (from the beginning and the end of the 20th century) of initial photographs of Bashkir men were combined into a single corpus (N = 85). Individual photographs corresponding to the descriptions of the South Siberian (N = 40) and Ural (N = 20) minor races

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3

Kim, Hoongi. "Visual Metaphor Applied to the ‘Portrait’ of SARS-CoV-2: Focusing on Illustrations and Electron Microscope Photos." Korean Society of Culture and Convergence 44, no. 6 (2022): 753–74. http://dx.doi.org/10.33645/cnc.2022.6.44.6.753.

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The purpose of this paper is to compare and examine the metaphorical expressions in the visual materials of SARS-CoV-2. The subjects of this study are two illustrations by the US CDC and a researcher David S. Goodsell, and two electronic microscope photos by the US NIAID and Austrian company Nanographics. The metaphorical expressions and meanings were examined in terms of ‘superimposition (transformation, deletion, addition)’ and ‘replacement.’ The first illustration applied superimposition method such as transformation into a full sphere, omission of the number of M proteins, addition of red

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4

Strauss, Johann. "The Great War of the Postcards." Archiv orientální 88, no. 3 (2021): 525–68. http://dx.doi.org/10.47979/aror.j.88.3.525-568.

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This article examines the functions and the significance of picture postcards during World War I, with particular reference to the war in the Ottoman Lands and the Balkans, or involving the Turkish Army in Galicia. After the principal types of Kriegspostkarten – sentimental, humorous, propaganda, and artistic postcards (Künstlerpostkarten) – have been presented, the different theatres of war (Balkans, Galicia, Middle East) and their characteristic features as they are reflected on postcards are dealt with. The piece also includes aspects such as the influence of Orientalism, the problem of fa

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Schwab, Wendell. "Visual Culture and Islam in Kazakhstan: The Case of Asyl Arna’s Social Media." Central Asian Affairs 3, no. 4 (2016): 301–29. http://dx.doi.org/10.1163/22142290-00304001.

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Asyl Arna is the most popular Islamic television channel in Kazakhstan and the dominant Islamic media company in Kazakhstan. This article examines how images on the social media pages of Asyl Arna create a way of understanding and engaging in contemporary Islamic life in Kazakhstan. I examine four kinds of images: lists, portraits of authority figures, illustrations or photos of the Qur’an, and images related to a middle-class life with a strongly gendered division of labor. The visual culture of Asyl Arna’s social media promote Islam as an achievable part of a middle-class lifestyle that can

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IONESCU, Adrian-Silvan. "A country photo portrait of 1923: E. O. Hoppé In Greater Romania." Dialogica 2 (August 13, 2019): 49–62. https://doi.org/10.5281/zenodo.3366964.

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In 1923 Emil Otto Hoppé (1878-1972), the famous London photographer whose masterful and skilled studio portraiture made him a darling to many elite sitters, left his lucrative studio in Millais House and made a journey to Greater Romania. By train, by car, by coach, by cart or on horseback, Hoppé covered in only six weeks a vast area of the new country that is fair to say few Romanians had a chance to travel through so soon after the Unification, and at such a speed. A year later Hoppé produced his travel journal called “In Gipsy Camp and Royal Palace: Wanderings in

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Kalisz, Katarzyna. "Spuścizna audiowizualna Jerzego Ficowskiego w zasobie Narodowego Archiwum Cyfrowego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 12, 2017): 263–69. http://dx.doi.org/10.24917/20811853.16.20.

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Audio-visual legacy of Jerzy Ficowski found in the National Digital Archives The National Digital Archives stores the audio-visual contents of Jerzy Ficowski’s legacy – photos, audio recordings, and films. The most numerous type of data found there are photographs. Many of the photos are representative of Ficowski’s research interests. There are Gypsy photos (especially those taken by him while traveling in Gypsy caravans), Judaica, photos regarding Witold Wojtkiewicz and Bruno Schultz (particularly those taken by Jerzy Ficowski during his stay at Drohobych), photos taken by Ficowski as illust

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Gunalan, Sasih. "Tinjauan Cover Buku Biografi I Wayan Pengsong." Jurnal SASAK : Desain Visual dan Komunikasi 1, no. 2 (2019): 65–71. http://dx.doi.org/10.30812/sasak.v1i2.553.

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The development of the world of art and design is one of the major contributors to the emergence of the dynamics of the existing arts. The existence of the development of artistic discourse is not infrequently archived in the form of a book. Biography book is one type of book that contains a record of stories or information about a person's life journey that is arranged systematically. The book as a unit is composed of several constituent elements, one of which is the cover or cover. The unit that compiles the design of a book cover, ideally consists of several elements. Some of them are illus

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Astakhova, E. V. "On Tatiana Pigariova’s Book <i>Spain from S to N</i>: a Look through the Personal I and Culturological Curiosities." Concept: philosophy, religion, culture 7, no. 1 (2023): 167–69. http://dx.doi.org/10.24833/2541-8831-2023-1-25-167-169.

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The newly published book by a well-known expert in Hispanic studies Tatiana I. Pigariova presents a truly personal look on Spain. Its nine chapters, or acts, invite readers to join the author and set off on a fascinating journey across Spain from S to N. The very cover of the book suggests a notion of the adventure the readers are about to treat themselves to. As an art critic T. Pigariova reads deeply into fine art, poetry and historical events and comes up with advanced and original symbolic interpretations. She turns to the art of metaphor elaborated by the masters of Spanish Baroque yet do

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Kiseleva, N. A. "Deltiological Collection of Pskov Professor Yury Mukhin." Observatory of Culture 15, no. 3 (2018): 321–29. http://dx.doi.org/10.25281/2072-3156-2018-15-3-321-329.

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Every year the Pskov State University hosts the International scientifi c and practical conference “Mukhin readings”, which received its name in honor of the Doctor of psychological Sciences, Honorary Professor of the Department of pedagogics and psychology Yury Mikhailovich Mukhin. He would have turned 95 on July 24, 2018. He devoted many years of his life to the search and systematization of art postcards with the images of masterpieces of world art, which he used in scientifi c and pedagogical activities. The famous collection of Y.M. Mukhin includes more than 12 500 postcards; 10 994 of th

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Jubaidi, Ahmad. "ANALISIS KEARIFAN LOKAL BUDAYA TUTUR LISAN SEBAGAI PEREKAT KEBANGSAAN DAN HARMONISASI SOSIAL MASYARAKAT KALIMANTAN TIMUR." DEDIKASI 22, no. 1 (2021): 1. http://dx.doi.org/10.31293/ddk.v22i1.5570.

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The purpose of this research is to analyze the existence and role of local wisdom of oral speech culture as the social glue and social harmonization of the people of East Kalimantan. Local wisdom is one of the instruments to reduce or minimize the problems of social conflict, intolerance, radicalism and other forms of violence. One form or form of local wisdom is the local wisdom of oral speech culture as the national glue that has been passed down by our ancestors, the nation's founders as one of the norms, customs and principles in stepping to create calm, peace, glue and harmony in social l

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12

Noy, Chaim. "Staging portraits: Tourism’s panoptic photo-industry." Annals of Tourism Research 47 (July 2014): 48–62. http://dx.doi.org/10.1016/j.annals.2014.04.004.

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Kotliar, Svitlana, and Iryna Zaspa. "Female Portrait in Photography Art: from Authenticity to Modernity." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 84–96. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235094.

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The purpose of the research is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. The research methodology consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, history of female portrait development in

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14

Bourdeau, Marie. "Tu veux ta photo ?" Hommes & migrations 1345 (2024): 191–96. http://dx.doi.org/10.4000/120pc.

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Dans le cadre de deux résidences en milieu scolaire, la photographe Hortense Soichet a proposé aux élèves de travailler sur leurs objets personnels et leurs portraits en dialogue avec les collections du Musée national de l’histoire de l’immigration, elle les a invités à questionner la représentation de soi.

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Sonstegard, Adam. "“Bedtime” for a Boston Marriage: Sarah Orne Jewett's Illustrated Deephaven." New England Quarterly 92, no. 1 (2019): 75–108. http://dx.doi.org/10.1162/tneq_a_00721.

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The illustrations in 1893 edition of Deephaven crosse conventional boundaries, arresting the objectification that is often inherent in portraits and landscapes. Jewett and the illustrators preserve felt lesbian passions as they become portraits' subjects, and produce a kind of queer, visual keepsake album that effectively stops the hands of time.

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Wang, Caroline, and Mary Ann Burris. "Empowerment through Photo Novella: Portraits of Participation." Health Education Quarterly 21, no. 2 (1994): 171–86. http://dx.doi.org/10.1177/109019819402100204.

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Kotliar, Svitlana, and Iryna Zaspa. "Female Portrait in Photography Art: from Authenticity to Modernity." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 84–96. https://doi.org/10.31866/2617-2674.4.1.2021.235094.

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<em>The purpose of the research </em>is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. <em>The research methodology </em>consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, his

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18

Horevalov, Serhii. "The History of Taras Shevchenko’s Photographs: Unity of Words and Pictures (to the 180th Anniversary of Photo Art)." Scientific notes of the Institute of Journalism, no. 1 (74) (2019): 112–23. http://dx.doi.org/10.17721/2522-1272.2019.74.10.

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The article describes the value of photo art in the fate of T. H. Shevchenko – a cult figure of Ukraine. T. H. Shevchenko’s self-portraits are the works of art and simultaneously the artistic documents of the poet. The copies of T. H. Shevchenko’ self-portraits presented to his friends became so-called “Shevchenko Photo Fest” in 1858. The photos of T. H. Shevchenko made an impression on the outstanding creative people of the country and abroad, in particular the outstanding women of that time (M. Vovchok and others). Each of his photographs contains not only historical information about the li

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Nofrizaldi, Nofrizaldi, and Shintia Dwi Alika. "MITOS ILUSTRASI FOTO FERDI SAMBO DALAM PEMBERITAAN MEDIA ONLINE." Artchive: Indonesia Journal of Visual Art and Design 4, no. 2 (2023): 185. http://dx.doi.org/10.53666/artchive.v4i2.3866.

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In today's information technology era, modern society is greatly spoiled by the ease of access to news. One of the information media is online media reporting, which offers news content in written form as well as color photo illustrations, making it easier for readers to understand the content of the news. However, photo illustrations as news content can sometimes be confusing, such as in the reporting of the premeditated murder committed by Ferdi Sambo. Therefore, it is important to deeply understand the meaning of the photo illustrations from the news content about Ferdi Sambo so as not to b

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20

Reaves, Shiela. "The Vulnerable Image: Categories of Photos as Predictor of Digital Manipulation." Journalism & Mass Communication Quarterly 72, no. 3 (1995): 706–15. http://dx.doi.org/10.1177/107769909507200319.

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This study suggests that the tolerance of newspaper editors for computer manipulation depends on the category of photographs. Editors differ significantly in their tolerance level of computer manipulation of spot news, feature, and photo illustrations. In a survey experiment among 677 newspaper editors, results suggest that editors use a continuum of photo categories. Editors are intolerant of altering spot -news photos, but much more tolerant of altering soft-news photos such as feature photos and photo illustrations.

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Maurer, A. M., and A. M. Chumakova. "The main results of using the method of composite photo portrait for the purposes of ethnic anthropology (in the works of anthropologists of Lomonosov Moscow State University)." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta Seria XXIII Antropologia), no. 4, 2024 (November 18, 2024): 90–100. https://doi.org/10.55959/msu2074-8132-24-4-6.

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Introduction. One of the central tasks of ethnic anthropology is to describe the phenotypic variability in modern human populations. In recent years, the number of publications visualizing the morphological features of a human face at the population level has increased significantly. The purpose of the article is to show the latest achievements of Lomonosov Moscow State University’s anthropologists, made by using the composite photo portrait (CPP) method. Materials and methods. The material for the article was the works of the Moscow University’s anthropological scientific school in recent yea

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22

Richard, Veronica M., and Maria K. E. Lahman. "Photo-elicitation: reflexivity on method, analysis, and graphic portraits." International Journal of Research & Method in Education 38, no. 1 (2014): 3–22. http://dx.doi.org/10.1080/1743727x.2013.843073.

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23

Zald, Joan Kadri. "Faces of the Homeless: A Photo Essay." City & Community 3, no. 1 (2004): 29–41. http://dx.doi.org/10.1111/j.1535-6841.2004.00065.x.

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These portraits were taken in shelters, soup kitchens, transitional housing, and on city streets. The intent was to record the faces of the homeless, capture their humanity, and show the diverse range of people who become homeless. Photographs were also selected to show the different kinds or stages of homelessness: the recently dislocated and the episodically, as well as the chronically, homeless.

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Chumakova, Anna M., Andrey M. Maurer, and Eugene, Kobyliansky. "Intertribal variability of some cephalometric traits in Bedouins of South Sinai and an attempt to visualize it by the method of composite photo portrait." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (August 23, 2023): 52–62. http://dx.doi.org/10.32521/2074-8132.2023.3.052-062.

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Introduction. The article presents the results of the development data on kefalometry of the complex South Sinai anthropological expedition. The purpose was to study the variability of cephalometric traits in South Sinai Bedouins. Objectives: to identify possible phenotypic differences between the tribes, to assess the position of the Bedouin tribes against the background of the Middle Eastern and North African populations according to literary data; to create male composite photo portraits (CPP) from Bedouin tribes Awlad Said and Gebeliya. Materials and methods. Cephalometric data from three

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Baker, Robert L. "Portraits of a Public Suicide: Photo Treatment by Selected Pennsylvania Dailies." Newspaper Research Journal 9, no. 4 (1988): 13–23. http://dx.doi.org/10.1177/073953298800900402.

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The use of photographs is examined in 91 Pennsylvania dailies' news coverage of the Jan. 22, 1987, suicide of Pennsylvania State Treasurer R. Budd Dwyer. Difference in photo use is compared for large vs. small papers, those in competitive markets, those in markets where television covered the event graphically and those at distances from the victim's hometown. Editor's note: photo examples appear before this article.

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26

Papp, Júlia. "Illustrations related to Hungary in Siegmund von Herberstein’s publications." Radovi Instituta za povijest umjetnosti, no. 45 (December 31, 2021): 61–76. http://dx.doi.org/10.31664/ripu.2021.45.05.

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The diplomat Siegmund von Herberstein decorated his Russian travelogues and his autobiographical works with several illustrations, including some with references to Hungary. Augustin Hirschvogel created the depictions of the rulers Herberstein visited, as well as the illustrations of his European journeys. However, the rulers wearing ornate fictive armour were not authentic portraits: they were inspired by the woodcuts of Hans Burgkmair the Elder (Genealogy), as well as by the engravings of the Augsburger Geschlechterbuch. Hirschvogel later made busts in the shape of a medallion, which were mo

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Chen, Yen-Chia, Hiroki Shibata, Lieu-Hen Chen, and Yasufumi Takama. "Synthesis of Comic-Style Portraits Using Combination of CycleGAN and Pix2Pix." Journal of Advanced Computational Intelligence and Intelligent Informatics 28, no. 5 (2024): 1085–94. http://dx.doi.org/10.20965/jaciii.2024.p1085.

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This paper proposes a system for converting face photos into portraits with specific charcoal sketch-like style. NPR (non-photorealistic rendering) for converting real photo images into anime-style images have been studied. Its promising application is the creation of users’ portraits on social networks for preventing leaks of personal information. An image-to-image transformation using GAN (Generative Adversarial Network), such as CycleGAN or Pix2Pix, is expected to be used for this goal. However, it is difficult to generate portraits with specific comic styles that satisfy two conditions at

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Lunyova, Tetyana. "An intermedial perspective for ekphrasis: How photographs contribute to writing about artists." Cognition, Communication, Discourse, no. 28 (August 25, 2024): 58–77. http://dx.doi.org/10.26565/2218-2926-2024-28-04.

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This paper examines the relationships that emerge in the process of meaning-making in the anthology Writers on artists (Minton, 2001) between photographic portraits of the artists and other images and verbal textual components. The findings demonstrate that as indexes, the photographs of the artists testify to the artists’ real existence; as icons, these photographs contribute to the representation of the artists’ uniqueness. Through these two roles, the artists’ photographic portraits ensure the status of the ekphrasis in the essays as “actual ekphrasis” (in Hollander’s terms). In interaction

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HIGTON, HESTER. "Portrait of an instrument-maker: Wenceslaus Hollar's engraving of Elias Allen." British Journal for the History of Science 37, no. 2 (2004): 147–66. http://dx.doi.org/10.1017/s0007087404005412.

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Among the many engravings of landscapes, buildings, portraits and other illustrations produced by the seventeenth-century artist Wenceslaus Hollar, there are a small number of images of contemporary men of science. Of particular interest is the portrait of the instrument-maker Elias Allen, both because portraits of men of his social status were extremely uncommon at this time, and also because the cluttered mass of instruments shown in the image presents a picture wholly unlike other portraits of the period. The first part of this paper explores the position of portraiture as inherently linked

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Cros, Michele. "Bat portraits in times of pandemic." Medicine Anthropology Theory 7, no. 2 (2020): 273–84. http://dx.doi.org/10.17157/mat.7.2.726.

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In this Photo Essay, photographs are combined with drawings collected in Burkina Faso in the years following the 2014–2016 Ebola outbreak. Portraits of bats are shown. The blacklisting of these animals following the recommendations of health authorities collides with local realities, where it is not possible to talk about bats in a ‘general’ sense. The same is true today in the period of COVID-19, when chiropterans are once again in the etiological hot seat: bats are behind the pandemic, according to Ridley's shock phrase (2020). In Burkina Faso's Lobi country, between the red and black fruit-

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Butovskaya, M. L., V. V. Rostovtseva, A. A. Mezentseva, and A. Mabulla. "Maasai Identify Male Altruists by Facial Appearance." Experimental Psychology (Russia) 16, no. 3 (2023): 7–18. http://dx.doi.org/10.17759/exppsy.2023160301.

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<p>In this experimental study, we continue investigating an association between facial morphology and individual psychological characteristics. The study was conducted in the population of Maasai (Ngorongoro, Tanzania) in two stages during field trips in 2016 and 2021. At the first stage, we collected anthropological photo portraits from 305 individuals (123 women and 182 men) and interviewed them to identify the propensity to help others. Six generalized morphed portraits of Maasai (men and women) were created based on individual propensity to help. At the second stage of the study, por

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Mersmann, Birgit. "Migrant Portraiture and Life Imaging in Fazal Sheikh’s Photodocumentaries." Imaginations Journal of Cross-Cultural Image Studies/revue d études interculturelle de l image 13, no. 2 (2022): 47–78. http://dx.doi.org/10.17742/image.tp.13.2.3.

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This article explores the role of migrant photo portraiture for life imaging by providing a close reading of two photobooks by contemporary photographer Fazal Sheikh – *A Sense of Common Ground* (1996) and *The Victor Weeps. Afghanistan* (1998). Visual storytelling is a core feature of this social and humanitarian photographer’s work, through which two main questions are addressed: how are real-life migration experiences as survival stories and personal biographies inscribed in the portraits of refugees and migrants? Which form(at)s of portraits are chosen, and which practices of portrayal are

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Rowley, Alison. "Portraits of Putin ‐ An installation reflecting on his twenty years in power and his presence in the global public sphere." Journal of Arts & Communities 12, no. 1 (2021): 57–84. http://dx.doi.org/10.1386/jaac_00023_3.

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This photo essay describes an installation created to mark the twentieth anniversary of Russian President Vladimir Putin’s ascension to power. The portraits ‐ made by seventeen different artists ‐ offer a strong commentary about one of the world’s most powerful figures, about the performance of politicized masculinity, and about the power of craft to contribute to contemporary political discourse.

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Fokin, Pavel. "Four Portraits, No Retouching." Неизвестный Достоевский 7, no. 3 (2020): 97–113. http://dx.doi.org/10.15393/j10.art.2020.4801.

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Researchers are still raising questions related to the time and place of shooting of certain portraits in the scarce photographic iconography of F. M. Dostoevsky. First of all, this pertains to a set of early photographs, whose dating ranges between 1857 and 1863, according to various sources. The article offers new arguments in favor of attributing several portraits of F. M. Dostoevsky to 1859. This refers to photographs that captured an image of F. M. Dostoevsky that is unusual for most of his admirers, namely, without a beard. Two of them were taken in Semipalatinsk by the photographer S. A

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Rawson, K. J., and Nicole Tantum. "Marie Høeg’s worldmaking photography: a photo essay." Journal of Visual Culture 19, no. 2 (2020): 184–96. http://dx.doi.org/10.1177/1470412920941899.

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Marie Høeg, who lived from 1866–1949, was a Norwegian photographer and activist for women’s rights. In this photo essay, the authors feature six photographs depicting Marie Høeg in gender transgressive scenes. These photographs are a few of more than 30 that were recovered in the 1980s from a property where Høeg once lived with her female partner, Bolette Berg. Standing out from the traditional landscapes and portraits that were common for the professional studio of Berg & Høeg, these photographs provide a glimpse into Høeg’s playful self-expression at the onset of the 20th century. This p

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Léon, Véra. "La querelle des photo-filmeurs." Photographica, no. 2 (May 3, 2021): 130–46. http://dx.doi.org/10.54390/photographica.468.

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À la fin des années 1940, les photo-filmeurs se multiplient dans les rues des villes, photographiant les passants pour leur vendre leurs portraits. Or cet essor est combattu tant par les syndicats de photographes établis, qui considèrent ces nouveaux venus comme des concurrents déloyaux, que par les pouvoirs publics qui font surveiller leurs activités par la police. À partir d’une étude de cas, cet article analyse les enjeux du conflit et brosse le portrait des acteurs incriminés. En articulant différentes échelles d’analyse, de la trajectoire individuelle à la stratégie collective, des mesure

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Allen, Joseph R. "Picturing Gentlemen: Japanese Portrait Photography in Colonial Taiwan." Journal of Asian Studies 73, no. 4 (2014): 1009–42. http://dx.doi.org/10.1017/s0021911814000990.

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This essay investigates the conditions of portrait photography in Taiwan during Japanese colonization. After a brief introduction to the theoretical issues concerning the indexical nature of the photograph, I consider the Japanese colonial photographic industry and its products (portraits) in three contexts: the state of photographic technology in the world at that time, the ideological machinery of colonization in Taiwan, and the wider phenomenon of colonial mimicry. In this consideration, I offer a diachronic analysis of photo albums and commercial directories that contain formal portraits o

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Halpern, Rick. "Markets and the Making of Muslim Space in Urban China: Street Portraits from Xi'an's Huimin Jie." Gastronomica 19, no. 2 (2019): 71–79. http://dx.doi.org/10.1525/gfc.2019.19.2.71.

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This photo essay explores the Muslim Quarter, or Huimin Jie, in the central Chinese city of Xi'an located in Shaanxi Province. It focuses on street life and the vendors who sell a variety of foodstuffs from open-air stalls and shop fronts. The ten black and white street portraits included in the piece convey the Muslim character of this neighborhood as well as its youthful vibrancy.

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Mader, Brandon, Martin S. Banks, and Hany Farid. "Identifying Computer-Generated Portraits: The Importance of Training and Incentives." Perception 46, no. 9 (2017): 1062–76. http://dx.doi.org/10.1177/0301006617713633.

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The past two decades have seen remarkable advances in photo-realistic rendering of everything from inanimate objects to landscapes, animals, and humans. We previously showed that despite these tremendous advances, human observers remain fairly good at distinguishing computer-generated from photographic images. Building on these results, we describe a series of follow-up experiments that reveal how to improve observer performance. Of general interest to anyone performing psychophysical studies on Mechanical Turk or similar platforms, we find that observer performance can be significantly improv

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Wade, Nicholas J. "Receptor Visionaries." Perception 47, no. 8 (2018): 833–50. http://dx.doi.org/10.1177/0301006618775896.

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Sensory receptors were described and illustrated after they had been observed with the aid of microscopes. Most descriptions were made in the 19th century after the introduction of achromatic lenses in microscopes. In some senses (like vision), receptors were named according to their morphology whereas in others (like touch), they are known by the names of those who initially described them. Illustrations of the receptors from original sources are here combined with portraits of their originators.

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Biswas, Paramita, and Shreekant Gour. "TRACING THE EVOLUTION OF PHOTOGRAPHY AND BACKDROP PAINTING IN INDIAN PHOTO STUDIOS: KOLKATA’S ARTISTIC LEGACY AND PRACTICES." Social Science Review A Multidisciplinary Journal 3, no. 3 (2025): 387–92. https://doi.org/10.70096/tssr.250303060.

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Photography studios emerged shortly after the invention of the camera around the mid 1800s. From that time on, backdrop painting began to be used in studios according to customer demand. Backdrop painting in Indian photo studios was not merely a decorative practice. It was an art form deeply rooted in the socio-cultural fabric of the time. These paintings served multiple purposes from enhancing the aesthetic appeal of portraits to symbolizing status, identity and aspirations of the subjects. Kolkata, as a hub of artistic innovation and cultural exchange played a crucial role in shaping the evo

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Brečević, Geska Helena, and Robert Brečević. "Verfünfungseffekt: Delving into the Enchanted World of Fivefold-portraits and Self-partitioning." Magic, Vol. 5, no. 1 (2020): 66–71. http://dx.doi.org/10.47659/m8.066.ess.

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Discovered during a media-archeological investigation into optical illusions, trick photography, and discarded memorabilia, the photo-multigraph technique opened the door to an enchanted world of cloned appearances orbiting in a self-reflective solar system. Shapeshifting into our preferred artistic medium, this turn-of-the-century photographic technique becomes the video-multigraph. It is bizarrely noteworthy that self-isolation would become not only the subject of the piece, but also – due to the unforeseen spread of a recently mutated virus – the prevailing circumstances under which the wor

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Jang, Sunhee. "How to see the South African black people in Santu Mofokeng’s image-text archive?" Arte, Individuo y Sociedad Avance en línea (April 8, 2024): 1–17. http://dx.doi.org/10.5209/aris.92751.

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South African artist Santu Mofokeng’s The Black Photo Album—Look at Me: 1890–1950 (1997) displays black people’s photographic portraits and text through a slide projection. For this archive project, he collected, restored, and re-contextualized the old portraits and added text. The presented figures depict the black South Africans who lived at the end of the nineteenth century. Most of them are well-dressed and take a pose in a European studio. Different from the well-prepared photographic representation, pieces of text include a disorder of alphabets, varied size of letters, inconsistent grou

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Tatay, Anca Elisabeta. "Romanian Princes Represented in Lithographs Accomplished by Constantin Lecca in “Biblioteca Românească” (Buda, 1829, 1830): Truth or Fiction?" Études bibliologiques/Library Research Studies 5, no. 5 (2024): 129–55. https://doi.org/10.33993/eb.2023.09.

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Between 1780 and 1830 the Romanian Section of the University Press of Buda printed four issues of the magazine “Biblioteca românească” [Romanian Library], edited by Zaharia Carcalechi. Each of them announced on the title page the portrait of a voivode: Dimitrie Cantemir, Radu Șerban, Mihai Viteazul [Michael the Brave], Ștefan cel Mare [Stephen the Great]. The images were portrayed in the technique of lithography and they represent official portraits (“portrete de aparat”). Even if they wore no signature, in the specialized historiography they were attributed to Constantin Lecca. The present st

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Vorobeva, D. I. "Ukiyo-e Masters of the Utagawa School: Kuniyoshi and Kunisada. Review of the Second Edition of M. V. Uspensky’s Monograph «Kuniyoshi and His Time»." Yearbook Japan 53 (December 11, 2024): 431–44. https://doi.org/10.55105/2687-1440-2024-53-431-444.

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In early 2024, a Saint Petersburg publishing house and independent publishing partner of the State Hermitage Museum “Arka” published a reedition of the catalogue of the exhibition “Kuniyoshi and His Time. Japanese Prints of the 19th Century. The Utagawa School,” which took place in 1997– 1998. The author of this catalogue is M. V. Uspensky (1953–1997), one of the greatest Russian researchers of Japanese fine art and curator of the museum’s Japanese collection.Following the original, the central figures of the second edition’s narrative are contemporaries and graduates of the Utagawa school, th

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Pretorius, Deirdre. ""Speak to a community audience": The Staffrider illustrations of Mzwakhe (Muziwakhe Nhlabatsi) 1979-1987." Image & Text, no. 37 (April 26, 2023): 1–37. http://dx.doi.org/10.17159/2617-3255/2023/n37a1.

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The South African literary and arts magazine Staffrider (1978-1993) is known for its Black Consciousness stance and the contribution it made in the struggle against apartheid. From its inception the magazine contained illustrations, photographs, artwork and graphics alongside prose, poetry, plays, essays and reports, and for nearly a decade illustrations signed by 'Mzwakhe' appeared frequently. Mzwakhe, the pen-name of Muziwakhe Nhlabatsi, contributed a sizeable number of illustrations to accompany the writing of several notable South African authors. This article offers a discussion of his il

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Buraeva, Svetlana. "PHOTO CHRONICLE OF THE SCIENTIFIC LIFE OF THE BURYAT INSTITUTE OF SOCIAL SCIENCES ON THE ARCHIVAL MATERIALS OF THE TSVRK (1970–1980S)." Culture of Central Asia: written sources 13 (December 16, 2020): 128–42. http://dx.doi.org/10.30792/2304-1838-2020-13-128-142.

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The article presents the results of the search, identification, attribution and systematization of photographic materials on the history of academic science in Buryatia in 1970s – 1980s. Several blocks of images are highlighted – portraits (individual and group), official photo chronicle of meetings and events, photographs from expeditions, unofficial meetings. The characteristics of paleographic features of some photographs and albums are given. The differences in the methods of recording field-work results of different periods are determined.

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Martynova, Daria O. "VISUAL REPRESENTATIONS OF PSYCHOPATHOLOGIES: EXAMPLES AND PROBLEMS OF STUDY." Articult, no. 2 (2021): 49–56. http://dx.doi.org/10.28995/2227-6165-2021-2-49-56.

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The article is devoted to a retrospective analysis of the causes of the appearance of representations of mental diseases in the visual field and the problems of visualization of pathologies on the example of cases and artworks of the XVIIIth and XIXth centuries. The problems and points of interaction between art and psychiatry are touched upon, the reasons for the appearance of psychiatric illustration, the commonwealth of psychiatry and photography, and the genre of medical portraits are analyzed. As a result, it can be concluded that psychiatric photography, medical portraits and psychiatric

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Doherty, Meghan C. "Discovering the ‘true form:’ Hooke's Micrographia and the visual vocabulary of engraved portraits." Notes and Records: the Royal Society Journal of the History of Science 66, no. 3 (2012): 211–34. http://dx.doi.org/10.1098/rsnr.2012.0031.

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This essay uses Robert Hooke's Micrographia to examine the intersection of visual conventions for portraiture with the viewing of the microscopic world. In the preface to his Micrographia , Robert Hooke asserts that he has discovered ‘a new visible World’ through the help of newly invented optical devices that add ‘artificial Organs to the natural’. I claim that Hooke was also aided by the visual vocabulary developed by engravers for translating a three-dimensional world into a two-dimensional representation of it, and that his awareness of these conventions sets his illustrations apart from h

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Blaney, Aileen. "Photographic art and technology in contemporary India." Philosophy of Photography 10, no. 1 (2019): 23–40. http://dx.doi.org/10.1386/pop_00004_1.

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Abstract The algorithmic turn in photography raises the question of whether an algorithmically generated image is even a photograph at all. This paradox is abundant on India's urban streets, where the pedestrian or road user is met with giant photo saturated flex hoardings printed with political and community messages and photo-shopped portraits of gods, chief ministers and party workers. In this article, attention to photo-based political posters alongside art practices sharing common elements of digital capture and postproduction contextualizes a reading of technologically produced visual la

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