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Journal articles on the topic 'Photography and photographs'
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1
Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, no. 5 (December 2, 2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.
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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two photographic projects by photographers/mothers that document their ill and dying daughters – Lesley McIntyre’s photographic essay The Time of Her Life (2004) and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light (2009). Illness in these projects is not experienced in isolation. Instead, the photographs and accompanying texts provide a space to engage in a dialogue which is built on the interdependency of all the participants of the photographic act – the photographer, the subject of the photograph and the viewer. My aim is to question how these projects construct experiences and articulate private expressions of illness and how the photographs enhance and/or challenge the mother–daughter bond. Alan Radley’s critical analysis of representations of illness, Emmanuel Lévinas’s and Maurice Blanchot’s perspectives on ethical philosophy and visual social semiotics approach developed by Kress and Van Leeuwen provide a guiding framework for this study.
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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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Tomaszczuk, Zbigniew. "PHOTOGRAPHY AS THE EXTENSION OF A BODY." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 134–47. http://dx.doi.org/10.5604/01.3001.0012.9927.
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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Tomaszczuk, Zbigniew. "Fotografia jako przedłużenie ciała." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 134–49. http://dx.doi.org/10.5604/01.3001.0012.9869.
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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Huen, Antony. "Photographs, Photography and the Photographer." Wasafiri 34, no. 3 (July 3, 2019): 59–63. http://dx.doi.org/10.1080/02690055.2019.1613016.
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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.
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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.
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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.
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Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 43–57. http://dx.doi.org/10.7202/044587ar.
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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.
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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.
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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing
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Kanicki, Witold, and Geoffrey Batchen. "Magical Thinking: Conversation with Geoffrey Batchen." Magic, Vol. 5, no. 1 (2020): 4–9. http://dx.doi.org/10.47659/m8.004.int.
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His long-standing interest in the history of early photography makes Geoffrey Batchen the appropriate speaker to discuss the question of photographic magic. Therefore, our conversation oscillates between magic and realism, but also other antonyms within the medium: negative and positive, analogue and digital. Taking in consideration all these oppositional notions, Batchen suggests that theoreticians “need to acknowledge and embrace photography’s abstractions and contradictions”. Different contradictions within photography’s theory and history became pivotal in our conversation. We also discussed the indexicality of digital images. According to Batchen, the negative/positive system of traditional photography can be compared with the binary code of digital images, which “is therefore based on the same oppositional logic, the same interplay of one and its other, that generated the analogue photograph.” Moreover, digitality does not eliminate the magic character of the contemporary photographs; in this context, Batchen mentions the capacity of instant transmission of snapshots from one place of Earth to another. In conclusion, Batchen reveals some details of his upcoming book Negative/Positive: A History of Photography. Keywords: magic, indexicality, negative, digital, Barthes
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Feldmann, Rodney M. "Photographic procedures." Paleontological Society Special Publications 4 (1989): 336–41. http://dx.doi.org/10.1017/s2475262200005311.
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Preparation of appropriate photographs is absolutely essential in conveying paleontological information. The effort expended in adequate cleaning and preparation of specimens is not only reflected in exposing the detail of material so that it can be properly described but also in permitting the morphologic information to be transmitted to others through photography. Therefore the purpose of this chapter is to describe the general procedures involved in preparing high quality, publishable photographs because special techniques related to photography of microfossils will be treated elsewhere, the emphasis within this chapter will be upon photography of macrofossils, specimens large enough to be photographed using a normal spectrum of photographic lenses and extension tubes. Because nearly all paleontological material is illustrated as black and white photographs, no reference will be made to the preparation of color illustrations.
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Carville, Justin. "‘This postcard album will tell my name, when I am quite forgotten’: Cultural Memory and First World War Soldier Photograph Albums." Modernist Cultures 13, no. 3 (August 2018): 417–44. http://dx.doi.org/10.3366/mod.2018.0220.
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Since the Crimean and American Civil Wars in the nineteenth century, photography has allowed societies to experience war through the collective understanding of photographic representation as an inscription or mnemonic cue for recollections of past events. However, the First World War ushered in new vernacular cultural practices of photography which radically altered how both war was represented and experienced through photography. This shift, in turn, engendered new private and domestic forms of post-war remembrance through the photographic image. Kodak's marketing of the Vest Pocket Autographic Camera which became known as the ‘Soldier's Camera’, allowed soldiers on the battle front and their families on the home front to experience the war and the formation of post-war memory outside of the iconic images of military heroes and battlefield conflict. Vernacular photography allowed for intimate portrayals of everyday soldier life to be visually displayed in private arrangements of photographs in photo-albums compiled by soldiers and their families as forms of post-war remembrance. Discussing photograph albums compiled by Irish soldiers and nurses, this essay explores the place of vernacular photography in personal commemorative acts by soldiers and nurses in the aftermath of the First World War. By treating vernacular soldier photographs of World War I as social objects that allow relationships to be formed and maintained across time, the essay argues that the materiality of the photograph as image-object can be explored to consider how the exchange, circulation and consumption of photographs allow for the accumulating and expending of histories and memories of the First World War and its aftermath.
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von Brevern, Jan. "Fototopografia: The “Futures Past” of Surveying." reproduire, no. 17 (September 8, 2011): 53–67. http://dx.doi.org/10.7202/1005748ar.
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This article examines a particular problem in the early history of photographic land surveying: the unwavering desire to use photography to capture accurate topographical information for map-making, even in light of practical difficulties. It considers how both the practical survey work and the status of photography changed when, instead of the landscape itself, photographs were measured. Photography’s promise to simplify strenuous fieldwork was almost as old as photography itself—but in practice, it took decades of experimenting until the process was feasible.
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Castillo, Richmond M., Grace Y. Kim, Kirk D. Wyatt, Christine M. Lohse, and Thomas R. Hellmich. "Use of an EHR-Integrated Point-of-Care Mobile Medical Photography Application in a Pediatric Emergency Department." Applied Clinical Informatics 10, no. 05 (October 2019): 888–97. http://dx.doi.org/10.1055/s-0039-1700870.
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Abstract Background Mobile applications allow health care providers to capture point-of-care medical photographs and transfer them to the electronic health record (EHR). It is unclear how providers use these photographs or how they affect clinical care. Objectives We aimed to understand the content, purpose, and outcomes of point-of-care medical photography performed in the pediatric emergency department (ED) at large academic medical center. Methods A retrospective chart review was conducted of patients <21 years of age who were seen in the ED and photographed between March 29, 2015 and July 1, 2017 using a secure smartphone application integrated with the EHR. Inter-rater agreement and reliability between the two reviewers was assessed for the first 50 charts, and any discrepancies in interpretation were resolved before proceeding with the remaining data abstraction. The documented rationale for photography, content of photographs, and outcomes were recorded. Results We identified 619 clinical encounters involving photographs of 605 patients who were eligible for inclusion. Skin was photographed in 499 (81%). The most common finding was rash (N = 177; 29%). Photos were of acceptable quality, with 569 (94%) achieving a score between 4 and 5 out of 5. The primary use of photography was documentation (N = 334; 54%), though teleconsultation was noted in 38 (6%). Nearly one-third (N = 187; 30%) of patients were seen in the ED or outpatient clinic for any reason within 2 weeks, and in 25 (13%), clinical notes explicitly referenced the initial photograph(s). In 53 (9%) cases, patients were photographed at a clinical visit in the subsequent 2 weeks, suggesting that photography was used to track changes over time. Conclusion Documentation of findings using mobile point-of-care photography allows for high-fidelity documentation and facilitates continuity of care.
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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.
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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
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AGUIAR, JONAS JOSÉ MENDES, JEAN CARLOS SANTOS, and MARIA VIRGINIA URSO-GUIMARÃES. "On the use of photography in science and taxonomy: how images can provide a basis for their own authentication." Bionomina 12, no. 1 (March 24, 2017): 44–47. http://dx.doi.org/10.11646/bionomina.12.1.4.
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Photography has, since its inception, significantly contributed as a tool to many areas of scientific research and consequently, has been able to achieve a high level of prestige in the scientific field. In recent years, there has been an increasing debate within the scientific community regarding the need for the deposition of type specimens when describing new species. Recently, Marshall & Evenhuis (2015) described a new species of Diptera, based exclusively on a few photographs. Even if one withholds judgement about whether the photographs used present sufficient characteristics for the description and identification of this new species, data missing from the holotype photograph could be of great importance for other analyses and future comparisons. The authors have omitted the digital photographic format used for the photographs in their work, and at no point has a deposition of the RAW type (a digital format sometimes called digital negatives, this file preserves most of the information from the captured picture) for verification of its authenticity been mentioned. The absence of this file for verification of the authenticity of the photograph makes its scientific credibility questionable and untrustworthy. We consider this taxonomical practice based exclusively on the use of photographs to be simplistic and harmful. Although the Code does not mention Rules about the use of photography formats we strongly suggest that, for the elaboration of academic articles, not only in taxonomic ones, using characteristics based on digital photography, the authors should be willing to make the RAW file of the photograph available for comparison in order to avoid doubts regarding the authenticity of the photograph presented.
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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.
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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”
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Kephart, Richard E. "Photographic Standards in Rhinoplasty." American Journal of Cosmetic Surgery 12, no. 1 (March 1995): 71–74. http://dx.doi.org/10.1177/074880689501200113.
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The difference between photography in general and photographic documentation is explored as a possible reason why standardized photographic documentation has been so elusive to cosmetic surgeons. Photographic documentation must employ the scientific experimental procedure wherein all of the elements that can affect the outcome of a photograph are held constant so that the one change, that performed by the surgeon, can be studied. The adaptive nature of off-the-shelf cameras and lighting, targeted to the amateur photographer, defeats the principles of scientific documentation. Simple modifications to equipment already owned by the cosmetic surgeon and methods for standardizing the documentation of the rhinoplasty procedure are presented so that constancy and repeatability can be brought to pre- and postoperative documentation sessions and then be delegated to staff. These methods can be extrapolated for the documentation of other surgical procedures. Photographs that illustrate the posing procedure and its effectiveness accompany the presentation.
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Ferenc, Tomasz. "Praca, robotnicy, archiwa, fotografia — utrwalanie stereotypów i walka o emancypację." Kultura i Społeczeństwo 59, no. 3 (August 11, 2015): 203–21. http://dx.doi.org/10.35757/kis.2015.59.3.10.
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Work, workers, and workers’ living conditions quickly became a field of interest for photographers. Already by the middle of the 19th century there were photographs showing working people. Nevertheless, the contexts in which such photographs were taken varied considerably. The first part of this article presents, in the historical perspective, the different causes and strategies involved in making these types of documents, up to the moment when photographs began to appear that had been made by workers themselves. The movement to photograph workers, which developed in the first decades of the 20th century, is recalled in the second part of the article (using the examples of the Weimar Republic and Soviet Russia). The third part is devoted to photographic projects whose purpose was to increase the productivity of, and control over, workers. Photography is presented as a scientific tool for measuring movement and as an illustration of the most effective manners of organizing work. At the end, the Digital Repository of Worker Photography is described, as an example of work on a collection of photos and the creation of a platform permitting further work, but also as a legal and methodological problem.
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Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations." Journal of Material Culture 22, no. 1 (December 14, 2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.
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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and aesthetics of Gambian transatlantic kinship relations. Further, the concept of the moral economy supports a hermeneutics of Gambian family photographic practice and develops our understanding of the visual economy of transnational kinship relations in a number of ways: it draws attention to the way in which the value attributed to a photograph is rooted in shared moral and cultural codes of care within transnational relations of inequality and power; it helps us to interpret Gambians’ responses to and treatment of family photographs; and it highlights the importance attributed to portrait photography and the staging, setting and aesthetics of photographic content within a Gambian imaginary.
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Chervonik, Olena, and Geoffrey Batchen. "Negative Thinking - A History of the Photographic Negative as a Repressed Other: Conversation with Geoffrey Batchen." Master, Vol. 5, no. 2 (2020): 106–10. http://dx.doi.org/10.47659/m9.106.int.
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Olena Chervonik talks with Geoffrey Batchen about his two most recent publications: Apparitions: Photography and Dissemination, that reached bookshelves in 2018, and Negative/Positive: A History of Photography, slated for release later in 2020. The conversation revolves around the photographic condition of reproducibility, repetition and difference, embedded in the medium from the time of its inception. While Apparitions explores photography’s relation to various newsprint outlets of the nineteenth century, Negative/Positive traces a comprehensive history of the medium’s propensity for multiplication, predicated on the dependence of photographs on the function of a negative, which, according to Batchen, seems to be a repressed Other in photographic history. A vehicle that enables reproducibility, a photographic negative is rarely discussed in critical literature and even more rarely reproduced or featured in the exhibition space. Batchen ponders this occlusion of a medium’s critical component, suggesting that a negative is linked to photography’s operation as capitalist mode of production. By omitting to profile a negative, we naturalize capitalism’s operational logic – a condition that clearly needs to be upset by directing a critical, revelatory, and thus politically engaged spotlight on photography’s predilection for image massification. Keywords: photography, negative, reproducibility, commodification, massification, capitalism, politics of resistance
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Wyatt, Kirk D., Anissa Finley, Richard Uribe, Peter Pallagi, Brian Willaert, Steve Ommen, James Yiannias, and Thomas Hellmich. "Patients' Experiences and Attitudes of Using a Secure Mobile Phone App for Medical Photography: Qualitative Survey Study." Journal of Medical Internet Research 22, no. 5 (May 12, 2020): e14412. http://dx.doi.org/10.2196/14412.
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Background Point-of-care clinical photography using mobile devices is coming of age as a new standard of care for clinical documentation. High-quality cameras in modern smartphones facilitate faithful reproduction of clinical findings in photographs; however, clinical photographs captured on mobile devices are often taken using the native camera app on the device and transmitted using relatively insecure methods (eg, SMS text message and email) that do not preserve images as part of the electronic medical records. Native camera apps lack robust security features and direct integration with electronic health records (EHRs), which may limit patient acceptability and usefulness to clinicians. In March 2015, Mayo Clinic overcame these barriers by launching an internally developed mobile app that allows health care providers to securely capture clinical photographs and upload them to the EHR in a manner that is compliant with patient privacy and confidentiality regulations. Objective The study aimed to understand the perceptions, attitudes, and experiences of patients who were photographed using a mobile point-of-care clinical image capture app. Methods The study included a mail-out survey sent to 292 patients in Rochester, Minnesota, who were photographed using a mobile point-of-care clinical image capture app within a preceding 2-week period. Results The surveys were completed by 71 patients who recalled being photographed. Patients were seen in 18 different departments, with the most common departments being dermatology (19/71, 27%), vascular medicine (17/71, 24%), and family medicine (10/71, 14%). Most patients (49/62, 79%) reported that photographs were taken to simply document the appearance of a clinical finding for future reference. Only 16% (10/62) of patients said the photographs were used to obtain advice from a specialist. Furthermore, 74% (51/69) of the patients said they would recommend medical photography to others and 67% (46/69) of them thought the photos favorably affected their care. Patients were largely indifferent about the device used for photography (mobile device vs professional camera; 40/69, 58%) or the identity of the photographer (provider vs professional photographer; 52/69, 75%). In addition, 90% (64/71) of patients found reuse of photographs for one-on-one learner education to be acceptable. Acceptability for other uses declined as the size of the audience increased, with only 42% (30/71) of patients deeming reuse on social media for medical education as appropriate. Only 3% (2/71) of patients expressed privacy or confidentiality concerns. Furthermore, 52% (33/63) of patients preferred to provide consent verbally, and 21% (13/63) of them did not think a specific consent process was necessary. Conclusions Patient attitudes regarding medical photography using a secure EHR-integrated app were favorable. Patients perceived that photography improved their care despite the most common reason for photography being to simply document the appearance of a clinical finding for future reference. Whenever possible, health care providers should utilize secure EHR-integrated apps for point-of-care medical photography using mobile devices.
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Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II." Prospects 30 (October 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.
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Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them to a so-called assembly center (Figure l). The photograph would appear at first glance to tell a very different story. The women smile and extend their arms out of a raised train window to wave goodbye, as if they are embarking on a vacation or some other pleasant excursion. The Albers photograph is not an exception to the photographic record of incarceration. In the thousands of photographs made of the incarceration process by government photographers, independent documentarians, and “internees,” it is much more difficult to find photographs that portray suffering than it is to find images of smiling prisoners.Not surprisingly, these photographs of smiling Japanese Americans are unsettling for those scholars, curators, and activists who have worked to expose the injustices of the wartime imprisonment. The smiles are charged for several reasons: They appear to belie the injustice of incarceration and the suffering it caused, they are reminiscent of the ugly stereotype of the grinning Oriental, and they suggest that those portrayed were entirely compliant with the government's racist agenda.
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Ruzgienė, Birutė. "REQUIREMENTS FOR AERIAL PHOTOGRAPHY." Geodesy and cartography 30, no. 3 (August 3, 2012): 75–79. http://dx.doi.org/10.3846/13921541.2004.9636646.
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The photogrammetric mapping process at the first stage requires planning of aerial photography. Aerial photographs quality depends on the successfull photographic mission specified by requirements that meet not only Lithuanian needs, but also the requirements of the European Union. For such a purpose the detailed specifications for aerial photographic mission for mapping urban territories at a large scale are investigated. The aerial photography parameters and requirements for flight planning, photographic strips, overlaps, aerial camera and film are outlined. The scale of photography, flying height and method for photogrammetric mapping is foreseen as well as tolerances of photographs tilt and swings round (yaw) are presented. Digital camera based on CCD sensors and on-board GPS is greatly appreciated in present-day technologies undertaking aerial mission.
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Takai, J. "Involvement through photography." Annals of the ICRP 45, no. 2_suppl (December 2016): 48–57. http://dx.doi.org/10.1177/0146645316680579.
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As a photographer living in Tokyo, I have been visiting Suetsugi village regularly to take photographs and show the printed photographs to the residents. What is the role of photography? What does it mean to be involved in the life of Suetsugi through photography? This article discusses some of the answers to these questions 5 years after the accident at Fukushima Daiichi nuclear power plant.
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Shevchenko, Olga. "Photographs and Their Many Lives." Slavic Review 76, no. 1 (2017): 90–97. http://dx.doi.org/10.1017/slr.2017.12.
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“How does meaning get into the image? Where does it end?” asked Roland Barthes in his now-classic essay “Rhetoric of the image.” At first glance, Barthes’s questions might appear nonsensical, but as this discussion around the various uses and misuses of Evgenii Khaldei’s photographs of war-time Budapest demonstrates, the question of meaning and truth in photography is anything but simple. This is because the meaning of a photograph is shaped by a multitude of factors, both internal and external to the image itself, and because the photographic medium, more so than other visual practices, lends itself to expectations of verisimilitude that obscure the complex relationship that photographs have to reality that they purportedly record.
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Hoffman, Jesse. "ARTHUR HALLAM’S SPIRIT PHOTOGRAPH AND TENNYSON’S ELEGIAC TRACE." Victorian Literature and Culture 42, no. 4 (September 19, 2014): 611–36. http://dx.doi.org/10.1017/s1060150314000229.
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Blanche Warre Cornish's 1921–22tripartite memoir, “Memories of Tennyson,” begins in 1869 when she meets the poet by way of her parents’ friendship with Tennyson's neighbor, the photographer Julia Margaret Cameron (145) (Figure 1). The photograph that Cornish recalls as “psychophotography” is one instance of a trend in Victorian England of spirit photography that was first practiced around 1872 after it was imported from America, where William Mumler had developed it (Tucker 68; Doyle 2: 128). Reactions to these spirit photographs took various forms: while some viewers regarded them as a credible medium for communication with the dead, their detractors saw them as deliberate acts of deception. Others employed photography's spectral qualities for entertainment, such as the London Stereoscopic Company that had marketed photographs of angels, fairies, and ghosts for their customers’ amusement in the 1860s (Chéroux 45–53). By the time the “shadowy figure of a man” appears beside Arthur Hallam's erstwhile fiancé, Mrs. Jesse, Tennyson's sister, the practice had been subject to public intrigue and scandal as a part of broader and contentious Victorian debates about the status of photography as art or document. The already surreal qualities of Cornish's anecdote are amplified by Tennyson's question, “Is that Arthur?,” which entertains the possibility of Hallam being present in a visible, spectral form while unrecognized by his beloved friend.
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Acar, Sibel. "Photography as a means of architectural (re)presentation and (re)production." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 24–33. http://dx.doi.org/10.18844/prosoc.v5i6.3692.
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Architecture and photography have closely interacted with each other since the invention of the photography. Through the 20th century, architectural photographs were utilised for documentation, preservation, historiography, presentation and as a tool of design. Until the turn of the 21st century, the dissemination of architectural photographs was limited by the accessibility of printed media. Today, owing to the digital communication technologies, architectural photographs are being disseminated and circulating rapidly in an unprecedented way. Therefore, not only architectural photographs produced by professionals but also a high number of photographs which were taken by users or visitors of a building started to disseminate. Accordingly, not only the audience but also consumption and production processes of architecture have changed. This study focuses on photography’s affiliation as a tool of architectural (re)presentation and (re)production.Keywords: Architecture, photography, architectural photography, design.
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Kotsev, Angel. "The Rise of the Image Banks – a Threat for the Advertising Photography?" Sledva : Journal for University Culture, no. 39 (August 20, 2019): 36–47. http://dx.doi.org/10.33919/sledva.19.39.6.
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The study presented in this article is part of the topic The Impact of Image Banks on the Advertising Photography in Bulgaria, which in turn is part of the doctoral thesis Trends in the Development of Bulgarian Advertising Photography in the Period 2000 – 2017. The purpose of the research is to explore the trends in the selection of an advertising image, i.e. when the preferred images are from image banks and when they are custom-made. The survey will present the number of photographs in Bulgarian advertisements taken from an image bank and the amount of custom made ones. Another issue considered is at what stages of the working advertising process stock images appear. What is also discussed is whether the stock image generating industry is detrimental to customized advertising photography and if it provides additional business opportunity for advertising photographic studios. Through analysis and in-depth interviews with art directors, custom commercial photographers and stock image photographers, the research will attempt to present and systemize specific trends in the working process of advertising agencies on the Bulgarian market and how this affects the advertising photography in Bulgaria. The term advertising photography will be used in the sense of custom photography created for a particular advertising project, while the term stock photography will be used to define a photograph created without a specific assignment and of general commercial nature.
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Hillman, John. "How Does Photography Appear to Appear?" Magic, Vol. 5, no. 1 (2020): 72–79. http://dx.doi.org/10.47659/m8.072.art.
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Photography shares little with the logic of simulation and simulacrum, instead it facilitates a dimension within which people and objects we photograph emerge from an impossible frame. Its intrigue resides in the palpable sense of impossibility that photographs render visible to us. This sleight of hand obfuscates the question of how appearance appears. In Finders Keepers, Dutch photographer Laura Chen works with imagery sourced from undeveloped films purchased from eBay and car-boot sales. When Chen develops the films, the real of someone else’s reality is transformed into art. Left undeveloped, these images occupy nowhere in particular, but Chen makes appearances fill in a void and poses a question which is not one of “why” but of “where” are images? Furthermore, in seeking out meanings, the magic of photography is understood through the misdirection of illusion and appearance. What is more useful is to ask how photography appears to appear? Keywords: photography and illusion, magic of photography, reality and simulation, appearance of photography, Laura Chen
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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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Pevec, Iza, and Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.
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The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program SewonArtSpace in Yogyakarta, Indonesia. The project Afghan Box Camera, which he developed with the ethnographer Sean Folley, focuses on the photographic praxis in Afghanistan, mainly on the type of a simple instant camera, which was traditionally used there but its use is now in decline. They investigated the origins, techniques and the many personal stories of the photographers using or having used this type of camera and also made instructional videos on how to build or use one. Attention to the overlooked photographic practices, history and contexts marks also his current project The Myanmar Photo Archive, a growing collection of Myanmar photographs that were created during and after the colonial period – the work of local photographers from that period has namely remained unknown until today. Keywords: local history, Myanmar photography, photographic backdrop, western view
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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (December 16, 2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.
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AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.
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Redmond, Eden. "Radiant Traces." Departures in Critical Qualitative Research 3, no. 4 (2014): 418–26. http://dx.doi.org/10.1525/dcqr.2014.3.4.418.
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Photography is a referent medium. While a photograph is a physical object with its own ontology, the image depicted references a moment that has already ended. The mobility of a photograph relies on the divide between presence and absence, the material and the ephemeral. This photographic essay considers the tensions and parallels of such divides in photographing and photographs of sadhus, holy men who wander throughout East Asia. Sadhus relinquish worldly possessions in the name of spiritual pursuits, surviving on whatever the divine provides. The following images illustrate both their radiant spiritual presence, and the trace of a material boundedness.
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Pabedinskas, Tomas. "Personal Photo Album and Collective Memory: The Case of Romualdas Požerskis’ Photographs and Diary." Art History & Criticism 16, no. 1 (December 1, 2020): 115–24. http://dx.doi.org/10.2478/mik-2020-0008.
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SummaryHistory and memory have been the conceptual core of many Lithuanian photography based contemporary art works as well as international curatorial art projects, including authors from different Baltic countries. On the one hand, this indicates the relevance of the subject related to photography and memory; on the other hand, it also shows the overexploitation of personal and historical memory in contemporary photography and in contemporary art in general.In this context the article analyses Romualdas Požerskis’ personal album photographs from the years 1971–1975 and his written diaries from the years 1965–1985. The photographs captured Požerskis’ and his friends’ leisure activities, mainly rides on motorcycles across Lithuania and one trip to Tallinn, Estonia. The diary reflects the key historical events of the time, describes Požerskis’ attitude to it and reveals his personal emotional, intimate experiences. The beginning of the seventies was the time when the now famous Lithuanian photographer Požerskis was still a student, who did not consider himself a creative photographer. However, his photographs and diary from this period have been published in a book “Restless Riders” in 2017 putting this visual and written material in between the private and the public, and in between creative photography field and visual history of the country’s past.The aim of the article is to show how personal photography can help to restore or even create collective memory. To reach this aim the article addresses the respective tasks of explaining the importance of photography’s emotional content in building up a collective memory and revealing how the way in which Požerskis’ personal photo album and private diaries relate to collective memory is distinctive in the context of photography-based Baltic contemporary art.The article claims that the “Restless Riders” case is different because of its emotional content unmediated by interdisciplinary presentation, art’s conceptual framework or amendments to its visual form. Although it is impossible for the beholder to restore the emotional experience of the author, it is not difficult to let the photographs trigger his or her own memories or imaginary vision of the past. This in turn fills the personal story of photographer with emotion and lets it be seen as part of a liveable historical narrative. This narrative, visualized and made public has the potential to add up to the cultural myth, or in other words, common memory and assumptions, which support the identity of community and nation.
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Magurean, Irina Dora, Andrei Picos, Lucia Timis, Alina Picos, and Dinu I. Dumitrascu. "The Evolution of Photographic Arts Is Linked to Progress in Chemistry: A Review of Two Centuries of Symbiosis." Journal of Research in Philosophy and History 3, no. 2 (November 11, 2020): p153. http://dx.doi.org/10.22158/jrph.v3n2p153.
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Photography is a major component of present art. It has applications in arts, in sciences and mainly health sciences, in social interaction. The evolution of photography since its advent 200 years ago relied and was dependent on the knowledge of chemistry. This is a review of the chemical techniques used in the recording and reproduction of photographs and of its applications. In the last two centuries, numerous chemical substances: inorganic, organic and polymeric, influenced the aspect and quality of the photographic techniques and of photographs. Teaching photography requires knowledge of chemistry, while chemistry education needs knowledge of esthetics as offered by photography.
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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.
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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generate new understandings of slavery and its connection to post-emancipation economies, of history and its relationship to photography, and of archival absence and its representational possibilities.
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Laroche, Hervé. "Observation as photography: A metaphor." M@n@gement 23, no. 3 (September 30, 2020): 79–99. http://dx.doi.org/10.37725/mgmt.v23i3.5513.
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From its invention in the middle of the 19th century to the present date, photography has generally been considered as a highly reliable means for capturing data about a wide range of objects and for a huge variety of purposes. Though debated, photography’s relationship with reality is specific and powerful. Because of its long and rich history, photography has encountered many problems and challenges observation methods and practices in management studies. Taking photography as a metaphor for observation in general, this article explores the successive steps of a research project relying on observation. Taking photographs is capturing data; reading photographs is analyzing and interpreting data; and showing photographs is presenting the findings in publications. For each stage of the process, various issues are discussed, drawing on the scientific, forensic, artistic, or vernacular uses of photography. Particular attention is accorded to key examples in the history of photography. This article is an invitation to reflect on observational methods and practices in a non-demonstrative, heuristic manner.
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Wilson, Dawn M. "Invisible Images and Indeterminacy: Why We Need a Multi-stage Account of Photography." Journal of Aesthetics and Art Criticism 79, no. 2 (April 19, 2021): 161–74. http://dx.doi.org/10.1093/jaac/kpab005.
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Abstract Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography.
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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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Wolfreys, Julian. "‘The look that gropes the objects’: Derrida's Photographs." Derrida Today 10, no. 1 (May 2017): 21–37. http://dx.doi.org/10.3366/drt.2017.0140.
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In his introduction to Copy-Archive-Signature: A Conversation on Photography published in 2009, Gerhard Richter observes that while photography is concerned, ‘like deconstruction’, with ‘questions of presentation, translation, techné, substitution, deferral, dissemination, repetition, iteration, memory, inscription, death, and mourning’, relatively little attention has been given to those texts of Derrida's that specifically address photography and the work and thought of the photograph: ‘Aletheia’, Rights of Inspection, Athens, Remains, to name the most obvious. Things have changed a little since 2009, but it remains the case that photography, with its strange logic and uncanny temporalities, situates itself in Derrida's publications as, possibly, the most performative of tropes in Derrida's writing. As Richter argues, it is available to our view as a ‘metalanguage’, through which all other questions are brought into focus. This paper therefore focuses on the photograph: the photograph in Derrida's writings and photographs of Derrida.
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Klingle, Matthew. "River Glass." Boom 5, no. 2 (2015): 42–51. http://dx.doi.org/10.1525/boom.2015.5.2.42.
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This essay by historian Matthew Klingle compares the work of Carleton Watkins, a pioneer in early photography, and Michael Kolster, a contemporary photographer. Like his predecessor, Kolster uses the wet-plate photographic process to create ambrotypes: handmade images made on glass. Watkins’s images, made in the late-nineteenth century, helped to sell scenic, monumental California and the West to the nation. In contrast, Kolster’s photographs of the Los Angeles River, a degraded and often ignored urban waterway, suggest how older photographic techniques might be employed to create new aesthetics of place freed from the confines of purity and beauty.
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Vanover, Charles. "The Magic of Theater: Photographing a Performative Academic Career." Cultural Studies ↔ Critical Methodologies 21, no. 1 (June 26, 2020): 41–55. http://dx.doi.org/10.1177/1532708620931136.
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I discuss my efforts as a “good enough” photographer and describe the role photographs play communicating important moments from a series of ethnodramas I built about the Chicago Public Schools. I discuss my early efforts to use photography to legitimize my arts-based research practice, describe how my goals changed, and explain how I created images to communicate the energy of live theater. Building on Eisner’s theoretical work, I discuss three tensions of my photographic practice: intention versus improvisation, action versus artifice, and safety versus possibility. These tensions emphasize my limits as a photographer and the possibilities of arts-based research.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Koole, Simeon. "Photography as Event: Power, the Kodak Camera, and Territoriality in Early Twentieth-Century Tibet." Comparative Studies in Society and History 59, no. 2 (April 2017): 310–45. http://dx.doi.org/10.1017/s0010417517000068.
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AbstractThis article rethinks the nature of power and its relation to territory in the photographic event. Focusing on thousands of photographs taken during the British Younghusband Expedition to Lhasa between 1903 and 1904, it reorients understandings of photography as either reproducing or enabling the “negotiation” or contestation of power inequalities between participants. It shows how, in the transitory relations between Tibetans, Chinese, and Britons during and after photographic events, photography acted as a means by which participants constituted themselves as responsible agents—as capable of responding and as “accountable”—in relation to one another and to Tibet as a political entity. Whether in photographs of Tibetans protesting British looting or of their “reading” periodicals containing photographs of themselves, photography, especially Kodak photography, proposed potential new ways of being politically “Tibetan” at a time when the meaning of Tibet as a territory was especially indeterminate. This article therefore examines how the shifting territorial meaning of Tibet, transformed by an ascendant Dalai Lama, weakening Qing empire, and Anglo-Russian competition, converged with transformations in the means of visually reflecting upon it. If photography entailed always-indeterminate power relations through which participants constituted themselves in relation to Tibet, then it also compels our own rethinking of Tibet itself as an event contingent on every event of photography, rather than pre-existing or “constructed” by it.
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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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Rissanen, Mari-Jatta. "Entangled photographers: Agents and actants in preschoolers’ photography talk." International Journal of Education Through Art 16, no. 2 (June 1, 2020): 271–86. http://dx.doi.org/10.1386/eta_00031_1.
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Photographs taken by young children have engendered a growing amount of research across diverse academic disciplines. Photographs have been used as visual data for analysing for example children’s social relations and well-being. However, only a few studies have addressed the photographic practices of young children as means for them to explore, imagine and coexist with the surrounding world. In this article, I introduce a case study that draws on research from art education and sociology of childhood. The data were gathered in a photography workshop in a Finnish early childhood education and care centre, where fourteen preschoolers discussed their photographs inspired by contemporary Finnish art photography. In order to expose diverse human and material actors and their interactions in preschoolers’ photography talk, I applied Bruno Latour’s actor-network-theory. Thus, preschoolers’ photography is seen as a practice of visual meaning-making wherein agency is distributed among several actors.
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Tee, Sim-Hui. "Transparency, Photography, and the A-Theory of Time." Problemos 93 (October 22, 2018): 177–92. http://dx.doi.org/10.15388/problemos.2018.93.11761.
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[full article, abstract in English; only abstract in Lithuanian]
Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the depicted object situated from the space in which the viewer of the photograph resides that renders the photograph spatially agnostic. It is the timeless photographic world rather than the photographic object that renders egocentric spatial information inert. With this new formulation of spatial agnosticism, I propose that spatial agnosticism needs to be coupled with the temporal dimension (the A-theory of time) in the efforts to refute the thesis of transparency of photographs.
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Zuhdan Aziz. "Dramatization of Visual Communication Messages In Macro Photographic Genre." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (April 7, 2020): 154–73. http://dx.doi.org/10.33153/iicacs.v3i1.30.
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Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).
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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.
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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.