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Journal articles on the topic 'Photographs: portraits'
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1
Fokin, Pavel. "Four Portraits, No Retouching." Неизвестный Достоевский 7, no. 3 (September 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. Leibin, while in one of them F. M. Dostoevsky was captured together with the Kazakh educator Ch. Ch. Valikhanov, whom he befriended during the years of his exile. Another photo has not been precisely attributed. A comprehensive analysis of the details depicted on them, the facts of the biography of Ch. Ch. Valikhanov and the letters of F. M. Dostoevsky allows to date the Semipalatisk photographs with greater accuracy. The article proposes that another one of the portraits taken in Tver was carried out simultaneously with the shooting of the portrait of M. M. Dostoevsky. A comprehensive examination of various details and circumstances also leads to the same conclusions. To date, only a few copies of photographs with Ch. Ch. Valikhanov and a photograph allegedly taken in Tver are known. The original solitary portrait made in Semipalatinsk has been lost. The conducted research allows to assert that other copies of these photographs may exist. The proposed conclusions are made on the basis of a study of the originals of photographs in the collection of The V. I. Dahl State Museum of the History of Russian Literature.
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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 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. The information presented here is based on ten years of searching for nineteenth-century photographs made by Sierra Leonean photographers. To locate these pictures, I have visited Freetonians and viewed their family portraits and photograph albums, interviewed contemporary photographers throughout Sierra Leone, and researched in the various colonial archives in England to locate photographs preserved from the period of colonial rule. I have discovered that a community of African photographers has worked in the city of Freetown since the very invention of photography. The article reviews the first phase of this unique photographic tradition, 1850–1918, and focuses on several of the African photographers who worked in Freetown during this period.
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Alù, Giorgia. "Order and otherness in a photographic shot: Italians abroad and the Great War." Modern Italy 22, no. 3 (August 2017): 291–314. http://dx.doi.org/10.1017/mit.2017.34.
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This article explores the meaning of photographic portraits of First World War Italian migrants, in terms of the tensions that emerge from their visual codes and the extent to which the subject’s interior reality and individuality might emerge from the reassuring surface imagery of photography and war. By analysing photographs of Italian migrants who either joined Italy’s army or enrolled in their adopted country’s army, we can see how the ‘otherness’ of the war – its artificial face of idealised glory, honour, and ordinariness, as presented through the portrait’s aesthetic codes – supplants the ‘otherness’ of the migrant individual, that is, their ambivalent life in between different cultures, traditions and identities. Yet, beyond the physical and psychological annihilation of the modern war, the photographic portrait, with its fabricated order and ‘otherness’, becomes, for the migrant soldier, a means of giving coherence to his dislocated existence. The nostalgic visual codes of the photograph, however, evoke an order that is now denied by the destructive mobility and mobilisation of both migration and war.
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Prasetyo, Martinus Eko, Shierly Everlin, and Winnie Winnie. "VISUAL ANALYSIS OF LEE JEFFRIES’ INSTAGRAM PHOTOGRAPHS." Capture : Jurnal Seni Media Rekam 14, no. 1 (December 1, 2022): 49–60. http://dx.doi.org/10.33153/capture.v14i1.4491.
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Instagram is a social media platform for publishing photographic works. Lee Jeffries, one of the most renowned portrait photographers, consistently exposes his works to the general public, including through the social media platform Instagram. His photographic works are considered highly interesting and unique due to their capacity to transmit social messages. Lee Jeffries consistently captures photographs of homeless people worldwide to convey social messages to his audience. This motivates the authors to discuss the meaning of visual messages in Lee Jeffries' works. The study employed a qualitative descriptive approach to analyze the photographs’ composition, color, and symbolic meaning. The results show that the application of symmetrical and asymmetrical compositions and colors for portraits of human faces, especially those of the homeless on urban street corners, produced symbolic meanings, including sadness, emotion, and happiness.Instagram is a social media platform for publishing photographic works. Lee Jeffries, one of the most renowned portrait photographers, consistently exposes his works to the general public, including through the social media platform Instagram. His photographic works are considered highly interesting and unique due to their capacity to transmit social messages. Lee Jeffries consistently captures photographs of homeless people worldwide to convey social messages to his audience. This motivates the authors to discuss the meaning of visual messages in Lee Jeffries' works. The study employed a qualitative descriptive approach to analyze the photographs’ composition, color, and symbolic meaning. The results show that the application of symmetrical and asymmetrical compositions and colors for portraits of human faces, especially those of the homeless on urban street corners, produced symbolic meanings, including sadness, emotion, and happiness.
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Kupchynska, Larysa. "A portrait of Klymentii Sheptytskyi by artist Mykhailo Shalabavka." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 382–99. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-13.
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The article covers the life and creative development of one of the little known Ukrainian photographers and painters of the first half of the twentieth century, who was Mykhaylo Shalabavka. In order to disclose his biographical data in more detail, the information provided by modern researchers 399 has been supplemented with archival materials. Due to their analysis, first of all, M. Shalabavka’s letters to Metropolitan Andrey Sheptytskyi presented many new facts that characterize the artist’s participation in public life in the formation of the Ukrainian school of photography first in Lviv, his beliefs about further ways of its development. Emphasizing his active participation in public life, the article stated that he executed hundreds of photographs of national liberation competitions of the Ukrainian people of the early twentieth century, life and way of life of Boykivschyna, Hutsulschyna and Podillya, architecture of Lviv. Particular attention is paid to the photo portraits that brought the author glory. One of his most famous works, Portrait of Oleksa Novakivskyi, and little-known photographs of prominent representatives of the Greek Catholic Church of the twentieth century, discovered in the collections of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv named after, are analyzed in detail. It is substantiated that by performing portraits, M. Shalabavka worked according to the requirements of the time, which included the use of the traditions of the portrait genre of previous centuries. This has significantly influenced the artist’s works, securing them a proper place in the history of photography. Due to many years of work by photographer M. Shalabavka in the late 1930’s, he turned to painting, performed an oil painting «Portrait of Klymentii Sheptytskyi». He is one of the later artists and sums up his multidimensional experience. Keywords: Mykhaylo Shalabavka, Ukrainian photographers, history, life and way of life, portrait, Klymentii Sheptytskyi.
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Moran, Leslie J. "A previously unexplored encounter: the English judiciary, carte de visite and photography as a form of mass media." International Journal of Law in Context 14, no. 4 (November 23, 2018): 539–58. http://dx.doi.org/10.1017/s174455231800023x.
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AbstractStudies exploring the link between the representation of judges, photography and mass media tend to focus on the appearance of cameras in courtrooms and the reproduction of the resulting photographs in the press at the beginning of the twentieth century. But more than fifty years separate these developments from the birth of photography in the late 1830s. This study examines a previously unexplored encounter between the English judiciary and photography that began in the 1860s. The pictures where known as ‘carte de visite’. They were the first type of photographic image capable of being mass produced. It is a form of photography that, for a period of almost twenty years, attracted a frenzy of interest. Drawing upon a number of archives, including the library of Lincoln's Inn, London's National Portrait Gallery and my own personal collection this paper has two objectives. The first is to examine the carte portraits of senior members of the judiciary that were produced during that time. What appears within the frame of this new form of judicial portraiture? Of particular interest is the impact the chemical and technological developments that come together in carte photographs had on what appears within the frame of portraits. The second objective is to examine the manner in which they were displayed. This engages a commonplace of scholarship on portraiture; the location and mode of display shape the meaning of what lies within the frame of the picture. Carte portraits were produced with a particular display in mind: the album. They were to be viewed not in isolation, but as part of an assemblage of portraits. Few albums survive. Those that do offer a rare opportunity to examine the way carte portraits of judges were used and the meanings they generated through their display. Three albums containing carte portraits of judges will be considered.
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Pestarino, Julieta. "Botanical Portraits: On a 1935 Argentinean Book by Ilse von Rentzell with Photographs by Anatole Saderman." Rundbrief Fotografie 31, no. 2 (June 1, 2024): 8–22. http://dx.doi.org/10.1515/rbf-2024-2004.
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Abstract In 1935, the Argentine-German botanist Ilse von Rentzell (1893–1985) published the book “Maravillas de nuestras plantas indígenas y algunas exóticas” (Wonders of our Indigenous Plants and Some Exotic Plants) in Buenos Aires, Argentina, illustrated with photographs taken by the Russian photographer Anatole Saderman (1904–1993). The publication of this book was entirely selffinanced by Von Rentzell herself, and it is one of the first in Argentina to include such a large number of photographs with this much prominence. The collaborative photographic work developed by these authors goes beyond the images included in the book. Working together, they created a corpus of photographs that each of them used in the following years to enhance their personal careers. At the time, these photographs of plants represented a break in Argentine photography, building bridges with the genealogy of botanical photographic publications in other parts of the world.
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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 were selected from the combined sample of photographs of Bashkir men of the 20th century. Results and discussion. Based on these two subsamples, using digital technologies, 2 pairs of high-precision male composite photographic portraits (full-face and in profile) of Bashkir men were created. They represent the two racial variants prevailing in the region. One pair of photo-generalizations characterizes the softened South Siberian (N = 40), and the other, the sub-Ural (N = 20) anthropological variants. All profile composite photographic portraits of the Bashkirs were obtained for the first time. The phantom image obtained by the method is mentally compared with a certain generalized idea of a particular anthropological version of the known racial classifications. Due to the authorial nature of the various racial classifications, the subjective choice of the «typical», «most characteristic» person (or a short series of faces), presented as an illustration, is also inevitable. Conclusion. The resulting photographic portraits are no less recognizable than the illustrations given in anthropology textbooks: two clearly distinguishable anthropologically variants are visualized that occur in Bashkir populations. This result confirms the deeply entrenched opinion of anthropologists about the heterogeneity and population polytypes of the Bashkir ethno-national community. Both population-typological composite photographic portraits of an ethnic group and a typological digital high precision quality composite portrait, which achieves the effect of "personalization" of a phantom image, are cognitive tools that allow one to assess the biological reality of the existence of human populations with biologically meaningful (adequate) visual means. It is necessary to seek visual means that are isomorphic to the nature of a living, lasting composite.
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Graham, Daniel, Pamela M. Pallett, Ming Meng, and Helmut Leder. "Representation and Aesthetics of the Human Face in Portraiture." Art & Perception 2, no. 1-2 (2014): 75–98. http://dx.doi.org/10.1163/22134913-00002026.
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How do representations of the face in portraits relate to the natural face, and how does the aesthetics of portraits relate to the aesthetics of faces in photographs? Here we investigate these questions with regard to the frontal face. Frontal faces are of particular interest because they are by far the most commonly studied type of face image in psychology, yet frontal portraits have been little studied by psychologists. Using behavioral and statistical tests, we show that artistic representations of frontal female faces have representational properties that broadly match those of the natural face, but we also find properties unique to artworks. We report that, as with frontal faces, frontal portraits show norm-based coding properties with respect to preference: averaged portraits become more attractive in proportion to the number of portraits averaged together. However, averaged photographs of faces are preferred to averaged portraits, suggesting that faces in portraits and photographed faces show basic differences in aesthetics. Consistent with this notion, we found that average face width and height ratios in an extended sample of frontal female portraits were significantly different from those for photographed faces. This indicates that portraits on average are not faithful representations of the typical structure of the face. In a behavioral experiment where we manipulated the structural ratios in portraits, we found that the preferred width and height ratios were significantly different from those preferred in photographed faces, and that the preferred ratios for portraits were closer to the average ratios of the portrait sample. We evaluate a variety of possible causes of the observed differences. We conclude that despite the demonstrated differences between artistic representations and natural faces, fundamental properties of natural faces are preserved in artistic representations of the face.
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Bell, Amy. "“We were having a lot of fun at the photographers”." Ontario History 107, no. 2 (July 24, 2018): 240–61. http://dx.doi.org/10.7202/1050637ar.
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This article uses the photographic examples from a small female college to explore the use of photography as a social practice in late Victorian female colleges. It argues that photographs of students worked as both frames and surfaces: framing the visual details of their daily lives, while simultaneously allowing them a surface on which to fashion self-portraits. The photographs of Hellmuth Ladies’ College demonstrate the multiple arenas of late Victorian educational experience, the idealistic and aesthetic links between female educational institutions in the circum-Atlantic World, and the importance of school photographs to Canada’s photographic history.
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Schwärzler, Monika. "‘Cheese’ and Don’t Move! Tame Animals and Contrived Poses: Rob Macinnis’s Animal Group Portraits." Instinct, Vol. 4, no. 1 (2019): 54–58. http://dx.doi.org/10.47659/m6.054.rev.
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Macinnis’ photographs of various groups of animals are so striking because all the animals assembled in front of the camera seem to be most willing to accept the camera’s gaze and the power relation implied. Animals are usually hard to photograph, because they are not particularly collaborative, unpredictable in their movements, and tend to flee the frame. Macinnis’ protagonists pose and look straight into the camera. They appear tame, pacified, ‘civil’, patiently awaiting their pictorial equivalent. As in all well-managed and representative group photos, there are no obvious signs of disorder or potential subversion. Macinnis’ patchwork families look friendly and demonstrate unity and a sense of aesthetic order. Macinnis’ photos allow for a reflection on group photographs and their specific arrangements. At the same time, they make one painfully aware of the disciplinary nature of the photographic act. Posing and freezing in front of the camera is a cultural practice that had to be trained and appropriated. Narratives from the beginnings of photography prove that. By looking at Macinnis’ fully disciplined animal models, one realizes how much of our own unruliness we had to give up to fit into the photographic system. Keywords: animal group portraits, anti-photographs, composite images, discipline
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Ng, Roy. "Rumah Abu : Death and the Photographic Medium in Straits Chinese Ancestral Halls." Southeast of Now: Directions in Contemporary and Modern Art in Asia 7, no. 2 (October 2023): 3–45. http://dx.doi.org/10.56159/sen.2023.a916546.
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Abstract: This article seeks to establish ancestral photographs as objects of worship and examines the relationship between death and the photographic medium in Straits Chinese ancestral halls, also known as rumah abu , in the former British colonies of Singapore, Malacca, and Penang. Various scholars have argued for a conceptual link between photography and death, but the case for diasporic communities such as the Straits Chinese have been under-studied and rarely discussed in meta-physical terms. Portraits of Straits Chinese matriarchs and patriarchs are commissioned as not merely images of visual commemoration, but also objects for physical reverence, sites to which descendants could feel geographically closer to their forebears. Objecthood in photography refers to death in the literal sense: the photograph structures a tangible space where spiritual, temporal, and cosmopolitan worlds could converge and meet. Ancestral photographs serve as points of reference for chia abu (to ‘invite’ the ancestors) and piara abu (to ‘upkeep’ the ancestral shrine) on special occasions such as death anniversaries; where the image performs the earthly representation of a living identity, negotiating traditional Chinese social order anew in southern shores. The photographic object, when ceremonially placed next to food offerings, processional music, and incense, augments the image of the dead with a presence that is bound ever more intimately to mortal space and time. Elevated as a ‘participant’ of the ritual, the ancestral portrait transforms into a social actor inasmuch as it is entangled in a web of material practices. Rather than merely a stage-setter for physical acts of filial piety, the photograph is also integral to it.
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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 meditation on Ishi’s legacy, wilderness, and how the art and artifice of photography helps us make sense of people, place, and history.
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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 (January 27, 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 the latter 1870s and 1880s, he lived and worked on a floating gallery on the Mississippi River while his business back home in Paterson, Passaic County, was managed by his family. For this remarkable episode in his career, he was inducted into the National Rivers Hall of Fame in 1991. He is also exceptional in that he kept a journal in which he recorded fascinating details about his experiences. This essay provides a case study of an able and ambitious photographer and entrepreneur whose career, characterized by both typical and unique experiences, sheds light on photographic and business practices of his era. You can find additional John P. Doremus photographs here: https://web.ingage.io/6jsPH2p.
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Sherlock, Amy. "Multiple Expeausures: Identity and Alterity in the ‘Self-Portraits’ of Francesca Woodman." Paragraph 36, no. 3 (November 2013): 376–91. http://dx.doi.org/10.3366/para.2013.0100.
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This article considers the photographs of Francesca Woodman in terms of the complex and ambivalent set of relations they configure between photographer, photographed subject and viewer. Usually described as ‘self-portraits’, the subject of these fleeting, fractured images simultaneously presents itself whilst seeming to withdraw from them. The self, there where it most openly declares itself, disappears. Drawing on Jean-Luc Nancy's concept of exposition, or exposure, which posits the self as being in-exteriority, thinking the intimacy of subjectivity in terms of an originary relation to the outside or the other, I seek to problematize the possibility both of the portrait and the self that is its subject.
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Green, Michelle, and Hans Maes. "From Model to Sitter." Aesthetic Investigations 6, no. 2 (December 31, 2023): 158–73. http://dx.doi.org/10.58519/aesthinv.v6i2.16888.
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This paper focuses on historic anthropological photographs, meant to depict Indigenous individuals as generic models of colonial stereotypes, and examines their later reclamation as portraits. Applying an intention-based account of portraiture, we discuss the historical context and contemporary examples of the utilisation of these images in order to address several questions. What happens when the depicted persons in colonial imagery are treated and presented as sitters, rather than model specimens? Does this change the nature of the image? If a photograph was not originally intended as a portrait, can it come to function as such at a later stage? Regardless of whether they fulfill all the requirements necessary for portraiture, these colonial photographs represent a vital resource for the reclamation of Indigenous cultural heritage. As such, this paper serves as an introductory discussion into the complex issues surrounding the recategorisation, repatriation, and restitution of colonial photographic archives.
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Gentet, Philippe, Yves Gentet, and Seunghyun Lee. "Holostereosynthesis: An Improvement to Louis Lumière’s Photostereosynthesis Technique." Applied Sciences 12, no. 24 (December 7, 2022): 12524. http://dx.doi.org/10.3390/app122412524.
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In 1920, Louis Lumière, one of the fathers of Cinématograph, invented photostereosynthesis, a photography technique that could recreate three-dimensional images without a specific artifice. This method involved stacking six to eight photographs of the same subject, usually a portrait, recorded with a progressive shift in focus and observed together through transparency. This invention remained at the laboratory experiment stage, and only a dozen portraits of famous people from the time of Lumière are known. The final device is a complex assembly of glass plates mounted on a wooden frame, and it is fragile, bulky, heavy, and difficult to build and observe. Here, we demonstrate that we can replace the stack of photographic plates with a single reflection hologram. Experiments were successfully conducted using the digital CHIMERA holographic stereogram printing technique. This new method of holostereosynthesis will facilitate the restoration and dissemination of the historical portraits originally recorded by Louis Lumière and may also allow the creation of brand new images.
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Stevenson, S. "Hugh Miller and the Gravestone." Geological Curator 10, no. 7 (August 2017): 455–61. http://dx.doi.org/10.55468/gc247.
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The photographs of David Octavius Hill and Robert Adamson, taken in Edinburgh between 1843 and 1847, were arguably the first to explore the truthful and aesthetic properties of photography, beyond its powers as an accurate form of reproduction. The largely undocumented friendship between D. O. Hill, the landscape painter and photographer, and Hugh Miller, was based on an evident mutual admiration. This appears initially in the photographs of him taken by Hill and Adamson in 1843 and 1844, and in one of the very earliest critical articles on photography, written by Miller in 1843 from this direct experience as a sitter and from discussion with the photographers. This article is intended to offer a cross-cultural approach to images generally examined for their artistry. The original intention behind the photographs was sophisticated beyond the concern to make an attractive picture, and was meant to address the individual, his nature and his concerns. The portraits show us one of the most significant geologists of his day, and should be seen within the historic context of that time. They are museum objects, which can be read for their visual and intellectual impact.
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Heikkilä, Martta. "From the Self-Image to the Image Itself." Glimpse 22, no. 1 (2021): 18–22. http://dx.doi.org/10.5840/glimpse20212214.
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In this article, I examine the idea of the portrait from two viewpoints: the ‘classical’ portrait as it appears in Jean-Luc Nancy’s post-phenomenological philosophy, and the recent self-portrait photographs or ‘selfies’ on social media. First, I consider the portrait’s value in Nancy’s theories of art: for him, portraits hold an important position among the genres of visual art, since they present themselves as distinctive images by extracting the innermost force of the portrayed person. Secondly, I take up the philosophical and political implications of Nancy’s notion of the portrait vis-a-vis the contemporary selfie culture. I suggest that, instead of emphasizing the model’s singularity as traditional artistic portraits do, the flow of selfies tends to create similarity. I begin by clarifying Nancy’s paradoxical claim that the human portrait may resemble a person only on the condition of not representing him or her. After this, I inquire about the philosophical position of selfies as constructed portraits that make visible the absence of the self. However, as I argue, they do this in a sense that differs from Nancy’s account of the portrait. As a result, I propose that the repetition and circulation of selfies has remarkably changed our view on the significance and, finally, the ontology of the portrait.
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Koska, Bronislav. "Determination of St. George Basilica Tower Historical Inclination from Contemporary Photograph." Geoinformatics FCE CTU 6 (December 21, 2011): 212–19. http://dx.doi.org/10.14311/gi.6.26.
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A large amount of photographic material has been accumulated from the photography emerge in the nineteenth century. The most photographs record portraits, urbanistic complex, significant architecture and others important objects in the photography inception. Historical photographs recorded a huge amount of information, which can be use for various research activities. Photograph visual information is sufficient in many cases, but accurate geometrical information must be acquired from it in specific situations. It is the case of long-term stability monitoring of buildings in the Prague Castle area see [1]. For static analysis in the monitoring project, it is necessary to determine accurately specific geometrical parameter – mutual angle of St. George Basilica towers in the north-south direction before the reconstruction started in 1888. The angle standard deviation must be solved as well. The task demanded using of photogrammetric methods. Own implementation of general bundle adjustment had to be created to fulfill determination of reliable standard deviation of the angle, because standard photogrammetric software does not have all the necessary options.
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Chao, Jenifer. "Portraits of the enemy: Visualizing the Taliban in a photography studio." Media, War & Conflict 12, no. 1 (June 23, 2017): 30–49. http://dx.doi.org/10.1177/1750635217714015.
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This article examines studio photographs of Taliban fighters that deviate from popular media images which often confine them within the visual coordinates of terrorism, insurgency and violence. Gathered in a photographic book known simply as Taliban, these 49 photographs represent the militants in Afghanistan through a studio photography aesthetic, transplanting them from the battlefields of the global war on terror to intimate scenes of pretence and posing. Besides troubling the Taliban’s expected militant identity, these images invite an opaque and oppositional form of viewing and initiate enigmatic visual and imaginative encounters. This article argues that these alternative visualizations consist of a compassionate way of seeing informed by Judith Butler’s notions of precarity and grievability, as well as a viewing inspired by Jacques Rancière’s aesthetic dissensus that obfuscates legibility and disrupts meaning. Consequently, these photographs counter a delimited post-9/11 process of enemy identification and introduce forms of seeing that reflect terrorism’s complexity.
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Spennemann, Dirk H. R. "‘Your’s Truly’: The Creation and Consumption of Commercial Tourist Portraits." Heritage 4, no. 4 (October 12, 2021): 3257–87. http://dx.doi.org/10.3390/heritage4040182.
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There is a long history of tourists substantiating their visits to a destination through the purchase of portraits that show them against a backdrop of the local setting. While its initial expression in the form of paintings was confined to the social elite who could afford to commission and sit for an artist, the advent of photography democratized the process, enabling the aspiring middle classes to partake in the custom. While some tourists took their own photographs, the majority relied on local photographers who offered their services in studio and open-air settings. Smaller-sized images, such as Cartes de Visite (2.5″ × 4″) and Cabinet Cards (4.5″ × 6.5″), could be enclosed with letters to family and social circles, thus providing proof of visits while the voyage was still in progress. The development of picture postcards as a postal item in the 1890s, coupled with the manufacture of precut photographic paper with preprinted address fields, revolutionized tourist portraiture. Photographers could set-up outside tourist attractions, where tourists could have their portrait taken with formulaic framing against a canonized background. Efficient production flows meant that tourists could pick up their printed portraits, ready for mailing within an hour. Using examples of San Marc’s Basilica in Venice (Italy), as well as Ostrich Farms in California and Florida (U.S.A.), this paper contextualizes the production and consumption of such commercial tourist portraits as objects of social validation. It discusses their ability to situate the visitor in locales iconic of the destination, substantiating their presence and validating their experience. Given the speed of production (within an hour) and their ability to be immediately mailed through the global postal network, such images were the precursor of the modern-day ‘selfies’ posted on social media.
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Fokin, Pavel, and Maria Zusmanovich. "F. M. Dostoevsky: Biography in Photographs." Неизвестный Достоевский 7, no. 3 (September 2020): 114–48. http://dx.doi.org/10.15393/j10.art.2020.4802.
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The collection of photographic materials of The Vladimir Dahl State Museum of the History of Russian Literature, related to the life and work of F. M. Dostoevsky, is the largest such collection and currently includes 2540 items. The collection of photographs is based on the memorial collection of A. G. Dostoevskaya from the Memorial Museum of F. M. Dostoevsky. In the 1930s, it was transferred to the F. M. Dostoevsky Museum, established in Moscow in 1928, and after its merge with the State Literary Museum in 1940 (since 2017 — The Vladimir Dahl State Museum of the History of Russian Literature), it became a part of its photography collection. The compendium of photographs related to the life and work of Fedor Dostoevsky continued to grow in the following years. The article provides a comprehensive description of the collection of photos based on two main criteria: by the type of material — original photos, reshot photos, duplicate photos; by genre and thematic content of the images — portraits of F. M. Dostoevsky, portraits of relatives, portraits of children of F. M. Dostoevsky, nephews, descendants, portraits of friends, acquaintances, сontemporaries, sights of places related to the biography of F. M. Dostoevsky. The article analyzes the accompanying inscriptions and autographs on the photographs, specifies the dating and location of the images, which allows to make corrections and additions to the Chronicle of the life and work of F. M. Dostoevsky. Based on a comparative analysis of the translator’s gift autograph on his photo, the facts of F. M. Dostoevsky’s biography, and the analysis of F. M. Dostoevsky’s letter to an unidentified person dated December 5, 1863, an assumption is made that the addressee of the letter is W. Wolfzon.
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Fokin, Pavel, and Maria Zusmanovich. "F. M. Dostoevsky: Biography in Photographs." Неизвестный Достоевский 7, no. 3 (September 2020): 114–48. http://dx.doi.org/10.15393/j9.art.2020.4802.
Full textAbstract:
The collection of photographic materials of The Vladimir Dahl State Museum of the History of Russian Literature, related to the life and work of F. M. Dostoevsky, is the largest such collection and currently includes 2540 items. The collection of photographs is based on the memorial collection of A. G. Dostoevskaya from the Memorial Museum of F. M. Dostoevsky. In the 1930s, it was transferred to the F. M. Dostoevsky Museum, established in Moscow in 1928, and after its merge with the State Literary Museum in 1940 (since 2017 — The Vladimir Dahl State Museum of the History of Russian Literature), it became a part of its photography collection. The compendium of photographs related to the life and work of Fedor Dostoevsky continued to grow in the following years. The article provides a comprehensive description of the collection of photos based on two main criteria: by the type of material — original photos, reshot photos, duplicate photos; by genre and thematic content of the images — portraits of F. M. Dostoevsky, portraits of relatives, portraits of children of F. M. Dostoevsky, nephews, descendants, portraits of friends, acquaintances, сontemporaries, sights of places related to the biography of F. M. Dostoevsky. The article analyzes the accompanying inscriptions and autographs on the photographs, specifies the dating and location of the images, which allows to make corrections and additions to the Chronicle of the life and work of F. M. Dostoevsky. Based on a comparative analysis of the translator’s gift autograph on his photo, the facts of F. M. Dostoevsky’s biography, and the analysis of F. M. Dostoevsky’s letter to an unidentified person dated December 5, 1863, an assumption is made that the addressee of the letter is W. Wolfzon.
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Millar, Pat. "Frederick A. Cook: the role of photography in the making of his polar explorer-hero image." Polar Record 51, no. 4 (June 30, 2014): 432–43. http://dx.doi.org/10.1017/s0032247414000424.
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ABSTRACTThis paper aims to show how the photography of Frederick A. Cook (1865–1940) played an important role in the making of his polar explorer-hero image. It considers portraits and Arctic and Antarctic photographs that Cook used in his own publications and illustrated lectures, and which he provided for press articles. The paper is underpinned by discourse analysis and the concept of the photograph as a representation of reality filtered through various lenses. The visual impact and discursive messages of the photographs were aimed at situating readers and audiences in responsive attitudes that would generate a public persona which he exploited to increase his fame and heroic reputation. In time, Cook's photography also played a critical part in the collapse of the hero image.
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Molloy, Caroline. "The Studio Photograph as a Conceptual Framework." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 38–47. http://dx.doi.org/10.47659/m5.038.art.
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In her essay, Caroline’s draws from her PhD thesis that looks the visual habitus of transcultural photography. She concentrates her writing on the genre of studio photography, specifically early English studio photography and argues that the conceptual framework established in early photographic studio practices still has its legacy in contemporary digital photographic studio practices. To illustrate this argument, she draws from a contemporary case-study in her local, digital photographic studio in North London and discusses a selection of photographs in relation to early photographic studio practices. She suggests that rather than a radical break caused by digital technologies, digital photography has opened up imaginative ways in which to make studio portraits that blur boundaries between the real and symbolic. Keywords: anthropology, digital form of photography, photography, studio photography
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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 (November 30, 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 considered. Having appeared almost simultaneously with the establishment of the province, the photographic business in Samara became an integral part of cultural life at the beginning of the 20th century. Photography in pre-revolutionary Samara developed from individual wealthy citizens entertaining to the establishment of the Samara Photographic Society. By 1917 photographic establishments had spread throughout the Samara province and were accessible to most residents. The analysis of the photographic documents used allows us to say that the Samara photography of the period under review was dominated by photographic portraits and photographs, photographic postcards with views of the city. The paper is based primarily on documents and photographs of the Central State Archives of the Samara Region and the Samara Regional State Archives of Socio-Political History, most of which have not been included in scientific circulation.
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Jedlińska, Eleonora. "Francis Bacon (1909-1992)." Zbornik radova Filozofskog fakulteta u Splitu, no. 14 (December 17, 2021): 181–94. http://dx.doi.org/10.38003/zrffs.14.11.
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Francis Bacon painted pictures based mostly on photographs published in encyclopaedias, popular magazines, the tabloid press, posters and packaging. He was interested in reproductions of paintings by great masters. He used photographs by Muybridge. Photographs, treated by Bacon as tools, were later “worked on” by the artist, becoming the canvas for his paintings. The scenes he chose – often drastic, depicting rape and violence – were painted into his canvases, creating a deformed image of the world that “emerged” from the horrors of both world wars. He painted portraits based on his photographs of friends. These were usually people with whom the artist was emotionally connected. He painted self-portraits base on a series of photographs taken in automatic photography, from which he selected several to form the basis of his paintings. Real things and persons should exist in the fictional space assigned to them. By destroying literalism in painting, Bacon wanted to find the similarity desired in painting as its principal, so to rediscover realism. When painting a portrait, he tried to capture the appearance of the figure. After Francis Bacon’s death, his London studio (7, Reece Mews), restored by conservators, was “repeated” in the space of the Hugh Lane Gallery in Dublin. It contains about 7,500 objects, among them numerous photographs which had been torn up by the artist, photographs of his lovers and friends, black and white reproductions. The Bacon ‘archive’ collected in Dublin is now a silent hint of the creative process of the artist, who despite numerous studies devoted to him and recorded conversations, still remains one of the most inscrutable artists of the 20th century.
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Coronado, Jorge. "Instances of Agency: Julio Cordero’s Archive and Photographic Portraits." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 24–45. http://dx.doi.org/10.5195/bsj.2018.195.
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In this article, I discuss the notion of agency in relationship to Julio Cordero’s photographs. Julio Cordero (1879-1961) owned a photography studio in La Paz in the first half of the twentieth century and produced an array of images both inside and outside of the studio. I also offer a sense of the rich documentation that exists in the complete Cordero archive as well as the insights that it opens up concerning the interventions in self-representation made possible by photographic portraiture. Essentially, these interventions lead us to conceptualize image culture as a prime space for enacting agency in Bolivia and Latin American more broadly.
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Ahrens, Victoria. "A True date with a Palm Tree." Vista, no. 5 (December 31, 2019): 217–28. http://dx.doi.org/10.21814/vista.3048.
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This is a visual essay that meanders. It is based around my encounter with palm trees and my grandfather’s silver print photographs, collated in an album that dates back to the 1930s. Henry Richard Ahrens was a keen photographer, though I had never seen any of his images until 2010 when I was given one of his albums by a relative who knew I was a photographer and writer. He died before I could get to know him. His photographs have a particular sensibility to them, with a multitude of self-portraits, and often, a hand written phrase to go with them. I am told he developed his films himself. He is often pictured next to palm trees in his photographs. These palms he photographed are particularly fascinating to me. They represent one of the few genus that extend back to the late Cretaceous period, a dinosaur of a plant species. With their many variations, they take on a poetic and utopian presence, their seeds having been disseminated through colonial exchanges, botanical curiosity and commercial interests. Found in so many surprising corners of the world, the palm expresses our need to explore, while becoming a symbol of resistance to discourses of nationalism and anti-immigration sentiment. This essay reflects a personal ethnography through the interconnected and material presence of the palm in London, Buenos Aires and in the photograph itself.
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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.
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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
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Miller, Isabel. "Some Iranian and Afghan Portraits in the Public Record Office." Journal of the Royal Asiatic Society 8, no. 3 (November 1998): 341–49. http://dx.doi.org/10.1017/s1356186300010476.
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For several years now the Lafayette Project has been compiling a data base of portrait photographs from the Copy I collection at the Public Record Office, Kew (PRO). The Lafayette Project was founded to further the cataloguing of historic photographs and funding by the Elm Trust has enabled the project to set new standards for the documentation of historic photographs based on careful analysis of an image and its contents as a historical source. The data base is a means not only of investigating portraits but also a starting point for entering into the wider scope of the collection to pursue historical research.
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Prager, Brad. "Trophy Hunter: Ulrich Seidl’s Portraits and Safari." New German Critique 46, no. 3 (November 1, 2019): 157–79. http://dx.doi.org/10.1215/0094033x-7727469.
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Abstract The Austrian director Ulrich Seidl often films interview subjects as though they were posing for portrait photographs, and Seidl maintains that one of his major influences is the photographer Diane Arbus. This article examines how this high level of control over a film’s frames reveals strategies central to his filmmaking and especially to his documentary films. Seidl is particularly concerned with depicting his subjects’ complicity in the exploitation of labor, as seen in Safari (2016), a film about Austrians who travel to Namibia to hunt and collect trophies. Seidl presents viewers with unforgiving portraits of Austrian tourists, as he employs nearly every one of his trademark techniques to highlight the many contradictions behind his subjects’ perspectives.
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Aytemiz, Pelin. "Making Grandfather Come Out Better." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 355–73. http://dx.doi.org/10.1163/18739865-00802010.
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In contemporary Turkey, a growing number of lower to middle-income families bring old and often damaged photographs of their deceased family members to digital studios for restoration. Digital restoration artists, whether working online or from photography studios, retouch these photographs in often highly creative ways, such as adding color and fantasy backgrounds, or combining discrete portraits into fictional (diachronic) family portraits. Digital technologies such as the Photoshop program are here called upon to perform a very old desire: that of ensuring a dead person’s continued presence. Engaging with debates on the passage from analog to digital and the relationship of photography to death, I examine this process from two perspectives. First, I focus on digital artists who understand their work in professional terms as intensely material, and in social terms as one of ‘saving photographs from death’; second, I examine the renewed social potency that such digitally remastered photographs acquire in Turkish homes, where digital intervention not only ensures the continued potency of ancestral photographs in ensuring the presence of the deceased patriarch, but also enhances this presence in novel ways. Digitally remastered photographs are understood here as more than ‘just’ photo-realistic. They are ‘more perfect’ or even ‘more real’: their fictionality adds to their auratic character as icons of authority and makes them eminently suited for the renewed kind of social work that is demanded of them.
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O’Brien, Aoife. "Pacific photographs from the Vanadis expedition, 1883–85." Journal of New Zealand & Pacific Studies 8, no. 1 (May 1, 2020): 7–21. http://dx.doi.org/10.1386/nzps_00012_1.
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The Vanadis expedition was a Swedish–Norwegian scientific and trade mission that circumnavigated the globe between 1883 and 1885. The scientific aspect of the expedition focused on the collection of objects, archaeological excavations and the documentation of the peoples, places and material culture encountered on the voyage. Responsible for much of this collecting and documentation was ethnographer Hjalmar Stolpe, as well as photographer Oscar Birger Ekholm. An estimated 7500 objects from the Vanadis expedition today form part of Etnografiska museet (The Museum of Ethnography) collections in Stockholm, over 900 of which came from the Pacific. These were acquired/purchased from Indigenous and western residents in all places the ship stopped including the Society Islands, Marquesas Islands, the Tuamotu Archipelago, Hawaiian Islands and Marshall Islands. Of the roughly 700 photographs taken during the voyage, just over 200 were taken in the Pacific. Ekholm’s photographic record from the Pacific includes studies of people and portraits, land and seascapes, archaeological sites, dwellings and marine transportation. Providing an overview of Ekholm’s photographs from the Vanadis expedition, this article seeks to contextualize his photography, situating it within the wider context of collecting with which he and Stolpe were concerned. It will further consider the racial stereotypes, interest in practices such as tattooing and overall aims of the expedition that prompted this photographic documentation.
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Ursu, Nataliya, Ivan Hutsul, and Ivan Pidhurnyi. "Bessarabian motifs in the creative heritage of Podolian photo artist Mykhailo Greim." JOURNAL OF ETHNOLOGY AND CULTUROLOGY 32 (December 2022): 48–56. http://dx.doi.org/10.52603/rec.2022.32.06.
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The article is devoted to the work of the outstanding photo artist, one of the first masters of photography in Podolia, Mykhailo Greim. The review of publications of Ukrainian and foreign authors about the artist’s activity is presented, the purpose of the article is defined. It is noted that the studies almost do not mention a whole selection of images dedicated to the Bessarabian lands, which were closely adjacent to the Ukrainian Podolia. The life path, the formation of Greim as a photographer, the scope of his professional interests are considered. The range of genre photographic compositions of the master is presented, attention is focused on self-portraits. The article is complemented by archival photographs found by the authors in Ukraine and Poland, they demonstrate close household and family ties, which in turn were reflected in the formation and existence of the folk multicultural traditions of the region. The master’s photographs are perhaps the only photographic record that, carries important information about the way of life, appearance, environment and occupations of the Moldavian population of Bessarabia bordering the Ukrainian Podolia. Greim’s creative heritage is a significant contribution to the study of the national identity of the Ukrainian and Moldovan nations.
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Barromi-Perlman, Edna. "Images of Italian Jewish Emancipation: An Analysis of Family Photographs after the Opening of the Roman Ghetto in 1870." Jewish Social Studies 29, no. 1 (January 2024): 120–60. http://dx.doi.org/10.2979/jss.00005.
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Abstract: This study analyzes late nineteenth- and early twentieth-century photographs in a family album belonging to Roman Jews. The album was compiled at a crucial moment for Italy and for Italian Jews: after the wake of Italy's national unification. For many Roman Jews the risorgimento and Italian unification in 1870 resulted in liberation from crushing poverty, disease, and abuses under the papal state. These years coincided with the invention and development of photography. This article explores how Jewish emancipation and liberation from ghetto life, alongside the rise of photography, influenced the construction of images and photographic portraits of Roman Jews through the analysis of one family album.
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Suka Asih K.Tus., Desyanti. "Potret Sebagai Data Pribadi Yang Di Komersilkan." Jurnal Ilmiah Raad Kertha 2, no. 1 (July 8, 2020): 81–100. http://dx.doi.org/10.47532/jirk.v2i1.154.
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Portraitis works of copyrighted photography with human objects. Personal data is data inthe form of personal identities, codes, symbols, letters or numbers of personal identifiers.Personal data includes personal life affairs including (history) someone's communication.Whereas in concept, personal data is not merely information about domestic sphere, but alsoinformation about professional history,professional and public life because a person'spersonal affairs also intersect with the relevant public affairs (interpesonal relationships andalso facts that occur in public spaces). Legitimacy of personal rights is regulated asconstitutional rights as regulated in Article 28G paragraph (1) of the 1945 Constitution ofthe Republic of Indonesia. Portrait in which there are human beings as objects is part ofpersonal data. Portrait is part of human identity that must be protected. The use of unlicensedportraits for commercial purposes can be detrimental to portrait owners not onlyeconomically, this action injures self-identity which can cause a bad image for that person.The use of portraits as personal data without permission for commercial purposes can besubject to criminal sanctions (Copyrights Law) and civil claims (Law on ElectronicInformation and Transactions). This paper discusses how portrait settings are as commercialdata. The purpose of this writing is that the output of the purpose of this paper is as the outputof the Beginner Lecturer Research compiled by the author with the title "CopyrightProtection on Portrait Photographs in Social Media".
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Hayes, Susan. "Analysing Texture in Portraits." Perception 49, no. 12 (December 2020): 1283–310. http://dx.doi.org/10.1177/0301006620975705.
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This case study is an initial exploration as to whether the depiction of texture in a set of portraits, all portraying the same Sitter, is related to the familiar likeness assessments reported in a companion paper containing a principal component analysis (PCA) of the portraits’ depiction of shape. Somewhat unexpectedly, a texture PCA failed to discriminate the high from low likeness portraits, despite experimentation with different pre-processing methods to reduce the portraits’ high level of uninformative, image-level texture variability. There were some findings arising from these analyses, and while only indicative at this stage, include that linear histogram matching is effective in reducing variability in portrait brightness; that depicting, and perhaps exaggerating, shading relating to lighting direction may enhance portrait likeness; and, that whether minimised or exaggerated, lighting direction can be portrayed somewhat anomalously. Furthermore, and in agreement with findings from photographs, shape and texture were not found to be independent variables, and shape-free image registration, while very usefully enabling a comparison of closely corresponding pixel coordinate values, could itself be a confounding factor for undertaking a texture PCA with portraits produced under relatively ambient conditions.
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M'rani Alaoui, Malika. "Early Photography in the Rijksmuseum’s Collection: A Group of Glass Negatives from the Estate of Laurens Lodewijk Kleijn (1826-1909)." Rijksmuseum Bulletin 68, no. 1 (March 15, 2020): 5–29. http://dx.doi.org/10.52476/trb.9688.
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In 1999 a group of nineteenth-century glass negatives were transferred to the Rijksmuseum from the University of Leiden’s Print Room. The negatives came from the estate of the Dutch artist Laurens Lodewijk Kleijn (1826-1909), who also made them. Kleijn lived in Rome between 1851 and 1868, became interested in photography and began to experiment with the medium. While he was in Italy, he came into contact with Princess Marianne, who awarded him a number of commissions. He also looked after her sizeable collection, first in Rome, later in her museum in Erbach. As the curator, Kleijn photographed part of the collection and the museum’s interior. These photographs were used for a museum catalogue and for picture postcards. The Rijksmuseum’s glass negatives show a variety of artworks from the princess’s collection. There are more experimental shots, too, family photographs and portraits, and photographs of paintings by Kleijn and of his studio. Thanks to the surviving glass negatives – and the artist’s estate as a whole – it was possible to reconstruct his interesting life story and take a fresh look at the history of photography.
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Nestayko, Markiyan. "Photos of Levko Yanushevych on the pages of Ukrainian magazines." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 362–75. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-26.
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The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures is analyzed. The significant contribution of the photographer to the preservation of important facts and information about the Ukrainian intelligentsia of that time is revealed. Levko Yanushevych appears in the general picture of the XX century not only as a photojournalist of the cultural life of Ukraine, but also as an active participant in the processes taking place at the background of art. This is evidenced by articles, interviews and memoirs left by Yanushevych in local magazines. His popularity at that time is confirmed by publications in foreign editions made by efforts of the Ukrainian émigrés. Levko Yanushevych’s photographs are stored in the archives of the V. Stefanyk Institute of Library Art Resources Research of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. They are not accessible in some magazines. The personality of this photographer is quite interesting not only in terms of his professionalism and famous works, but also as a cultural and public figure. His photo portraits are still stored on the pages of the Ukrainian General Encyclopedia. His photographs of landscapes and architectural masterpieces of the Ukrainian cities of the late XIX and early XX centuries help to plunge into the past. However, information about the photographer is very scarce, and there is no study of his work. In the mentioned press archives in 1920s, 1930s and 1940s, as well as some authorial articles available on the Internet were found about 50 photographs of the artist. We analyzed and systematized images by genre groupings. The article also covers a range of issues related to the origin and existence of photography in the 19-20th century, the main figures of the time, photo studios and vocational schools of Ukrainian photography. The findings of our research show trends in photography relevant in a perspective of the 21st century were experienced by professionals and amateurs in the past. Capturing information, transmitting emotions and feelings, preserving architectural monuments, landscapes, recording important moments in the lives of relatives or prominent people, coding or symbolism were important stages in the evolution of photography. Keywords: Levko Yanushevych’s photos, Ukrainian photographer, Ukrainian magazines, photography.
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Šuster, Lana. "Izgubljeni identitet ingrid pollard čitanje fotografija." Danubius Noster 10, no. 3 (2022): 173–84. http://dx.doi.org/10.55072/dn.2022.3.173.
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Ingrid Pollard is a British artist whose art photographs try to emphasize the identity of the black population in an environment to which she does not belong. Through lines of identity visual art, she introduces the viewer to a story that has been evolving for years in her world. Intertwining and emphasizing Otherness through the detailing of black life confirms the question of „Who are you?“, and the meaning lies in the artist’s depictions in the vastness of British landscapes. The paper will show the disability of identity through photographs of the Pastoral Interllude collection and try to compare Bauman’s theory of non-belonging to the real environment and the constant striving for a fixed identity. As a starting point for this work, works of art created in the twentieth century depicting portraits of blacks in the everyday situations of British streets and outdoor natural spaces. The historical background of two lost identities that create their selves through life. The visual arts of the time took the space of deliberately emphasizing the original identity through depictions of artistic photography, especially portraits. The anti-essentialist direction will be proven by deliberate shots of photography in environments that are not specific to the time in which Ingrid Pollard’s identity remained trapped. National identity in the photographic world will be highlighted by Ingrid Pollard faithfully portraying the social visual cues that produce the image of a nation and fully embracing character, while reviving the idea that photography is a transmitter of identity.
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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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Baldock, Sophie. "‘Our Looks, Two Looks’: Miniature Portraits in the Letters of Elizabeth Bishop and Robert Lowell." Review of English Studies 71, no. 300 (September 9, 2019): 528–53. http://dx.doi.org/10.1093/res/hgz097.
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Abstract This article examines parallels between the exchange of miniature portraits in late eighteenth-century letters and the exchange of photographs and keepsakes in the twentieth-century correspondence of American poets Elizabeth Bishop and Robert Lowell. Drawing on theories of the miniature in Susan Stewart’s work, alongside art-historical and literary-critical accounts of the practice of exchanging miniature portraits in letters, the article builds on arguments that portraits go hand-in-hand with the genre of letter writing. I argue that previous criticism of the Bishop-Lowell correspondence has not yet adequately explored their epistolary discussion and exchange of visual materials. As in the case of their eighteenth- and nineteenth-century predecessors, for Bishop and Lowell, letter writing frequently involved a literal and metaphorical exchange of portraits. The article places particular photographs in their original context alongside letters, demonstrating the symbiotic relationship between images and text and the key role played by the visual in letter writing. It provides a fresh reading of Bishop’s and Lowell’s linked poems, ‘The Armadillo’ and ‘Skunk Hour’, arguing that these poems are a means of portrait-painting in relation to the other. The poems are examined alongside descriptions of an antique miniature cameo, sent by Lowell to Bishop as a companion to his poem, which functions as an ambivalently gendered portrait of Bishop. Finally, the poets’ interlocking memoirs, ‘91 Revere Street’ and ‘Memories of Uncle Neddy’, are analysed to show their origin in letters, and their shared preoccupation with portraiture, scale and framing.
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Jodliński, Leszek. "‘And I still see their faces…’: Wilhelm von Blandowski’s photographs from the collection of Museum in Gliwice." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 155. http://dx.doi.org/10.1071/rs09155.
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Wilhelm von Blandowski (1822-1878) was born in Gleiwitz, Prussia (now Gliwice, Upper Silesia, Poland). From 1862 through 1868, Wilhelm von Blandowski may have taken up to 10, 000 photographs. Though only a portion of his photographic accomplishment has been preserved, the existing photographs provide an insight into their content and character, as well as providing us with the better understanding of the work of their author. The main emphasis in the paper will be on Blandowski’s photographs presently in the collections of Museum in Gliwice. It will focus on his portraits with reference to some of the formal experiments Blandowski carried out, such as photomontage and narrative photography. Attention will be also drawn to his creation of documentary-like and realistic photographs. Both the commercial nature of the photographic business run by Blandowski, as well as his personal interest in picturing the human condition, had a strong influence on his photography. He put the person at the center of his interest. This was reflected in Blandowski’s attempts to capture the natural world of the Prussian borderlands in the 1860s. Blandowski depicted a place inhabited by Germans, Jews and Poles ‘the promised land’ of early industrialization. Witnesses of these days, the known and anonymous characters look at us from the hundreds of prints taken by Blandowski. Among them one can see wealthy industrialists, priests and doctors, workers and peasants, children and women, the rich and the poor, persons of different professions, nationalities and confessions. The article concludes with a discussion of the influences that Blandowski has had on his contemporaries and also of his place in the history of early photography in Poland.
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Levine, Robert M. "Faces of Brazilian Slavery: The Cartes de Visite of Christiano Júnior." Americas 47, no. 2 (October 1990): 127–59. http://dx.doi.org/10.2307/1007369.
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Photographs probably expanded more horizons and redefined more ways of knowing the world than any other product of nineteenth-century technology. The first daguerreotypes appeared in the Western Hemisphere merely months after the triumphal announcement of Daguerre's process by the French Academy in 1839. In the next three decades, millions of photographic images were produced. Three distinct categories predominated: studio portraits, scenic views for collectors and, after the early 1850s, photographic images transferred to woodcuts and, later, lithographs for publication as line sketches in illustrated newspapers and magazines. Photographic “science” complemented neatly the elite's striving for ways to affirm the region's material progress. Photographers played a vital role in presenting to the world a vision rooted in the aspirations of the dominant members of society.
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Luvaas, Brent. "Post No Bill: The Transience of New York City Street Style." Fashion Studies 1, no. 1 (2018): 1–20. http://dx.doi.org/10.38055/fs010101.
Full textAbstract:
The sidewalks outside New York Fashion Week are lined with makeshift plywood walls. They are designed to keep pedestrians out of construction zones, but they have become the backdrops of innumerable “street style” photographs, portraits taken on city streets of self-appointed fashion “influencers” and other stylish “regular” people. Photographers, working to build a reputation within the fashion industry, take photos of editors, bloggers, club kids, and models, looking to do the same thing. The makeshift walls have become a site for the staging and performance of urban style. This photo essay documents the production of style in urban space, a transient process made semi-permanent through photography.
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Aguilar, Laura. "Human Nature." Boom 5, no. 2 (2015): 22–27. http://dx.doi.org/10.1525/boom.2015.5.2.22.
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Laura Aguilar’s Nature Self Portraits treat the human body as another feature in landscapes. In the series, Aguilar positions herself in the center of her photographs, nude, often with her back to the camera. The curve of her back echoes the rocks, her black hair in the wind recalls the thin fingers of desert trees. The photographs are at once playful and beautiful, peaceful and provocative. This photo essay includes work from Aguilar’s series, plus a similar work by California photographer Judy Dater, which influenced Aguilar.
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Barabanschikov, V. A., E. A. Lupenko, and A. S. Shunto. "Observer’s Vision of a personality of a Human, who is Depicted on an Artistic Portrait or a Photograph." Experimental Psychology (Russia) 12, no. 3 (2019): 5–18. http://dx.doi.org/10.17759/exppsy.2019120301.
Full textAbstract:
Different observers’ visions of the personality of one and the same human, depicted on an artistic portrait or a photograph, where investigated experimentally. The observers’ estimations obtained by a well known method of “Personality Difference”, were used as the analytic tool. The collected data witness, that different methods of presentation lead to different vision of one and the same personality. A considerable individual variability of significantly different scale estimations’ body and quantity depending on the estimated person was discovered. According to the factor analyses, the persons on photographs are generally perceived as being more active (sociable) then on portraits. The dependence between observers’ self-esteems and their estimations of personages’ individual psychological characteristics regardless to presentation method was also discovered.
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Carpenter, Cari. "Indian Territory Reimagined: Ora Eddleman Reed's Twin Territories." American Periodicals: A Journal of History & Criticism 33, no. 2 (2023): 136–51. http://dx.doi.org/10.1353/amp.2023.a911653.
Full textAbstract:
ABSTRACT: Twin Territories was a newspaper in Indian Territory from 1898 to 1905 that included the latest regional news, historical information about various tribes, and the column "What the Curious Want to Know." It also incorporated a variety of photographs of American Indian women, portraits of officials, and landmarks. The newspaper actively sustained a national audience. Ora Eddleman Reed understood her role as an editor in Indian Territory in part as a responsibility to correct inaccurate, dangerous representations of Natives people in the US. In addition to countering stereotypes of women, Twin Territories troubled visions of a backwards civilization, offering instead a portrait of Cherokee people as members of a burgeoning capitalist economy. While concentrating on a particular vision of Indian Territory as a modern, developing space, I seek to place Twin Territories in context as an Indian Territory newspaper of the turn of the twentieth century and to study its key features, including the advice column, its short fiction, and the photographic column, "Portraits of Indian Girls." Such representation is all the more complicated by Eddelman Reed's connection to the Cherokee community.