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Journal articles on the topic 'Photographers'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Indra Astutik, Ika Ratna, and Yudhistira Wignya Radhitya. "Sistem Informasi Pemesanan Jasa Fotografer Berbasis Web Pada Studio Fotograferku." Journal of Technology and System Information 1, no. 1 (2024): 1–15. http://dx.doi.org/10.47134/jtsi.v1i1.2142.

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Studio Fotograferku is a company engaged in photography services. In the current digital era, the need for photography services continues to increase along with the growth of the creative industry and social media. However, the process of finding and ordering photographers often takes a long time and is less efficient. Seeing this potential, we developed a web-based photographer ordering information system. This system aims to make it easier for customers to search, compare, and order photographer services according to their needs and preferences. This system provides a photographer search fea

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

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Four early photographers are examined here in relation to their encounters with Tongans and Tonga. These photographers are Andrew Garrett, Gustav Adolph Riemer, Clarence Gordon Campbell and Walter Stanhope Sherwill. Garrett, an American natural historian who specialized in shells and fish, took two ambrotypes of Tongans in Fiji in 1868, which are two of the earliest Tongan photographs known. Riemer, born in Saarlouis, Germany, was a marine photographer on S.M.S. Hertha on an official diplomatic visit and took at least 28 photographs in Tonga in 1876. Campbell, a tourist from New York, took 25

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Heriwanto, Heriwanto, Muhammad Faiz Bolkiah, and Oky Mauludya Sudradjat. "Photo Arts Concept as Alternative Photography Works." Jomantara: Indonesian Journal of Art and Culture, Vol. 4 No. 2 July 2024 (July 30, 2024): 136–43. http://dx.doi.org/10.23969/jijac.v4i2.13509.

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The development of photography so far has encouraged the birth of various forms of new concepts in the field of photography. The birth of digital photography technology has provided various conveniences and encouraged photographers to develop photography more widely. Currently, the concept of photo art has been widely used by photographers or photo artists through the development of new ideas and concepts in the form of photographic works. Fine art photography can be an assessment and representation for the photographer who created the photograph. Therefore, the time has come for photographers

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Fiore, Dánae. "Photographs as Artifacts." Anthropos 114, no. 1 (2019): 57–78. http://dx.doi.org/10.5771/0257-9774-2019-1-57.

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This article presents key concepts and methods used to develop a visual archaeology of two Indigenous societies of Tierra del Fuego (Shelk’nam, Yámana/Yagan). Photographs are conceived as artifacts, which condense the traces of at least two agents: photographers and photographed subjects. These visual records are not only biased by the different photographers who took them, but also shed light on the different material culture patterns produced by each Indigenous society, which are visible on the images when studied in large samples. The article discusses some results of systematic investigati

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Kimball, Claire. "Photographing Early Modern Drama in Performance: A Visual Dramaturgy." Shakespeare Bulletin 42, no. 4 (2024): 469–98. https://doi.org/10.1353/shb.2024.a956895.

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Abstract: This essay examines the significance of the production photographer’s approach to documenting early modern drama in performance where the photographer has also served as a rehearsal room dramaturg. Drawing from the personal observations of Brave Spirits Theatre’s resident dramaturg/production photographer, the essay explores several productions of Shakespeare and his contemporaries, as well as select rehearsal and production photos, to investigate the ways in which a dramaturg can less intrusively document early rehearsals, anticipate staging elements, and employ a broad contextual a

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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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Dissarami, Dissarami. "PHOTOGRAPHER INCOM EARNINGS PRE-WEDDING IN PERSPECTIVE AL-'AMÂL . IJÂRAH CONTRACT (A Research in Takengon City)." Dusturiyah: Jurnal Hukum Islam, Perundang-undangan dan Pranata Sosial 12, no. 2 (2022): 169. http://dx.doi.org/10.22373/dusturiyah.v12i2.13260.

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Pre-wedding photo shoots are carried out to meet various aesthetic needs at the wedding ceremony. This causes many people to need the services of a photographer, producing various forms of style from every pre-wedding photo moment that is created. There are three problem formulations in this thesis, namely first, how is the contribution of the photographer in determining behavior and style in pre-wedding shooting. Second, what are the efforts made by the photographer to avoid photo sessions that are against the syara' in pre-wedding photography. Third, what are the consequences of the photogra

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Susanti, Indah. "Pemberdayaan Budaya Visual Erison J. Kambari dalam Ranah Pelestarian Budaya Lokal Sumatera Barat." Rekam 20, no. 1 (2024): 87–104. http://dx.doi.org/10.24821/rekam.v20i1.7805.

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This article reveals the sides of photography by local photographers. The method used is to analyze the work of Erison J Kamari and the appreciation of the audience for his photographs. The method used in this research is qualitative. The result of this research is how to promote and introduce the local potentials of West Sumatran culture by Erison through his visual records. The actions of this photographer from Kurai provide realization in professional art creation management. Capturing moments that cannot be separated from patience, basic understanding of photography techniques, selection o

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TAJUDDIN, LAILI MARDZIAH, ANDRIALIS ABD RAHMAN, NOR AZIYANA ABD RAHMAN, and ROSLIZA AHMAD. "OVERVIEW OF STREET PHOTOGRAPHER OBJECTIVES FOR THE PHOTOJOURNALISM GENRE." Quantum Journal of Social Sciences and Humanities 5, no. 6 (2024): 212–20. https://doi.org/10.55197/qjssh.v5i6.495.

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This study is a review of borderless street photography, aiming to explore the objectives behind each captured subject and the storytelling conveyed through the recorded and displayed images. The methodology used combines both contemporary studies and literature references. Several images from current street photographers were selected for analysis, linking the purpose behind the captures with insights from previous literature. Interviews with photographers were also conducted to further strengthen the data obtained. The analysis revealed that the purpose of street photography, whether direct

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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.

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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the dire

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Compilation. "Images of the Farmer Protests." Sikh Research Journal 6, no. 1 (2021): 126–32. http://dx.doi.org/10.62307/srj.v6i1.67.

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The following 12 photographs are all taken from the Wikipedia page, “2020–2021 Indian farmers' protest.” We present them with minimal information: location, date taken, and photographer’s name and geographic affiliation. Each photograph has been shared with a Creative Commons license. We urge readers to explore further details of the photographers and the sharing conditions, as well as other photographs available on this Wikipedia page, along with the page text.

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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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Alexander, Arden. "Photographic Resources Documenting the Middle East at the Library of Congress." Middle East Studies Association Bulletin 40, no. 1 (2006): 63–74. http://dx.doi.org/10.1017/s0026318400049415.

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Images of the Middle East form an important part of the 14 million items in the Prints and Photographs Division (P&P) of the Library of Congress (LC). The Middle East designation covers a broad geographical region stretching from Algiers in North Africa, to Samarqand in present day Uzbekistan. Most of the photographs, negatives, book illustrations, posters, albums, stereographs, and prints date from between 1840 to the present and document people, archaeological sites, buildings, important events, and everyday life. The photographers include resident foreigners such as Rudolf Lehnert and E

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

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Of the more than 3,000 photographers active in New Jersey in the nineteenth century, a number of them were itinerant camera workers at some point during their careers, operating with a horse-drawn wagon. Some photographers, especially those taking views, circulated locally even when they had a gallery where they did portraits and sold other kinds of photographs. Like many other American photographers who did not always wait for customers, John P. Doremus began working in the medium during the Civil War, when there was a strong market for portraits. Doremus is distinguished in that, for much of

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Opp, James. "Still Photographs, Publicity, and the Making of Cecil B. DeMille's Ten Commandments (1956)." Film History: An International Journal 34, no. 4 (2022): 1–29. http://dx.doi.org/10.2979/fih.2022.a900040.

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ABSTRACT: From 1954 to 1956, tens of thousands of still photographs were taken, reviewed, printed, and circulated to promote Cecil B. DeMille's The Ten Commandments (1956). By tracing the conflicts that emerged over their management, this study centers the photographs and their distribution within an ecosystem of public relations, print media, and film production. While studio photographers produced the bulk of the photographs, their role was overshadowed by celebrity photographers, including Yousuf Karsh and Yul Brynner. Changes in the visual media landscape and Hollywood's photographic infra

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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky." Art & Culture Studies, no. 4 (December 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.

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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s ve

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Ama, Muhammad Idham. "Analisis Kinerja Fotografer Jurnalistik Di Kota Makassar." Jurnal Komunikasi dan Organisasi (J-KO) 1, no. 2 (2021): 65–71. https://doi.org/10.26618/jko.v1i2.5244.

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Tujuan dalam penelitian ini untuk mengetahui kinerja fotografer jurnalistik di Kota Makassar adalah : (1) Untuk menganalisis pengaruh antara kemampuan kerja terhadap kinerja fotografer jurnalistik. (2) Untuk menganalisis pengaruh antara motivasi kerja terhadap kinerja fotografer jurnalistik. (3) Untuk menganalisis pengaruh antara fasilitas kerja terhadap kinerja fotografer jurnalistik, dan (4) Untuk menganalisis pengaruh antara kemampuan kerja, motivasi kerja dan fasilitas kerja terhadap kinerja fotografer jurnalistik, di Kota Makassar. Populasi sebanyak 40 fotografer yang berkerja di media ce

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Voina, Delia. "Femeile-fotograf ale Sibiului din a doua jumătate a secolului al XIX-lea: fotografiile Kamillei Ásbóth și ale Juliei Herter din colecția Muzeului Național Brukenthal." Anuarul Institutului de Cercetări Socio-Umane Sibiu 31 (December 31, 2024): 77–95. https://doi.org/10.59277/aicsus.31.06.

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The role of women photographers has been downplayed in the history of photography, although they have been among the earliest practitioners since the 19th century. A small number of women contributed to the early history of photography, although in the late 18th and early 19th centuries some women in high society were knowledgeable about the science. The complicated processes used to take photographs were deciphered and used by women photographers, and their portfolios included a wide variety of subjects. The first women photographers’ owners of permanent studios in Sibiu, in the second half o

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Gunawan, Agnes Paulina. "Mendalami Dasar-Dasar dalam Pengambilan Pose pada Pemotretan Model." Humaniora 4, no. 1 (2013): 377. http://dx.doi.org/10.21512/humaniora.v4i1.3448.

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There are many activities and numerous objects in this universe, which make them interesting for photographers to explore as their masterpiece. One of the things that has been enjoyed and is always developing over time is the use of human as an object, whether as a candid photography or as a posing model in accordance to photographer's concept and theme. Using human being as an object is always popular among beginners and professional photographers. Even nowadays people often hold photo shoot as a media in many social network sites. And so if they understand the simple theories in basic knowle

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Iqbal, Muhammad, and M. Badar. "Fotografer dan Dinamika Jurnalisme Positif perspektif Jurnalistik Islam: Studi Media Online Times Indonesia." Moderasi : Journal of Islamic Studies 2, no. 1 (2022): 60–78. http://dx.doi.org/10.54471/moderasi.v2i1.24.

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Photography has an important role in the world of journalism. However, someone who works as a photographer doesn't just take pictures based on his imagination based on the photographer's own volition. This study aims to describe the role of photography and the dynamics of positive journalism in online media at www.timesindonesia.com. This research uses qualitative research with descriptive analysis, which describes phenomena and facts systematically and analytically. Is the role of photographers and the dynamics of positive journalism from the perspective of Islamic Journalism by having a case

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Čúzyová, Silvia L. "Tibor Huszár – Everywhere at Home." European Journal Of Media, Art & Photography 13, no. 1 (2025): 46–73. https://doi.org/10.34135/ejmap-25-01-02.

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Tibor Huszár (1952 – 2013) was a prominent Slovak photographer. As a photographer, he was interested in “all things human”, ordinary days and holidays, every day and timeless moments from the lives of people around him. Views into courtyards and the privacy of rooms, but also church services, baptisms, communions, weddings, funerals. He did not look for paradoxes, coincidences, or shocking situations; he also did not focus on exclusive beauty. On the contrary, he was inclusive – he was interested in everyone and everything. Huszár photographed “Gypsies”, the Roma people for decades (1968 – 200

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Mörzer Bruyns, Willem F. J. "Photography in the Arctic, 1876–84: the work of W.J.A. Grant." Polar Record 39, no. 2 (2003): 123–30. http://dx.doi.org/10.1017/s003224740200284x.

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In recent years, pioneer photographers in the Arctic have been researched. The last was W.J.A. Grant, who sailed as a photographer with Sir Allen Young in Pandora in 1876. Grant made another seven photographic trips to the Arctic. Four voyages were in the Dutch Arctic schooner Willem Barents, the others in British yachts. Grant's photographic legacy is considerable, but little known. The majority of his work was done for the Dutch and is still preserved in the Netherlands. Recently it has been possible to identify photographs by Grant in British collections. This article examines Grant and his

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

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This article examines the work of a diverse group of photographers who in the late 1960s and 1970s employed mapping techniques and devices as a means of artistic creation. Products of photography’s unprecedented growth, photographers John Pfahl, Michael Bishop, Kenneth Josephson and the participants of the Rephotographic Survey Project employed cartographic and topographic strategies as part of their exploration of the history of their medium and the American West. These artist-photographers, moreover, responded to the nineteenth-century surveys of the West as well as its relation to other, be

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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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Pfautsch, Anne. "Documentary Photography from the German Democratic Republic as a Substitute Public." Humanities 7, no. 3 (2018): 88. http://dx.doi.org/10.3390/h7030088.

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This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photograp

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Uthayakumar, Aarthy, Tamara Searle, and Noha Elshimy. "BT14 (P026) Teledermatology from the other side: a clinical photographers’ perspective." British Journal of Dermatology 191, Supplement_1 (2024): i195—i196. http://dx.doi.org/10.1093/bjd/ljae090.412.

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Abstract Teledermatology has transformed the way we deliver our skin cancer service, with medical photographers playing a vital role in our trust. We sought to further streamline our existing teledermatology service and explore challenges faced by the photography team. Our teledermatology model involves patients directly attending the hospital for a professional photography appointment before consultant triage of the lesion(s). After observing teledermatology photography lists with detailed photographer feedback, 1 week of teledermatology clinics across all three sites of the trust were analys

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Uthayakumar, Aarthy, Tamara Searle, and Noha Elshimy. "P026 Teledermatology from the other side: a clinical photographers’ perspective." British Journal of Dermatology 191, Supplement_1 (2024): i26. http://dx.doi.org/10.1093/bjd/ljae090.053.

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Abstract Teledermatology has transformed the way we deliver our skin cancer service, with medical photographers playing a vital role in our trust. We sought to further streamline our existing teledermatology service and explore challenges faced by the photography team. Our teledermatology model involves patients directly attending the hospital for a professional photography appointment before consultant triage of the lesion(s). After observing teledermatology photography lists with detailed photographer feedback, 1 week of teledermatology clinics across all three sites of the trust were analys

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Yogascitra Naufal, Neni Yulianita, and Anne Maryani. "Makna Diri dan Branding Fotografer." KOMVERSAL 5, no. 2 (2023): 187–202. http://dx.doi.org/10.38204/komversal.v5i2.1077.

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The development of photography in the city of Bandung is closely related to the development of photography in Indonesia. Bandung is one of the big cities in Indonesia with a very rapid development of photography, especially with the emergence of various photographers with specialization in their fields. With the presence of many photographers who have started to appear in the city of Bandung, many photographers are still looking for the meaning of their photography activities and the branding that must be done so that the public becomes aware and uses their services. From this phenomenon, the

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

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

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Passonneau, Sarah. "William Henry Fox Talbot. The Pencil of Nature. Chicago: KWS Publishers, 2011. 164p. ISBN 978-0981773667. $149.95." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 13, no. 2 (2012): 198–201. http://dx.doi.org/10.5860/rbm.13.2.384.

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Rediscovering William Henry Fox Talbot’s The Pencil of Nature, the first commercially produced photography book, led my mind back more than 20 years to when, as a young photographer, I studiously devoured the lessons wrought from the photographers Eugène Atget, Man Ray, and August Sander. One day as I sat in a verdant backyard absorbing books filled with images by these three photographers, my father plopped The Pencil of Nature by my side. In his quiet but immutable manner he said, “He [Talbot] did it first.” Atget, a late nineteenth-century/early twentieth-century photographer, took more tha

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Dąbrowska, Urszula. "Podlascy fotografowie z lat 30. i 40. XX wieku. Wyrastanie z prowincji." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 57, no. 4 (2023): 353–71. http://dx.doi.org/10.36770/bp.758.

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The article focuses on the works of three photographers active in Podlasie in the 1930s and 1940s. For over a decade, the discovered and rescued negatives by Bolesław Augustis from Białystok, Jerzy Kostko from Kleszczel, and Jan Siwicki from Jaczno have been compiled and published by the Cultural Educational Association ‘Widok’. They document provincial life just before and after World War II. They are part of contemporary photographic archaeology, which looks at popular (vernacular) photographs through the lens of avant-garde art theories, focusing not so much on their aesthetic qualities as

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Mardiastuti, A., and Y. A. Mulyani. "Responsible tourism in birdwatching and wild bird photography." IOP Conference Series: Earth and Environmental Science 1366, no. 1 (2024): 012027. http://dx.doi.org/10.1088/1755-1315/1366/1/012027.

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Abstract Birdwatching and wild bird photography lately has been flourished, and on many occasions might cause some negative impact on the birds and their habitat. This paper explores the type and the nature of activities that usually done by birdwatchers or photographers and provide some suggestions how to be responsible birdwatchers/photographers to minimize the negative impact on birds. Information was collected from literature study and personal experience as birdwatchers and bird photographer, then analyzed to characterize the responsible birdwatchers/photographers. Birdwatchers or photogr

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Darian-Smith, Kate. "The ‘girls’: women press photographers and the representation of women in Australian newspapers." Media International Australia 161, no. 1 (2016): 48–58. http://dx.doi.org/10.1177/1329878x16665002.

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In 1975, Fairfax News commemorated International Women’s Year by appointing Lorrie Graham as its first female cadet photographer. Women only joined the photographic staff of newspapers in significant numbers from the 1980s and were more likely to be employed on regional newspapers than the metropolitan dailies. This article draws on interviews with male and female press photographers collected for the National Library of Australia’s oral history programme. It provides an overview of the history of women press photographers in Australia, situating their working lives within an overtly masculine

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Pardiana, I. Agus Yudi, and Saptono Nugroho. "PERSEPSI WISATAWAN DOMESTIK TERHADAP EKSISTENSI PEKERJA FOTOGRAFER DI DAYA TARIK WISATA TANAH LOT." JURNAL DESTINASI PARIWISATA 4, no. 2 (2016): 49. http://dx.doi.org/10.24843/jdepar.2016.v04.i02.p09.

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Workers photographers not only to sell their photographs, but also sells services to tourists with polite and friendly. Photographers try to make a good first impression for tourists to be willing to use their services. Photographers workers very existence needs to be improved, because it provides positive benefits. Types and Sources of data used is qualitative and quantitative, primary data and secondary data. Data collected by observation, interviews, questionnaires, literature, and documentation. Determination of mechanical informants using purposive sampling, sample collection techniques u

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Saayman Hattingh, Heidi M., and Rolf J. Gaede. "Photographer autonomy and images of resistance: the case of South Africa during the 1980s." Visual Communication 10, no. 4 (2011): 499–525. http://dx.doi.org/10.1177/1470357211415780.

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This article examines the praxis of prominent photographers who were professionally active during the 1980s in South Africa, based on 26 personal interviews. The authors look at issues concerning practitioner autonomy, or the photographer’s freedom to make independent communication-related choices while working within social documentary or photojournalism genres. The data suggest that the majority of photographers operated on the level of strategic social actions with low levels of practitioner autonomy, using photography in the first instance as a ‘weapon’ in the fight against apartheid, acti

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Alenichev, Arsenii, Sonya de Laat, Nassisse Solomon, et al. "Assembling a global health image: Ethical and pragmatic tensions through the lenses of photographers." PLOS Global Public Health 4, no. 2 (2024): e0002540. http://dx.doi.org/10.1371/journal.pgph.0002540.

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Background Recently, global health has been confronting its visual culture, historically modulated by colonialism, racism and abusive representation. There have been international calls to promote ethicality of visual practices. However, despite this focus on the history and the institutional use of global health images, little is known about how in practice contemporary images are created in communities, and how consent to be in photographs is obtained. Methods We conducted semi-structured interviews with 29 global health photographers about the ethical and practical challenges they experienc

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Muhamad Ali Tamrin. "Fotografer Jalanan Kajian Atas UUD ITE dan Hukum Ekonomi Syari’ah Studi di Kawasan Makam Gusdur Jombang." Salimiya: Jurnal Studi Ilmu Keagamaan Islam 4, no. 3 (2023): 83–99. https://doi.org/10.58401/salimiya.v4i3.1125.

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Photography is an inseparable part of human life in this millennial era, especially for those who like to travel, the tendency to capture every moment has almost become a tradition, but if done by others without permission, problems arise, how the legal impact on the practice of street photographers in terms of the ITE Law and Sharia Economic Law. The data collection method uses documentation, interviews, and observation methods. After that, it is studied with a descriptive analytical approach, which examines data collected in the field about street photographers, and the information is then s

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Banks, Michael. "Annular eclipse photograph bags Royal Observatory Greenwich prize." Physics World 37, no. 10 (2024): 10ii. http://dx.doi.org/10.1088/2058-7058/37/10/12.

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

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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consis

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Somerstein, Rachel. "‘Stay back for your own safety’: News photographers, interference, and the photographs they are prevented from taking." Journalism 21, no. 6 (2018): 746–65. http://dx.doi.org/10.1177/1464884918789227.

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This exploratory, mixed-methods study uses semi-structured interviews to identify the sources of interference that news photographers encounter and then, using survey research, assesses these interferences’ prevalence. It also uses interview and survey data to identify photographs that photographers are prevented from taking and ones taken despite interference. In so doing, the study illuminates how the constraints photojournalists encounter shape their work and, ultimately, the types of images missing from the mass media. Men and women, and freelancers and staff photographers, encounter diffe

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Vakhitov, E. N., V. N. Lagutkin, and A. P. Lukyanov. "EFFICIENCY OF MOTION CONTROL OF SPACE SENSOR PHOTOGRAPHING LOW ORBITAL SPACE OBJECTS." Issues of radio electronics, no. 3 (March 20, 2018): 40–44. http://dx.doi.org/10.21778/2218-5453-2018-3-40-44.

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Principles of observations and design of onboard equipment for obtaining optical images of low-orbiting space objects during flight at crossed courses are considered. It is noted that photographing from the distance of about 50 km allows to obtain images of space objects with linear resolution of about 1 dm. Simulation model of observation process by satellites-photographers was developed for the modes of their passive and controlled movement. The statistics of observability by one and two satellitesphotographers of low-orbiting space objects are calculated: dynamics of growth of the number of

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Ekimov, Evgeniy P. "Foreign photographers in Siberia: photography as a mean of dehumanization." Neophilology, no. 20 (2019): 566–73. http://dx.doi.org/10.20310/2587-6953-2019-5-20-566-573.

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This cultural research is the analysis of the foreign photographers’ activities in Siberia from the second half of the 19th century to the present time. We consider the issue of dehumanization of Russian society and culture by means of foreign photography. On the basis of real photographs published on the Internet, the author compiled a list of all Western photographers who visited Siberia and proved their destructive and countercultural, political, and non-artistic goals aimed at weakening the Russian state and Russian people dehumanization; we confirmed it by the final relevant foreign publi

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Hodson, Dermot. "The Politics of Documentary Photography: Three Theoretical Perspectives." Government and Opposition 56, no. 1 (2019): 20–38. http://dx.doi.org/10.1017/gov.2019.3.

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AbstractPhotographers are often inspired by politics but can they influence it? Drawing on the study of public policy and the history of photography, this article considers three ways in which documentary photographers enter the policy process. It considers the photographer as: a bureaucrat working within government networks to achieve individual and institutional aims; an advocate working with like-minded actors to advance shared political beliefs; an expert working within an epistemic community driven by a shared policy enterprise. These roles highlight the institutional channels through whi

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Grossmann, Rebekka. "Image Transfer and Visual Friction: Staging Palestine in the National Socialist Spectacle." Leo Baeck Institute Year Book 64, no. 1 (2019): 19–45. http://dx.doi.org/10.1093/leobaeck/yby022.

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Abstract This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of th

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Jollimore, Troy. "“Some Version of the Same River”." Boom 4, no. 3 (2014): 36–45. http://dx.doi.org/10.1525/boom.2014.4.3.36.

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Photographer Byron Wolfe traveled to Deer Creek in California to capture the locations of a series of photographs of Ishi, “the last wild Indian in North America,” taken in 1914. His purpose was to show what had changed in the intervening century, to pose questions about the original photographers’ intentions and choices, whether and in what sense they took the results to be “authentic” portraits of Ishi’s earlier life, and what they wanted people to find in, and take away from, the pictures they took. Wolfe’s photographs juxtaposed with the originals accompany an essay by Troy Jollimore, a me

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Wang, Justin, Marie A. Lee, and Thomas C. M. Lee. "When might we break the rules? A statistical analysis of aesthetics in photographs." PLOS ONE 17, no. 7 (2022): e0269152. http://dx.doi.org/10.1371/journal.pone.0269152.

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High-quality photographs often follow certain high-level rules well known to photographers, but some photographs intentionally break these rules. Doing so is usually a matter of artistry and intuition, and the conditions and patterns that allow for rule-breaks are often not well articulated by photographers. This article first applies statistical techniques to help find and evaluate rule-breaking photographs, and then from these photographs discover those patterns that justify their rule-breaking. With this approach, this article discovered some significant patterns that explain why some high-

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Poluektova, Tatyana Anatolievna. "The trickster in the paradigm of the photographic discourse of English-language prose of the second half of the 19th – early 21st century." Philology. Theory & Practice 18, no. 2 (2025): 731–37. https://doi.org/10.30853/phil20250103.

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The aim of the study is to demonstrate the way the trickster features in the images of photographers created by English-speaking writers of the second half of the 19th century and the early 21st century were changing. The author of the article implements a historical and literary review that allows capturing the prerequisites for the formation of trickster traits in the first images of photographer characters as well as the laws of their further development. The originality of the research lies in the fact that the article examines the images of trickster photographers for the first time in Ru

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Demina, Evgeniya, Elena Larina, and Sergey Mescheryakov. "Tselina: The photographical practices of perception." Вестник антропологии (Herald of Anthropology) 45, no. 1 (2019): 30–53. http://dx.doi.org/10.33876/2311-0546/2019-45-1/30-53.

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The paper presents the results of an experimental study on practices in visual anthropology based on photographs made by amateur authors during an expedition to «Tselina» (virgin lands) in Orenburg Oblast. The study considers photographs both in their representative aspect and as a material for the enquiry on perspectives, behavior and attitudes of amateur photographers and their models in historical, anthropological and visual contexts. The article analyzes the interaction between interview and photography practices, along with the ethos of photographer – model encounter, paying attention to

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Muliatie, Yurilla Endah, Nur Jannah, and Sri Suprapti. "Membangun Identitas Merek dalam Street Photography: Analisis Strategi Pemasaran Digital." Jurnal Ilmiah Raflesia Akuntansi 10, no. 2 (2024): 671–77. https://doi.org/10.53494/jira.v10i2.583.

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This study aims to analyze the digital marketing strategies employed by street photographers in building their brand identity in the digital era. Using a descriptive qualitative approach, data were collected through in-depth interviews with both professional and amateur street photographers, as well as netnographic observation on social media platforms such as Instagram and YouTube. The findings reveal that street photographers who successfully establish a strong brand identity tend to implement consistent and authentic content strategies while engaging with their audience through personal and

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