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Journal articles on the topic 'Photographic Paper'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Yusuf, Tan Sri Zulfikar, and Dea Rifia Bella. "Menangkap Photographic Moments di Pelelangan Ikan Muara Baru melalui Pendekatan Komposisi dan Etnografi Fotografi." JURNALISTIK DAN MEDIA 2, no. 2 (2024): 40–55. http://dx.doi.org/10.32722/jjm.v2i2.7141.

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In photography studies, composition is essential in capturing images to arrange visual elements within the photo frame. These compositions are important for communicating the message the photographer wants to convey to the audience, thus creating a dialogic communication effort. This paper uses traders at the Fish Auction in Muara Baru, Jakarta, as the subject of photography, and the resulting photos become photographic moments in photographic ethnography. By capturing photographic moments through the correct composition, this paper demonstrates that photographs can produce meaning from the mo

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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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Blos-Jáni, Melinda. "The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) From Cluj." Studia Universitatis Babeș-Bolyai Historia Artium 68 (December 30, 2023): 141–64. http://dx.doi.org/10.24193/subbhistart.2023.06.

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The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) from Cluj. Lajos Orbán was an amateur photographer, whose main body of work was produced starting from the 1920s when he became the employee of a local shop specialized in photographic equipment and member in local photographic societies, e.g. the Tessar Bowling Society. His photographs were displayed at international photo exhibitions, but he was organising regional photo contests and exhibitions as well. His photographs show the influence of the pictorialist photography, but traces o

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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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Krachenski, Naiara. "O fotógrafo no arquivo: reflexões sobre a (in)visibilidade do aparato fotográfico nos acervos coloniais." África, no. 45 (November 12, 2024): e227532. https://doi.org/10.11606/issn.2526-303x.i45pe227532.

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The photographical archive of German Colonial Society has more than 50 thousand images. Clearly, it is a rich archive in different themes for the Visual History researcher, especially for those who choose to study contemporary colonialism. In this paper, our aim is to think about two central figures that are sometimes overlooked: the photographer and the photographic apparatus. Although photography was constructed at the end of the 19th century as an objective and purely technical instrument, it was an important element in framing an imperial world view. However, the camera and the subject who

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Mitchell, Lissa. "Promotional landscapes: D.L. Mundy's 'Photographic experiences in New Zealand'." Tuhinga 20 (June 1, 2009): 67–80. https://doi.org/10.3897/tuhinga.20.e34180.

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In December 1874, the British journal the Photographic News published ‘Photographic experiences in New Zealand’ by Daniel Louis Mundy (1826/27–81). The article (which was read before the Photographic Society of Great Britain) described the time Mundy spent taking photographs in New Zealand during the 1860s. As an important account of early landscape photographic practice in New Zealand, the article enables a unique insight into Mundy’s method as a photographer and the rationale behind some of the photographs he took. The project, and subsequent exhibitions and publications, gained Mundy scient

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Tee, Sim-Hui. "Transparency, Photography, and the A-Theory of Time." Problemos 93 (October 22, 2018): 177–92. http://dx.doi.org/10.15388/problemos.2018.93.11761.

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 [full article, abstract in English; only abstract in Lithuanian] Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the depicted object situated from the space

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Xiaowei, Huang. "Is Photographic Image Represented the Reality?" Journal of Social and Political Sciences 2, no. 3 (2019): 616–23. https://doi.org/10.31014/aior.1991.02.03.103.

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The development of technology represents the circulations and progresses of culture and society, from ‘death of painting’ (after the invention of photography) to ‘death of photography’ (after the invention of digital image). It seems too severe by using the term ‘death’. In actually, the ‘death’ is not really death since there are still many people who ardently love painting; galleries are opened as usual for the public. In the case of photography, the invention of the digital camera does not entirely take over the traditional role of the photogr

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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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Harrison, Barbara. "Photographic visions and narrative inquiry." Narrative Inquiry 12, no. 1 (2002): 87–111. http://dx.doi.org/10.1075/ni.12.1.14har.

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This paper examines the ways in which photographic images can be used in narrative inquiry. After introducing the renewed interest in visual methodology the first section examines the ways in which researchers have utilised the camera or photographic images in research studies that are broadly similar to forms of narrative inquiry such as auto/biography, photographic journals, video diaries and photo-voice. It then draws on the published literature in relation to the author’s own empirical research into everyday photography. Here the extent to which the practices which are part of everyday pho

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Pang, Wei. "Analysis of Picture Composition in Teaching Contemporary Photographic Art." Highlights in Art and Design 4, no. 1 (2023): 107–9. http://dx.doi.org/10.54097/hiaad.v4i1.12002.

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The study of photographic composition is a transitional stage from the basic course to the creative course, and it is required to cultivate students' photographic consciousness and photographic means of expression in the process of teaching composition. Through the description of the basic theory of photographic composition elements, this paper focuses on the three main characteristics of contemporary photographic art picture composition, from what problems need to be solved in photographic picture composition to the elaboration of the connotation and purpose of photographic picture compositio

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Aksenova, N. V., N. V. Denisova, and N. O. Magnes. "COUNTERFACTUAL SOVIET PHOTOGRAPHY THROUGH THE LENS OF AMERICAN AND BRITISH ART CRITICS: EVALUATIVE DIMENSIONS OF ART DISCOURSE." Voprosy Kognitivnoy Lingvistiki, no. 1 (2023): 40–51. http://dx.doi.org/10.20916/1812-3228-2022-1-40-51.

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The paper studies the axiological interpretation of Soviet photographs in British and American art reviews by examining the basic concepts STATE, ARTIST, and WORK OF ART. The analysis draws on the methods of cognitive discourse analysis, narratology, pragmatics, and semantics. Accepting R. Barthes’ view of the photograph as “a message without a code”, we hold that the main goal of art discourse is to construct an intermediary code to facilitate communication between the Operator and the Spectator, especially in the presence of a time/culture gap between the two. Through aesthetic distancing, a

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Sile, Agnese. "Mental illness within family context: Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty." Arts and Humanities in Higher Education 17, no. 1 (2018): 84–103. http://dx.doi.org/10.1177/1474022216684635.

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The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the pro

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Rodriguez, Richard T. "On the Subject of Gang Photography." Aztlán: A Journal of Chicano Studies 25, no. 1 (2000): 109–48. http://dx.doi.org/10.1525/azt.2000.25.1.109.

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This paper examines the figure of the Chicano gangster in “gang photography, ” which represents Chicanos affiliated with street gangs in the greater Los Angeles area. Gang photography encompasses documentary photography, self-produced gang photography, as well as police photography. Moving beyond the aesthetic and personal desires by which the practice of photography is typically framed, I insist that we must come to terms with the sociopolitical forces underscoring all representations of Chicano gangs. My title refers to overlapping meanings of the subject. The subject or topic of gang photog

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Adamowska, Monika, Izabela Zając, Marek Grzegorz Sawicki, and Wojciech Hyk. "Studies on the Authorship of Albumen Vintage Photographs: A Combined Experimental and Chemometric Approach." Molecules 29, no. 10 (2024): 2170. http://dx.doi.org/10.3390/molecules29102170.

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The differences in albumen photographs from vintage photographic studios were identified by energy-dispersive X-ray fluorescence spectroscopy and Fourier transform infrared spectroscopy. The results inspired the concept of finding common features characteristic of a given photographic studio. The obtained measurement data (i.e., positions of vibrational bands for characteristic groups of albumen and the mass contents of chosen elements) were analyzed chemometrically by employing the Principal Component Analysis (PCA). The PCA technique allowed us to reduce the number of relevant experimental p

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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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Healy, Sean S., and Carl N. Stephan. "The Critical Photographic Variables Contributing to Skull-Face Superimposition Methods to Assist Forensic Identification of Skeletons: A Review." Journal of Imaging 10, no. 1 (2024): 17. http://dx.doi.org/10.3390/jimaging10010017.

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When an unidentified skeleton is discovered, a video superimposition (VS) of the skull and a facial photograph may be undertaken to assist identification. In the first instance, the method is fundamentally a photographic one, requiring the overlay of two 2D photographic images at transparency for comparison. Presently, mathematical and anatomical techniques used to compare skull/face anatomy dominate superimposition discussions, however, little attention has been paid to the equally fundamental photographic prerequisites that underpin these methods. This predisposes error, as the optical param

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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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Szulc, Radosław, and Katarzyna Musielak. "Product photography in product attractiveness perception and e-commerce customer purchase decisions." Scientific Papers of Silesian University of Technology. Organization and Management Series 2023, no. 166 (2023): 783–96. http://dx.doi.org/10.29119/1641-3466.2022.166.49.

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Purpose: This paper discusses the importance of product photography in influencing both consumer behaviour and the process of competitiveness among retailers in the e-commerce sector. The aim of the paper is to present the significance of product photography as regards its influence on purchase decisions, further illustrated by the author's own empirical results. Design/methodology/approach: The authors verified the assumption that employing different techniques to produce a product photograph (e.g. lighting, setting) influences purchase decisions in terms of the change in attitude towards an

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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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Fisher, Erin. "Decoding: A Guide to Kodak Paper Surface Characteristics." Collections: A Journal for Museum and Archives Professionals 14, no. 2 (2018): 207–25. http://dx.doi.org/10.1177/155019061801400207.

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From 1880 to 2005, the Eastman Kodak Company manufactured black-and-white fiber-based gelatin silver paper in a wide variety of weights, grades, and formats. Kodak manufacturer records and sample books include details about Kodak paper surface characteristics and are an invaluable resource for understanding photographic paper materials. Using the extensive number of Kodak data books, manuals, and manufacturing records spread out in the collections of three Rochester, New York-based institutions—George Eastman Museum, University of Rochester Special Collections, and Image Permanence Institute—I

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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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Canosa, Elyse, Gregory Hodgins, and Gawain Weaver. "Radiocarbon Measurements on Early Photographs: Methods Development for Testing Waxed Paper Negatives." Radiocarbon 55, no. 3 (2013): 1862–68. http://dx.doi.org/10.1017/s0033822200048773.

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The earliest years of photography were full of experimentation and innovation; many photographers from this era carefully documented their experimental procedures. Consequently, it is possible to reproduce historically accurate photographs and negatives today. One of the oldest forms of photographic technology is the waxed paper negative, popular during the mid-19th century. It consists of a photosensitive sheet of writing paper coated with a layer of wax to render it transparent. Modern waxed paper negatives made using 19th century paper can potentially pass for historically significant 19th

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Loda, Liubov, Iryna Pigel, and Lesia Dzendzeluk. "A Study on the state of photographic documents in Vasyl Stefanyk National Scientific Library of Ukraine in Lviv." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 195–208. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-12.

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Collections of photographic documents constitute considerable information, document and art heritage. Photographs with non-existing today art and architectural objects are of particular importance. The task for their keepers is to save all visual information and to ensure accessibility to users. The paper’s purpose is to study the state of photographic documents kept in Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. The article provides a profound analyze of damages’ types as well as factors that caused them and measures for their preservation. Authors highlighted the role of i

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Pérez Gallardo, Helena. "Paper Travellers." Vatican Library Review 3, no. 1 (2024): 101–21. http://dx.doi.org/10.1163/27728641-00301004.

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Abstract The Gabinetto della Grafica of the Biblioteca Apostolica Vaticana preserves an album with views of Rome and Naples and reproductions of sculpture. From these, we make new attributions of the authorship of photographs, completing the catalogue of the work of such important authors as James Anderson, Michael Mang, Tommaso Cuccioni, Robert Rive, Giorgio Sommer and Giuseppe Ninci. We also reflect on the commercial dynamics of photographic firms in the nineteenth century and their important role in the consolidation of models and methodologies that served, from then on, for the constructio

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Perevozchikova, Anna Alekseevna. "Composition and decomposition: An expressive medium in the art of photography." Manuscript 18, no. 1 (2025): 97–104. https://doi.org/10.30853/mns20250016.

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Composition and decomposition are important aspects of photography that help photographers create visually appealing and emotionally intense images. Understanding and applying the main components of composition and visual hierarchy allows you to improve the quality of photographs, enhance their artistic value and develop the creative vision of the photographer. The purpose of this research paper is to analyze the relationship between the basic principles of composition and decomposition. The article highlights the principles of dynamic equilibrium and such rules of composition as the golden ra

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Maričević, Marko, Petra Ptiček, and Ivana Žganjar. "Recognition Model of Counterfeiting Digital Records of Biometric Photographic Image." Tehnički glasnik 16, no. 1 (2022): 67–73. http://dx.doi.org/10.31803//tg-20210714171523.

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Biometric portrait as one of the most important means of identifying requirements through strict definition of dimensional relationships, preservation of realistic information about all technical characteristics of the photographic image, so that all biometric values can be digitized and used in recognition. The great variety and accessibility of applications for digital processing of digital record of a photographic image has enabled a visually convincing display of a forged photograph that leaves a different impression on the viewer and transmits a different, that is, a forged message. Due t

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Hausken, Liv. "Navigating the Complex Terrain of Photography and Temporality." Philosophies 9, no. 3 (2024): 60. http://dx.doi.org/10.3390/philosophies9030060.

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In recent years, discourses on photography have undergone a transformative shift from a focus on the individual photograph’s connection to memory, pastness, loss, and death towards exploring photographic imagery as shared, networked, and continuously circulating in a ubiquitous present. The general claim for the temporal dimension in this shift is that photography is no longer seen as a mere witness or reservoir of the past but instead points to or participates in an active present. Against this claim, the article argues for broadening the perspective, drawing on resources across C.P. Snow’s “

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Ellison, Joy. "Making Pictures: Disabled Nonbinary Praxis in Leslie Feinberg’s screened-in Photography Series." WSQ: Women's Studies Quarterly 51, no. 3-4 (2023): 231–45. http://dx.doi.org/10.1353/wsq.2023.a910083.

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Abstract: This paper expands historical and theoretical engagements with Leslie Feinberg’s life by analyzing the nonbinary and disability politics of hir screened-in photography series. Through a consent-based method called “making” photographs, Feinberg challenged the conventions of photographic representation of disabled and transgender people. The screened-in series provides a nonbinary political/relational model of gender, sexuality, race, and disability.

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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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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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Duncan, Margaret Carlisle. "Sports Photographs and Sexual Difference: Images of Women and Men in the 1984 and 1988 Olympic Games." Sociology of Sport Journal 7, no. 1 (1990): 22–43. http://dx.doi.org/10.1123/ssj.7.1.22.

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This paper develops a theoretical framework for understanding how and what sports photographs mean. In particular, it identifies two categories of photographic features as conveyors of meanings. The first category is the content or discourse within the photograph, which includes physical appearances, poses and body positions, facial expressions, emotional displays, and camera angles. The second category is the context, which contributes to the discursive text of the photograph. The context includes the visual space in which the photograph appears, its caption, the surrounding written text, and

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Swan, Dean G., and Larry C. Burrill. "Plant Photography Techniques." Weed Technology 4, no. 3 (1990): 666–70. http://dx.doi.org/10.1017/s0890037x00026191.

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Accurate identification is the first step in weed control. Weed photography is important because a good picture, plus a descriptive botanical key, more accurately identifies plants. Also, quality pictures provide an important learning tool for students, agribusiness personnel, and producers. This paper includes recommendations for selecting photographic equipment and film as well as practical techniques for controlling backgrounds, light, plant movement, and depth of field in photographing plants.

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Kukanova, Viktoriya V., Aleksandra T. Bayanova та Larisa B. Mandzhikova. "Газетные фотографии: использование приема гиперболизации (на материале публикаций в газете «Хальмг үнн» («Калмыцкая правда») в 1957–1961 гг.)". Oriental Studies 13, № 6 (2020): 1579–93. http://dx.doi.org/10.22162/2619-0990-2020-52-6-1579-1593.

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Introduction. Photography is a visual source of information, and its unique character has been recognized by numerous researchers. Newspaper photographs tend to mirror both a historical era proper and daily life of its inhabitants. Goals. The paper aims at analyzing the ‘essential messages’ of photographs published by Khalmg Ünn (‘The Kalmyk Pravda’) newspaper in 1957–1961. The periodical is an ethnic-oriented print media to have published — and still does — Kalmyk language materials. Materials and Methods. The continuous sampling method was employed to extract photographs from newspaper issue

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Austin, M. "Paper Chromatography of Photographic Developing Agents." Journal of Photographic Science 33, no. 3 (1985): 112–14. http://dx.doi.org/10.1080/00223638.1985.12035782.

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Schildkraut, Jay S. "Copy-protection system for photographic paper." Journal of Electronic Imaging 9, no. 4 (2000): 556. http://dx.doi.org/10.1117/1.1287533.

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Messier, Paul, Valerie Baas, Diane Tafilowski, and Lauren Varga. "Optical Brightening Agents in Photographic Paper." Journal of the American Institute for Conservation 44, no. 1 (2005): 1–12. http://dx.doi.org/10.1179/019713605806082392.

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Et. al., Asep Deni Iskandar,. "Disclosing The Language And Character Design Of Krishnayana Story Reliefs Of Prambanan Temple For A Photographic Creation Model." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 11 (2021): 1312–20. http://dx.doi.org/10.17762/turcomat.v12i11.6037.

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This paper is a description and analysis of the process of creating photographic works based on a traditional drawing system, and how the typical depictions of the Krishnayana story reliefs of the Prambanan temple are utilized in photographic works. This paper reveals how to draw or study characters on the Krishnayana reliefs of Prambanan temples whose depictions can be used in photographic works. The study uses qualitative research with a visual language approach to explaining the strength of the story on temple reliefs and photographic works. The development of camera technology with digital

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Ponzio, Julia. "Embodying genre: from Galton’s generic faces to Peirce’s embodied ideas." Chinese Semiotic Studies 19, no. 3 (2023): 443–59. http://dx.doi.org/10.1515/css-2023-2016.

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Abstract In the late 1870s, Galton implements and describes the technique of “composite photography.” This technique consists in overlapping several images of faces on the same photographic plate to obtain what Galton calls a “generic face.” The idea of composite photography appears in some of the crucial junctures of Peirce’s semiotic theory. Peirce uses the composite photograph as the image of the percept to explain how the “general” is a schema through which we organize the perceived. The paper shows how Peirce’s use of the metaphor of composite photography is linked to the question of the

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Veal, Clare. "Methodologies of Alternative Photographies : The Siamese case." Silpa Bhirasri (Journal of fine arts) 1, no. 1 (2020): 167–82. https://doi.org/10.69598/sbjfa240937.

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The analysis of photographic technologies and their utilizations within various geographical and conceptual contexts poses a unique challenge to the development of ‘alternative’ modernities studies across several disciplines. Being simultaneously a technological and cultural medium, the introduction and development of photography in pre-modern societies is easily pinpointed and may then be placed within a causational framework as a turning point in movements towards modernization. This focus on photography as a ‘marker’ of modernity frequently places Europe at the centre of studies of alternat

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Moore, David. "The Lisa and John Slideshow (2017): A Play about Photography." Arts 12, no. 3 (2023): 109. http://dx.doi.org/10.3390/arts12030109.

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The Lisa and John Slideshow is a theatrical response to my own earlier photographic project, Pictures from the Real World. Colour Photographs, 1987–88, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant piece of research, devised through participation with those depicted within the image, the forty-five-minute play questions representational methods through an alternate medium. The project evokes what else was knowable from the terrain of possibilities when the sovereign images of the forme

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Fathoni, Ahmad Faisal Choiril Anam, and Dermawan Syamsuddin. "Perbandingan Metode Depth of Field pada Lensa Kamera Fotografi dengan Efek Lensa pada Software Animasi." Humaniora 4, no. 1 (2013): 177. http://dx.doi.org/10.21512/humaniora.v4i1.3427.

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The knowledge of photography becomes fundamental importance in the understanding of digital cinematography. The work of a good photography is a blend of knowledge and photographic ability (skill) correctly. By learning photography properly, it allows an animator or digital art workers to apply some standard cinematography as well. By knowing the comparison between photography with "photographic" in 3D animation, animators will be easier to create a digital aesthetic standard with the help of the software. This paper discusses the comparison of the use of photographic camera lenses and camera p

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Gizzi, Ferdinando. "Photographing a miraculous apparition in fin-de-siècle France." Magic, Vol. 5, no. 1 (2020): 28–35. http://dx.doi.org/10.47659/m8.028.art.

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This paper is dedicated to the photographic coverage of the alleged miraculous apparitions, which occurred in the small French village of Tilly-sur-Seulles between 1896 and 1897. These photos, circulated as postcards and appearing in popular magazines of the time such as L’Illustration and Le Monde illustré, were presented – by virtue of the authority of the photographic as an indexical trace – as “authentic” testimonials of the supernatural events, though in fact neither recognized nor approved by the Catholic Church. These photographs used the already-known double exposure process of spirit

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Sexton, Jennifer Mcglinchey, and Paul Messier. "PHOTOGRAPHIC PAPER XYZ:DE FACTOSTANDARD SIZES FOR SILVER GELATIN PAPER." Journal of the American Institute for Conservation 53, no. 4 (2014): 219–35. http://dx.doi.org/10.1179/1945233014y.0000000030.

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Zachariášová, Blanka, Katarína Haberová, Michal Oravec, and Viera Jančovičová. "Plasma treatment of gelatin photography." Acta Chimica Slovaca 12, no. 1 (2019): 27–33. http://dx.doi.org/10.2478/acs-2019-0005.

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Abstract Plasma pre-treatment represents the key enabler technology for microfine cleaning, surface activation and plasma coating of almost all types of materials — from plastics, metals and glasses to textiles, composites and photographs. More and more conventional industrial treatment methods are being replaced by plasma technology in order to make processes more effective and environmentally friendly. This study is oriented on the characterization of a photographic image on two types of photographic paper (glossy and matt photographic paper with a barite layer), and monitoring the effects i

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Wood, Peter. "Māori Girl with a Typewriter, 1906." Architectural History Aotearoa 16 (December 5, 2019): 87–98. http://dx.doi.org/10.26686/aha.v16.8934.

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This paper takes its title from a photograph held by the Alexander Turnbull Library. Recorded by Stefano Webb Photographic Studio of Christchurch, it is a studio study that falls somewhere between being a portrait, commercial illustration or candid record. The subject for the photograph - as the name reveals - is a young Māori woman sitting in front of a typewriter. Her fingertips touch the keys of the machine but her relationship to this quintessential object of the "modern" office-place is juxtaposed against surfaces that are distinctly indigenous: the woman wears a feather cloak and the typ

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Gold, Jens. "Color Plates, Material, and Condition: Hermann Krone’s Contributions to Lippmann Interferential Color Photography." Rundbrief Fotografie 31, no. 2 (2024): 23–38. http://dx.doi.org/10.1515/rbf-2024-2005.

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Abstract Lippmann color photographs are among the rarest examples of early color photography in public and private collections worldwide. At the time, Hermann Krone was probably one of those who contributed most actively and with remarkable results to the Lippmann process. After general remarks about Krone’s work, this paper will describe more deeply his book about color photography focusing on the direct color process, the technology he practiced himself to accomplish interferential color, and the body of his Lippmann color photographs, which still exists today in major collections, and which

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Rugh, David J., Howard W. Braham, and Gary W. Miller. "Methods for photographic identification of bowhead whales, Balaena mysticetus." Canadian Journal of Zoology 70, no. 3 (1992): 617–24. http://dx.doi.org/10.1139/z92-090.

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Bowhead whales, Balaena mysticetus, have black skin except for patterns of white along their ventral surface and visible dorsally on their lower jaws, caudal peduncles, and flukes. White scar marks may also be present. These contrasting black and white dorsal patterns were examined in 4871 aerial photographs of bowheads taken from 1976 to 1987 to determine if individual animals could be reidentified when subsequently photographed. The objective of making such reidentifications was to provide important life-history information, such as calving intervals, length-specific growth rates, survival r

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Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.

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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terha

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Grigsby, Darcy Grimaldo. "Negative-Positive Truths." Representations 113, no. 1 (2011): 16–38. http://dx.doi.org/10.1525/rep.2011.113.1.16.

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Opening with a consideration of the role played by Richard Avedon's photograph of William Casby in Roland Barthes's Camera Lucida, this essay examines Sojourner Truth's precocious and knowing use of the technology of photography. Inscribed with the caption "I Sell the Shadow to Support the Substance," Truth's inexpensive cartes-de-visite functioned as a form of paper currency during the years immediately following the Civil War. As a chemical process, photography transformed precious metals into paper images; as an optical registration of light and shadow, photographic negatives turned white i

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