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Oscar, Sara. "Into this wild abyss learning through fabricated photographs /." Connect to full text, 2007. http://hdl.handle.net/2123/3965.
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Thesis (Ph. D.)--University of Sydney, 2007."Photomedia"--T.p. Title from title screen (viewed February 18, 2007) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Visual Arts) to the Sydney College of the Arts. Includes bibliography. Also available in print form.
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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
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Napier, Ellen Bethany. "Thomas Struth's Museum Photographs and the Textual Experience of Photography." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.
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Gmuender, Christopher. "On black-and-white paper image-stability enhancement effectiveness of toning treatments on silver gelatin prints determined by the hydrogen peroxide fuming test /." Online version of thesis, 1992. http://hdl.handle.net/1850/10950.
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Cooper, Elena Sophia Christina. "Art, photography, copyright : a history of photographic copyright, 1850-1911." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283882.
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Abdullah, Ismail Bin. "Documentary photography : a study of nineteenth century documentary photography with special reference to West Malaysian historical photographs 1874-1910." Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344016.
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Davey, Gerald John. "Understanding Photographic Representation : Method and Meaning in the Interpretation of Photographs." Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/5372.
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The "linguistic turn" in early twentieth-century philosophy established that through language we not only live in a world but create it as well. Language, in this sense, incorporates the entire range of media and cultural artifacts through which we create and share meaning. In contemporary post-industrial societies, photographic images play a central role in communicating and creating the world in which we live. In part, this increasingly visually oriented culture is possible because we tend to equate what we see in photographs with what is real. Photographs, however, bring to light a vision of the world, not the world itself. From the inception of photography, traditions of aesthetic interpretation have challenged this dominant view. Here, the created image becomes a vehicle for the artist's unique expression. Proponents of social scientific and critique of ideology perspectives, however, reject the aesthetic view and typically see art objects as social constructs, instruments which enhance and maintain a certain social order. Each of these perspectives ultimately holds that the meaning of photographs can be determined objectively. At the same time, each presents a world view which tends to exclude the insights of the others. Any attempt to preserve the apparent insights of these views must, then, transcend the basic contradictions and incompatibilities between them. Philosophical hermeneutics holds that the presumption of an absolute, objective grounding represents a failure to grasp the nature of the path toward understanding, a path which can never arrive at its destination because it always exists in history. It argues that (1) the photograph cannot be transparent to the world for the world is constituted in our representations of it; (2) art is a creation whose origin and meaning always exceeds the artist's own understanding of it; (3) critique is not the application of universal reason but a reading from a particular vantage point and is always grounded in a tradition of its own. Most importantly, however, it calls us to recognize the participatory nature of all understanding, the universality of language and provides a criterion for assessing the relative value of our interpretations across the entire language world.
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Mthethwa, Zwelethu. ""Personal" constructs /." Online version of thesis, 1988. http://hdl.handle.net/1850/11638.
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Kozlowska, Agnieszka. "Taking photographs beyond the visual : paper as a material signifier in photographic indexicality." Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/16882/.
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Despite the fact that photographs come into being as material objects imprinted with light reflected off the subject in front of the camera, and therefore possess a decidedly physical connection to their referent, the materiality of photographs tends to be overlooked in favour of apprehending them as primarily visual signs independent of their physical support. This practice-led research project under the title Taking Photographs Beyond the Visual: Paper as a Material Signifier in Photographic Indexicality explores the status of photographs as physical traces. In an attempt to find ways in which remote natural locations could be expressed more fully than it is possible by means of purely visual representation, papermaking and image-formation are combined in a single process executed entirely on-site. This working method was developed during the course of the project through artist residencies in Switzerland and a thorough research of traditional papermaking that included visits to numerous European paper mills. The making of each work involves an absurdly laborious and time-consuming process of hiking to an alpine location, making paper on-site from local plants and - using only the inherent light-sensitivity of plant substances - exposing it for many days in a camera built there partly from found natural materials. The resulting photographic objects function as pure indices in the semiotician Charles Sanders Peirce’s understanding of the term – as traces that point to their causes without necessarily revealing anything about the nature of the latter. They are artefacts testifying primarily through their presence, rather than through pictorial representation, to the exposure having taken place. Such process of signification requires the viewer’s active, haptic and imaginative response. The work proposes a way of photographically representing place as elemental - that is, existing outside the human schema of production, consumption and meaning – instead of through such cultural constructs as ‘landscape’ or ‘the scenic’.
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Sanders, Jennifer A. "An evaluation of photo CD's resolving power in scanning various-speed films for archival purposes /." Online version of thesis, 1996. http://hdl.handle.net/1850/11988.
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Blomgren, Constance, and University of Lethbridge Faculty of Education. "Family photos : an exploration of significant exposures." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 1999, 1999. http://hdl.handle.net/10133/93.
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This hermeneutic inquiry into the significance of family photographs in our personal and public lives explores the relationship between the subject, the photographer and the viewer. The discussion uses the photgraphic oeuvres of the author's paternal grandfather and maternal grandmother as the basis of the exploration. Themes which appear include the following: the represented and projected images of a family within family photos; the significance of gender in the making of snapshots; and, the influence of history and religion upon families.
The discussion also includes the relationship between art and photography, art photography and the snapshot genre, the role of women within photography and snapshot photography as a method of visual narrative. The author delves into hermeneutics as an interpretative framework when viewing family photos. Semiotics, and Roland Barthes' Camera Lucida (1981) inform the discussion in addition to Jung's matriarchal consciousness as two alternative frameworks for interpreting family photographs. The study indicates that family photographs are visual artifacts which document and authenticate the lived experiences of the photographer and that they serve as a visual form of life writing. Data from the photographic industry indicates the heavy
involvment of women in family photographs which the study links to the marginalised role of the genre. To interpret the significance of the ubiquitous family snapshot involves the hermeneutic circle as the "text" of the photograph involves the inter-textuality of other previously encountered texts.xvii, 199 leaves : ill. ; 28 cm.
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Gregory, Ronald Joseph. "Test target display : an M.F.A. photography portfolio as applied to optical laser disc /." Online version of thesis, 1987. http://hdl.handle.net/1850/10314.
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Cobon, Linda Louise. "Problems and issues in the arrangement and description of photographs in libraries and archival repositories." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27687.
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Until recent years, archivists have been reluctant to consider photographs as being archival in nature. The evidential value possessed by some photographs was ignored and archivists also failed to see where the informational value of a photographic image could be enhanced when viewed within the context in which it was created. Instead, archivists preferred to arrange and describe photographs as discrete items. For assistance in this endeavor, archivists turned to members of the library profession. Librarians, for their part, found that photographs were not amenable to standard bibliographic formats or classification schemes devised for printed monographs. The result was the creation by members of both the library and archival professions of numerous and often idiosyncratic methods for the physical and intellectual control of photographs.
The volume of photographic images acquired by libraries and archival repositories now makes it virtually impossible to continue dealing with photographs as discrete items. The research needs and methodologies of users have also changed; photographs are increasingly being sought as historical documents in their own right and not just as illustrations to accompany the written word. In response to these two factors, librarians began organizing and describing photographs as "lots" and archivists moved slowly toward the arrangement and description of photographs as archival fonds. This evolution, far from complete with regard to photographs, resembles an earlier evolution affecting the arrangement and description of textual archives, particularly manuscripts.
Today archivists in many Western countries are seeking to establish standard formats in the description of archival materials. This goal has become particularly urgent in the face of computer technology and the desire to form automated archival networks. It remains to be seen whether the final standards adopted in Canada, for instance, will encompass photographs or whether photographs will retain a "special" status. Without question, photographs have and will continue to present members of the library and archival professions with problems In arrangement and description. This is demonstrated in the body of this thesis through a survey of the professional literature and through field work undertaken in six libraries and archival repositories in the Vancouver area and in Victoria, British Columbia. However, the existence of problems should not mean that the approach to photographic archives should be any different, in essence, from the approach and principles applied to textual archives.Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate
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Halsban, Megan. "Stereographs as Scholarly Resources in American Academic Libraries and Special Collections." Thesis, School of Information and Library Science, 2008. http://hdl.handle.net/1901/543.
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This paper examines stereographic images as scholarly resources, and begins with a brief history of the stereograph. A discussion and review of the literature related to the stereograph as well as the preservation of photographic objects follows the introduction. In addition to the literature review, collections of stereographs at four repositories were evaluated for usability: The Keystone-Mast Archive at the University of California, Riverside; The Eliot Elisofon Archive at the Smithsonian Institution; the George Eastman House; the Library of Congress. The paper ends with suggestions for future work with the stereograph, in order to facilitate access and use by researchers.
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Switzer, Sharon. "Waltzing in Now-time the unlikely event of a correspondence between Barthes, Benjamin, Proust and my mother /." Link to electronic resource, 1997. http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp01/MQ28670.pdf.
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Medeiros, Maria Margarida Abreu de Figueiredo. "Fotografia e auto-representação-identidade e imagens do corpo na obra de Cindy Sherman." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29931.
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Rowell, Spencer. "An exploration of pathography within phototherapy : an analysis of the photographic self-portrait." Thesis, London Metropolitan University, 2017. http://repository.londonmet.ac.uk/1264/.
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This thesis presents and develops an advanced method of self-exploration for artists. The method, which incorporates the process of self-representation, enables a more authentic identification of the psyche of the artist to be created. The objective of the research is to develop a restorative and valid therapeutic process that artists can apply to achieve further authenticity in terms of the work that they conduct. The process that is developed as a product of this research is an advancement of ‘pathography’, a term used by Sigmund Freud in 1910 in the final chapter of Leonardo da Vinci and a Memory of His Childhood, to describe the psychoanalytic study of an artist through the works produced by the artist. The specific method employed in the research involved myself as artist creating a photographic self-portrait, sharing this image with two psychoanalytic psychotherapists, who each then responded with their written analysis of the image. This led to the creation of a series of twenty-four images, informed by the written interpretations provided by the analysts, at approximate intervals of once a month over two years. This method allows the interaction of artist, artworks and analysts to develop dynamically. This collaborative process where the written word is generated from the viewing of visual information, allows patterns or themes relevant to the research to be identified. The research findings contribute to the existing body of knowledge by revisiting of ‘pathography’ and developing a new method within phototherapy, and, in doing so, provide a material progression in the context of the artist as a photographer. Recommendations are also made in respect of the implementation of this new method. Guidance is provided for researchers who wish to further investigate this area, particularly in terms of the research processes that can be adopted. I conclude that making photographic self-portraits in this way can be a restorative and valid therapeutic process.
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Darnell, Amy Lynn. "Pencils of Light: Family, Photography, and Performance." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1791777591&sid=2&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Thesis (Ph. D.)--Southern Illinois University Carbondale, 2009."Department of Speech Communication." Keywords: Auto-performance, Cinema, Memory, Performance studies, Photographs, Photography, Family. Includes bibliographical references (p. 148-153). Also available online.
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Sparrow, Ryan J. "Photographic disconnect : examining the divide between newspaper photographers and designers on the matter of digital alteration of photographs on the front page." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391238.
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This study explores the differences in attitude held by newspaper photographers and designers concerning the acceptability of digitally altering front-page photographs. It takes its findings from a summer 2006 survey that asked these two newsroom groups to rate their acceptance of certain common techniques used to change photographs from their original forms. Their answers revealed that designers are generally more accepting of altered photographs than their photographer colleagues. Also, photographers are more likely to find acceptable those photographs altered for technical reasons than for aesthetic ones. Least acceptable to photographers, this study finds, are alterations that affect a photograph's content.Department of Journalism
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Barr, Debra Elaine. "Analyzing photographs in archival terms." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/24387.
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Through a comparison of the literature produced by general archival theorists with that published by photographic archivists, it becomes clear that archival principles are not routinely applied to records in photographic form.
Since reflecting knowledge about records creators and circumstances of creation is a basic archival responsibility, this thesis will begin with a discussion of a variety of past and present purposes of photographers in general. The ways in which both purposes and methods can influence photographic information will also be studied. The obligation of photographic archivists to examine records and creators in terms of administrative (including legal), scholarly and other user values will then be examined. The thesis will conclude with a survey of the literature produced by North American photographic archivists to determine whether their responsibilities are fully recognized.Arts, Faculty of
History, Department of
Graduate
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Suen, Tsz-yin Simon. "Curvature domain stitching of digital photographs." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38800901.
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Tubb, Katherine Anne. "Marta Astfalck-Vietz : photographs 1924-1936." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/4385/.
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The Berlin photographer Marta Astfalck-Vietz was active in the Weimar Republic, between 1924 and 1936. Her work was re-discovered in 1989 by the curator Janos Frecot, who staged a solo exhibition of her work in the Berlinische Galerie in 1991, and her archive, comprising just over 400 prints, is now held there. Since this show, the work of Marta Astfalck-Vietz has rarely been exhibited. In both German and Anglo-American scholarship it has received sporadic attention; the only text devoted to her work is still the catalogue to Frecot’s 1991 show. This thesis presents her photography to an Anglo-American audience, not as a compensatory exercise in retrieving a forgotten woman artist, but as a contribution to the existing body of literature on women in the Weimar era. Like other female artists of the period, Marta Astfalck-Vietz negotiated between her private experiences of life in the Republic and representations of its social and political tensions, which were circulated in novels, in films, on the stage, and in magazines. Her photographs address the issues of sex gender and race that preoccupy historians of Weimar Germany, confirming, confounding, and expanding our knowledge of the era.
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Hall, Alison. "The Shelter photographs 1968-1972 : Nick Hedges, the representation of the homeless child and a photographic archive." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6534/.
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The thesis examines the work of photographer Nick Hedges (b. 1953) who made photographs for the housing charity Shelter between 1968 and 1972. It concentrates on Hedges’ methodology, his representation of the homeless child, and how this was deployed in Shelter’s campaign strategy. Moreover, it examines the wider political, sociological and cultural debates surrounding the conception, production, dissemination and reception of the Shelter photographs. The thesis argues that Hedges’ photographs, although contextualised by an ostensibly radical charity agenda, were shaped by an established photographic and art historical tradition reaching back to the nineteenth century. This is examined in the light of a shifting conception of what constituted an ethically sound representation of homelessness amongst leftist critics in Britain from the 1970s onwards. The thesis equally discusses the archive as a site of photographic accession, interpretation and display, and outlines the issues that face archive professionals charged with the presentation of the Shelter photographs to a contemporary audience. By combining art historical analysis of Hedges’ photographs with research into their current framing in the archive, the thesis offers a distinctive contribution to scholarship, exploring how photographic meaning is shaped, subverted and disseminated by individuals, organisations and institutions alike.
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Baptista, Maria Emília Moreira Tavares Samora. "João Martins (1898-1972)-imagens de um tempo "descritivo desolador"." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2000. http://dited.bn.pt:80/29482.
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Suen, Tsz-yin Simon, and 孫子彥. "Curvature domain stitching of digital photographs." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38800901.
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Hall, Jeffrey L. "ELEMENTS THAT INFLUENCE VISUAL APPEAL IN PHOTOGRAPHS." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1174794370.
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Polk, Randi Lynn. "(Un-)Framing vision: text and image from the new novel to contemporary expressions of identity." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1121274446.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains vii, 217 p. Includes bibliographical references (p. 203-217). Available online via OhioLINK's ETD Center
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Gonçalves, Myra Adam de Oliveira. "A fotografia sem câmera : revelações de especificidades da fotografia através do quimigrama." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10746.
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Esta dissertação foca um processo de criação de imagens fotográficas a partir de manipulações químicas feitas sobre superfícies fotossensíveis, diretamente sobre o papel ou negativo, sem utilizar para isso o aparato tecnológico – a câmera. A partir dessa abordagem, a dissertação analisa os limites daquilo que conhecemos como fotografia. A pesquisa convergiu para a investigação das possibilidades fotográficas inerentes às superfícies sensíveis e fotossensíveis, às soluções fotoquímicas e para o cruzamento dessas possibilidades fotográficas com outras linguagens artísticas. O trabalho confrontou a fotografia com suas especificidades e buscou desvendar os domínios da fotograficidade, que se configurou como um lugar apropriado para vasculhar as certezas e incertezas do que é a fotografia. As reflexões teóricas foram instituídas pelo trabalho plástico.This dissertation aims at a photographic images creation process from chemistry manipulations made over light sensitive surfaces, directly on the paper or negative, without the camera. From this point of view the dissertation analyses the limits of which we know as photograph. The research converged to an investigation of the inherent photographic possibilities to sensitive and light sensitive surfaces, to photochemical solutions and to an approaching of these photographic possibilities to other kinds of artistic languages. The creation process faced photograph and its unique features and, by dealing with them, tried to reveal the photographs unique characteristics, which showed a specific place to search the certainties and uncertainties of what photography is. The theoretic reflections were established by the artistic work.
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Brüllman, Claire Bonney. "Thérèse Bonney : the architectural photographs /." Online version, 1995. http://bibpurl.oclc.org/web/33468.
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Gassner, Patricia. "Icons of war photography : how war photographs are reinforced in collective memory : a study of three historical reference images of war and conflict." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2461.
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Thesis (MPhil (Journalism))--University of Stellenbosch, 2009.There are certain images of war that are horrific, frightening and at the same time, due to an outstanding compositional structure, they are fascinating and do not allow its observers to keep their distance. This thesis examines three images of war that have often been described as icons of war photography. The images “children fleeing a napalm strike” by Nick Ut, “the falling soldier” by Robert Capa and Sam Nzima’s photograph of Hector Pieterson are historical reference images that came to represent the wars and conflicts in which they were taken. It has been examined that a number of different factors have an impact on a war photograph’s awareness level and its potential to commit itself to what is referred to as collective consciousness. Such factors are the aesthetical composition and outstanding formal elements in connection with the exact moment the photograph was taken, ethical implications or the forcefulness of the event itself. As it has been examined in this thesis, the three photographs have achieved iconic status due to different circumstances and criteria and they can be described as historical reference images representing the specific wars or conflicts. In this thesis an empirical study was conducted, questioning 660 students from Spain, South Africa and Vietnam about their awareness level regarding the three selected photographs. While the awareness level of the Spanish and the South African image was rather high in the countries of origin, they did not achieve such a high international awareness level as the Vietnamese photograph by Nick Ut, which turned out to be exceptionally well-known by all students questioned. Overall, findings suggest that the three selected icons of war photography have been anchored in collective memory. Ut, Robert Capa, Sam Nzima, semiotics, Spanish Civil War, the falling soldier, Vietnam War
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Valthersson, Jonas. "David Lynch och fotografiet : The Factory Photographs." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-81313.
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Studiens syfte är att genom semiotisk analysmetod och fototeori, om fotografiet som medium, försöka tolka David Lynchs fotografiska bildspråk i en motivanalys av två fotografier ur The Factory Photographs. Om upplevelsen av dessa fotografier kan förändras genom resonemang hämtade från främst filosoferna Roland Barthes och Susan Sontag. Detta berör teoretiskt begrepp som punctum, men även riktningen surrealism inom konst. Resultatet ska utmynna i alternativa innebörder åt fotografierna vid sidan av dess dokumentära uttryck.
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De, Asis Ines Nicole Echevarria. "The epistemic province of photography." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/8963.
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This thesis argues that photographs enhance the repertoire of seeing the way eyeglasses, microscopes and telescopes do. This kinship is based on these devices sharing a feature called transparency. Transparent devices facilitate visual information about objects without interrupting the causal link between the object and our eyes, and do so by maintaining a belief independent and similarity preserving counterfactual dependence on that object. Handmade pictures also offer visual information about objects, but because handmade pictures depend on the perceptual experiences of their makers, they interrupt the causal link between the object represented and our eyes. Consider how a drawing can represent the misperceptions and hallucinations of its illustrator, but in contrast, photographs do not reproduce the contents of hallucinations or misperceptions had by their photographers. I use transparency to map the epistemic province of photographs, arguing that photographs are not just ontologically similar to microscopes and telescopes, but also epistemically akin to them, –perhaps even more than they are like other picture types. This is illustrated by two further comparisons. The first is technological: while cameras define the information scope of photographs, handmade pictures are not subject to pre-sets that strictly limit their representational scope in the same way. The second comparison shows how photographs and handmade pictures are subject to different sceptical hypotheses: handmade pictures are susceptible to scepticism about their illustrator, –i.e., as we might question the credibility of someone giving testimony– but photographs are not beholden to scepticism about their photographer. I conclude with a proposal on the epistemology of photography, where contrary to the character of other picture types, photographs provide genuine perceptual knowledge about objects.
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Fromm, Karen. "Das Bild als Zeuge." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2014. http://dx.doi.org/10.18452/16968.
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Obwohl das dokumentarische Bild als beglaubigte Aufzeichnung einer außermedialen Realität als Diskursgegenstand bereits seit Längerem dekonstruiert ist, scheint die Faszination am Dokumentarischen nahezu ungebrochen. Die stete Bezugnahme auf das Dokumentarische in unterschiedlichen Diskursen der Fotografie zeugt davon. Auch zahlreiche künstlerische Auseinandersetzungen rekurrieren seit den 80er-Jahren verstärkt auf dokumentarische Konzepte und Formate. Ausgehend von diesem Paradoxon, der Dekonstruktion des Dokumentarischen in Theoriekontexten und dem Wiedererstarken dokumentarischer Formate in der Fotografie und Kunst, sucht die vorliegende Arbeit nach den Ursachen einer offenkundig anhaltenden Faszination am Dokumentarischen. Dabei richtet sie den Blick speziell auf künstlerische Fotografien, die Gebrauchsweisen der Fotografie aufgreifen, welche per se mit dem Dokumentarischen affiziert werden, wie die Pressefotografie, die kriminalistische Fotografie und die Amateurfotografie. Sie zeigt, über welche Strategien das Dokumentarische dort produktiv umgesetzt wird. Lässt sich jeder Dokumentarismus erst einmal als Versuch lesen, in der Repräsentation das Reale zu verbildlichen, beziehen sich die vorgestellten künstlerischen Arbeiten von Jeff Wall, Thomas Demand, Sophie Calle und Richard Billingham zwar auf ein Begehren nach dem Realen, machen aber gleichzeitig den Verlust des Realen in ihren Erzählungen von der Wirklichkeit erfahrbar. In ihrer Ambivalenz vermitteln die künstlerischen Arbeiten ein Konzept des Dokumentarischen als mobiles System, das dieses nicht als Kategorie, Genre oder Stil festschreibt, sondern als Handlung begreift, die das permanente Ineinandergreifen von Konstruktion und Dekonstruktion des Dokumentarischen nachvollzieht. Insofern erweisen sich die Kunst und das Dokumentarische als nicht polar, denn über ihre Beziehung zum Realen kristallisiert sich dieses als das gemeinsame Dritte der beiden heraus.Although the documentary image as authenticated record of a reality beyond the media has, as the object of discourse, long been deconstructed, the fascination with the documentary would appear to be ongoing. The constant references to the documentary in a variety of photography discourses bears witness to this. In addition, countless artistic treatments since the Eighties have referred back to documentary concepts and formats. In the light of this paradox as well as the deconstruction of the documentary in theoretical contexts and the renewed gaining of strength of documentary formats in photography and art, this study investigates the reasons for the evident persistent fascination with the documentary. In the process, artistic photographs in particular are examined which reference conventions in photography that are associated per se with the documentary, such as for example press photography, criminalistic photography, and amateur photography. The strategies by which the documentary is productively implemented are demonstrated here. If every form of documentarism can be read first of all as an attempt to express the real visually in the representation, then the artistic works by Jeff Wall, Thomas Demand, Sophie Calle and Richard Billingham that are presented here may indeed reference a desire for the real, but at the same time they make it possible in their telling of reality to experience the loss of the real. It is through their ambivalence that the artistic works convey a concept of the documentary as a mobile system that does not codify it as a category, genre or style, but rather perceives it as an act that comprehends the documentary''s constant intertwining of construction and deconstruction. As such, it is shown that art and the documentary are not polar, because through their relationship to reality this relationship is shown to crystalize out as the common third party for both.
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Knapp, Paul Aaron. "THE USE OF LARGE-SCALE AERIAL PHOTOGRAPHY FOR DETECTING CHANGES OF AN ARID RANGELAND IN SOUTHWESTERN ARIZONA." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/292059.
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Interpretation of large-scale color infrared and color aerial photography can be a labor and cost-effective means for inventorying and monitoring rangelands while maintaining accuracy. Ground measurements of vegetation cover at Organ Pipe Cactus National Monument were taken in 1975 and 1984. Large-scale (1:1200) color and color infrared aerial photo estimates were compared to these ground measurements through regression and correlation to check photo accuracy. Relationships between photo estimates and ground measurements of total vegetation and shrub cover were strong when using either film type. Color infrared photo estimates corresponded better with ground measurements for both tree cover and cactus cover than color photo estimates. Large-scale aerial photography is also useful for determining some of the causes of vegetation change. Evidence gathered from both sets of photos suggested that vegetation change at OPCNM was largely the result of domestic livestock removal and short-term climatic fluctuations.
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Wolin, Martin Michael. "Digital high school photography curriculum." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2414.
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The purpose of this thesis is to create a high school digital photography curriculum that is relevant to real world application and would enable high school students to enter the work force with marketable skills or go on to post secondary education with advanced knowledge in the field of digital imaging.
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Galla, Taylor. "DANGERS OF THE NEWS(FEED): AN EXPLORATION INTO FAKE NEWS, PHOTOGRAPHIC TRUTH AND THE POWER OF DIGITAL COMMUNICATION ON FACEBOOK." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1208.
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In an age of ever-expanding digital communication platforms and the presence of news online becoming paramount, the amount of information being shared and the truth of that information is becoming more and more difficult to track. The power of these social platforms is one that all should recognize and reflect upon in terms of their use of them, and reliance on them for the information they need. This thesis seeks to explore this power and the ways in which to remedy the falsities spread on the platforms faster than ever before, through photographic journalism.
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Nofziger, Cinda Marie. "Vacation views: tourist photographs of the American West, 1945-1980." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3361.
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This dissertation examines how tourists used photography during a period when economic prosperity and guaranteed vacation time meant increasing numbers of Americans gained the ability to travel for vacation; cameras and film became less expensive and travel photography more ubiquitous; and photographs produced by tourists helped shape the visual imaginary of the West. Tourists used the activity of photographing to be engaged in their vacations and their photographs represent authentic interactions among traveling companions.
Typically, cultural critics view tourists as passive consumers who unthinkingly follow guidebooks' prescriptions and whose photographic practices prevent them from having authentic vacation experiences. While photographs in guidebooks, travel magazines, and other advice literature showed potential tourists what they should capture on film, tourists did not strictly follow that advice. Instead, tourists creatively engaged with photography to enhance their vacation experiences. My examination of tourist photographs reveals that tourists made choices about their photographic subjects, even as they also photographed iconic western scenes. Vacationers shot a variety of subjects, many of which are unexpected. As they traveled through the West, tourists used their cameras to connect with their companions, to amuse and entertain themselves and to create vacation stories to share with family and friends.
My argument restores agency to tourist subjects by engaging concretely with their photographs. Because I emphasize tourist photographs, reading them as aesthetic constructions that enact the processes of creating meaning and identity, my project intervenes to quarrel with scholars and cultural critics who have often viewed tourists and the activity, aesthetics, and meaning of their photographs as inauthentic, vacuous and overly mediated.
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Landry, Brian Michael. "Storytelling for digital photographs supporting the practice, understanding the benefit /." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/31805.
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Thesis (Ph.D)--Computing, Georgia Institute of Technology, 2010.Committee Chair: Guzdial, Mark; Committee Member: Abowd, Gregory; Committee Member: Mynatt, Elizabeth; Committee Member: Smith, Michael; Committee Member: Thomas, John. Part of the SMARTech Electronic Thesis and Dissertation Collection.
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Stricker, Kirsten E. "The Absence That Is Present: Civil War Photography. 1862-2015." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491567573460185.
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Steer, Linda Marie. "Found, borrowed and stolen the use of photographs in French surrealist reviews, 1924-1939 /." Diss., Online access via UMI:, 2006.
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Huang, Yi-hui. "An Interpretivist Study of Knowledge Provided by Seamless Digital-Synthesized Photographs." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1214941623.
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McCarthy, Kerry Bridgett. "Thinking with photographs at the margins of Antarctic exploration." Thesis, University of Canterbury. Gateway Antarctica, 2011. http://hdl.handle.net/10092/5242.
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This thesis seeks a portable and accessible model for centralising photographs in enquiry. I argue that photographs are potent sites of human value making but are typically relegated to illustrating word-based considerations, while the vast mass of ‘ordinary’ photographs are excluded from even this function. The context in which I develop and test the model is the heroic era of Antarctic exploration, a time and place that is dominated by an entrenched mythology, and where photographs have been assigned a merely pictorial role. In seeking to reactivate these objects and pictures I turn to Elizabeth Edwards’ notion of using photographs to think with, tracing the evolution of this idea through generations of thinking about photography, and emphasising recent writers such as Geoffrey Batchen, Margaret Olin and Joan Schwartz. My work confirms a resonance with Edwards’ thinking but also a need to emphasise photographic materiality and the photographic collective. Further, I demonstrate that this thinking also resonates with the work of Walter Benjamin and Roland Barthes, confirming a construction of photographs as generative anchoring points in networks of identification that are both culturalised and subjective.
My model for thinking with photographs draws in Kenneth Burke’s pentad of dramatistic analysis, arguing a productive fit with his concern to filter the rhetorical detritus of human behaviour as an entrée to viewing core motivations. The pentad has not previously been used to think with photographs but it is able to be deployed successfully for this purpose by refreshing its operation in line with writers such as Robert Cathcart, James Chesebro and Gregory Clark.
For Antarctica, thinking with photographs involves negotiating margins – depicted, physical, temporal and ideological, and in addressing the photographic mass this thesis argues a reactivation of margins as points of insight rather than barriers of exclusion. Recent writers such as Francis Spufford, Stephen Pyne, John Wylie and Kathryn Yusoff have found new ways to construct the performance of Antarctic exploration, and, in this spirit, the thesis enacts Burke’s pentad to think with the photograph collection of ‘second tier’ Antarctic explorer, Ernest Joyce. It shows Antarctic exploration to be also an intensely personal experience, with the power to overhaul mindsets but offering no guarantee that new expectations can be delivered on. In Joyce’s photographs it finds a nexus of contested narratives and contested photographies, and the seeds of a Benjaminian modernity that speak of the personal implications of the dissolution of meta-narratives.
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Hurd, Danielle Jean. "Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2635.
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In this thesis I consider the influence of Alice Brill's transnational background on her photographs of 1950s São Paulo. Brill was born in 1920 to a Jewish-German family. In 1934 she immigrated to São Paulo where she involved herself in local artistic circles. From 1946-47 she received a grant to study at the University of New Mexico and with the Art Students League in New York. Brill learned photography during her time in the United States, hoping to create documentary photo-essays in Brazil which she could send to American illustrated magazines. None of Brillss works were published in the United States, however, on returning to São Paulo in 1948 Brill was invited by Pietro Maria Bardi, Director of the Museu de Arte de São Paulo Assis Chateaubriand, to "record the daily life of the citizens of São Paulo". Bardi intended the photographs to be published as an homage to the city's 400th anniversary, but lacked sufficient funding to complete the volume. Brill's images of São Paulo depict the metropolis in a way unique during the period: as a space shared by multi-racial communities. While many photographers and publications metaphorically white-washed the city by depicting only its most Europeanized attributes, Brill consciously sought out underrepresented groups, specifically the burgeoning Afro-Brazilian community. Brill's point of view was shaped by her international upbringing and training: her experience as an outsider compelled her to document other outsider communities in São Paulo. She recognized the traditions of representation already in place in Brazil and manipulated familiar types in order to represent the nation's true hybridity. Influences on her work include: the long history of part-artistic, part-anthropological studies of the Brazilian people; local photographic traditions for picturing the city and its inhabitants; the European photojournalist style introduced to Brazil in 1944; and the international sensibility of Brill's patrons, the Bardis. I attempt to show how Brill balanced these considerations with her own personal understanding of Brazil as a multivalent space.
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Arendárik, Ján. "Prízraky a ilúzie." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232378.
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The subject of my practical diploma thesis is a painting reaction to the photographs from years 1915 to 1930. I see them as a " photographs of dead(lost) world. The photographs of people whose dont live in present but the photographs are evidence of their existence in the past.
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Mercure, Tammy. "Big Rock Candy Mountain: Photographs of the Great Smoky Mountain Tourist Towns." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1815.
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The photographer discusses the work in Big Rock Candy Mountain: Photographs from the Great Smoky Mountain Tourist Towns, her Master of Fine Arts exhibition held at the Reece Museum, Johnson City, Tennessee from September 22 to December 18, 2009. The exhibition consists of 17 large-scale color Archival Inkjet Prints edited from a large body of work done in the tourist towns surrounding the Great Smoky Mountains.
Topics include the historical and contemporary artistic influences on the work, examining the work of Jacques-Henri Lartigue, Weegee, Martin Parr, and Joel Sternfeld. A short history of the area, the subject of tourism pertaining to the work, and works from the exhibition are also discussed.
Included is the complete catalogue of the Big Rock Candy Mountain exhibit.
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Pallas, Basile. "De la vue au regard : littérature et photographies au XIXe siècle." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30055.
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Au XIXe siècle, la photographie est vue comme une image vraie. Produite mécaniquement, elle serait la copie fidèle de la réalité, ce qui justifie la croyance en la vérité de ses images. Dès les premiers discours tenus à son égard, la photographie apparaît comme une image transparente, ne donnant rien d’autre à voir que la réalité, ce qui explique notamment les postures de rejet généralement adoptées par les écrivains et les artistes face à cette image, antithèse de l’art. Notre travail s’efforce de montrer comment, à l’inverse, la photographie a été, dans les textes littéraires en particulier, rendue à sa visibilité, c’est-à-dire à sa nature de vraie image. Pour cela, nous déterminons comment le phénomène optique de l’aberration, qui suppose une déformation de l’image plus ou moins visible, rend compte d’une pensée s’attachant à concevoir la photographie comme vectrice de troubles dans sa représentation. Nous examinons alors différentes manifestations de ces phénomènes dans la littérature, qui sont liées à une conscience de la matérialité des images, de leur mode de fabrication particulier, mais aussi de leurs défauts, opacifiant ce qu’elles représentent. L’attention de certains écrivains portée à ce que nous appelons la dimension photographique des photographies ouvre des pistes multiples sur la poétique des textes et situe le modèle photographique dans un ailleurs du réalisme. La réflexion sur la photographie dans les textes permet également de mesurer les conséquences d’une croyance en la vérité des images, croyance qui se révèle, à différents niveaux, comme aberrante. En effet, le fantasme d’une visibilité parfaite n’a pas seulement été appréhendé comme un moyen de mesure rationnelle du monde. La visibilité accrue et excessive de la photographie révèle au contraire ce que la réalité a de plus étrange et de plus inquiétant. Dans les textes, le modèle photographique éclaire alors une représentation fantastique du monde, lorsque celui-ci s’ouvre aux fantasmes et aux hallucinations. Nous tentons de cerner, à travers des œuvres littéraires et photographiques variées (Nerval, Champfleury, Nadar, Maupassant, Geffroy, Rachilde, Bonnetain, etc…) les différents phénomènes qui apparaissent comme les principaux agents de déréalisation de l’image photographiqueIn the nineteenth century, photographs are first seen as true images. Produced mechanically, they would be the faithful copy of reality. This justified the belief in the truth of photographic images. From the earliest speeches made about it, photographs appeared as transparent images, giving nothing more to see than reality. This explains the postures of rejection generally adopted by writers and artists in the face of the photographic image, seen as the antithesis of art. Our work tries to show how, on the contrary, photography has been rendered in literary texts, to its visibility, that is, to its nature as a true image. To do this, we determine how the optical phenomenon of aberration, which is a deformation of the image, accounts for a line of thought which tries to conceive of photography as a vector of disturbances in its representation of reality. We then examine different manifestations of this phenomenon in literature. They are linked to a growing awareness of the materiality of the images and their particular mode of manufacture, but also of the defects opacifying what they represent. The attention given by certain writers to what we call the “photographic dimension” of photographs opens up multiple avenues to the poetics of texts and situates the photographic model beyond realism. The inquiry on photography in texts also makes it possible to measure the consequences of a belief in the truth of images, a belief that reveals itself, at different levels, as aberrant. Indeed, the fantasy of perfect visibility has not been apprehended only as a means of rational measurement of the world. The increased and excessive visibility of photography reveals, on the contrary, what is strangest and most disturbing in reality. The photographic model illuminates a fantastical representation of the world’s fantasies and hallucinations. The different phenomena studied then appear as the principal agents of derealization of the photographic image
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Jordan, Meghan Lynn, and Meghan Lynn Jordan. "Lynching Photographs and Their Aftermath: The Overlay of the Gaze." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626147.
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The purpose of this thesis is to examine the circulation of photographic postcards depicting lynching events in the United States, as well as the changing contexts and gaze. The initial mailing of the postcards to far away family and friends, some including handwriting on the versos, makes apparent the desire to spread white supremacist ideals across the country. These photographs, often depicting the victim’s suffering body amongst a crowd of people, were then placed in family photo albums, hidden in attics, or sold in flea markets. It was in these locations that collector James Allen found the photographs depicting lynching events that compose the Allen/Littlefield Collection, which toured the United States from 2000-2005 in the exhibition "Without Sanctuary: Lynching Photography in America." Through the utilization of the accompanying catalog, I discuss the circulation of multiple mailed photographic postcards with handwritten texts on the versos, the reporting of lynching events in newspapers from varying regions of the United States, and the recent exhibitions of the Allen/Littlefield Collection, as well as art works reappropriating lynching photographs. It is my aim to illustrate the impact of context on the viewing of lynching images and how the gaze of the spectator changes over time.
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Bleier, Mary F. "Use of prior distributions from aerial photographs in forest inventory." Thesis, Virginia Tech, 1986. http://hdl.handle.net/10919/41543.
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Bayesian estimates of gross cubic- foot volume per acre were computed for four stand types (plantation pine, natural pine. hardwood. and mixed wood stands) using aerial photo volume tables as the prior information source. Aerial photographs provided a reliable source of information even though most photographs were nearly five years old.
For a given level of precision within a particular stand, Bayesian methods reduced the required field sample size up to 50% using all or half of the prior information available. Those priors which utilized a regression or a regression/topographic correction in the estimation of photo heights required less field information for the given precision level than those priors which used uncorrected or topographic corrected photo heights.
In order to obtain meaningful gains in sample size reduction corrections to the estimated photo heights
should be made. Although the uncorrected prior produced generally less biased estimates. the reduction in sample size was not as large as that observed using other prior types. Greater gains were attributed to the better accuracy of the prior distribution.
Although Bayesian methods are biased, it appeared that these methods tempered severely biased prior distributions. In the hardwood stand for example, the average bias present in the photo volume data amounted to -140%. After combining the prior with the field sample, the greatest average bias was -50%.
Bayesian methods performed better than the traditional estimation methods in terms of precision. In
a one to one comparison. the Bayes standard error was consistently less than its non-Bayes counterpart. The one exception to this trend was the regression prior from the hardwood stand. The poor performance of the prior was due to the weak height regression correction equation.
Modal priors utilized were not subject to the extreme input values for prior distribution development as
their conservative empirical prior counterparts were. Less overall variation was observed 1n the estimated values. Under the conditions for mode selection set forth in this project, modal priors provided another good source of prior information.Master of Science
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Teichmann, Esther. "Falling into photography : on loss, desire and the photographic." Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/1173/.
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Falling into Photography examines the relationship between loss, desire and the imaginary. Across writing, photographic works and film pieces, we move from real to imagined spaces, exploring the boundaries between autobiography and fiction within the alternate orphic worlds evoked. Within staged fantastical images, the subjects are turned-away figures of loss, desired but always already beyond reach. The photographic medium is worked upon with painting, collage and montage, narrative voice over juxtaposed with moving image. Here, the photographic is loosened from its referent, slipping in and out of darkness, cloaked in dripping inks and bathed in subtle hues of tinted light. The spaces inhabited within the films and images are womb-like liquid spaces of night, moving from beds to swamps and caves, from the mother to the lover in search of a primordial return. Central to the work lies an exploration of the origins of fantasy and desire and how these are bound to experiences of loss and representation. The following essays explore these themes, interweaving psychoanalysis, philosophy and fiction with the artist's own prose and visual works. This story of falling, into the image and into love, asks what it is to make a work of art and how this process is necessarily bound to the maternal. The relationship between mourning and the creative process is explored throughout the writing, with emphasis on the photographic object, process and encounter.
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Kanar, Ege. "Photography as artificial memory: Construction of the Photographic Self." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78095.
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