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Journal articles on the topic 'Photography in archaeology'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Markiewicz, Małgorzata. "„Takie jak w rzeczywistości”. Obraz fotograficzny - obiektywne odwzorowanie czy subiektywna kreacja? Fotografia w badaniach archeologicznych." Folia Praehistorica Posnaniensia 28 (December 27, 2023): 207–30. http://dx.doi.org/10.14746/fpp.2023.28.09.

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The article reviews the current state of knowledge on photography and the use of photographs in archaeological research. The discovery of photography was a breakthrough in the history of archaeology. The mechanical method of image registration, considered to be devoid of subjective human intervention, was supposed to guarantee the neutrality and objectivity of the visual representation. Belief in realism of photography has led to it becoming the primary form of documentation in archaeology, for both the research process and the relics themselves. This article will attempt to answer the questio

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2

Riggs, Christina. "Shouldering the past: Photography, archaeology, and collective effort at the tomb of Tutankhamun." History of Science 55, no. 3 (2016): 336–63. http://dx.doi.org/10.1177/0073275316676282.

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Photographing archaeological labor was routine on Egyptian and other Middle Eastern sites during the colonial period and interwar years. Yet why and how such photographs were taken is rarely discussed in literature concerned with the history of archaeology, which tends to take photography as given if it considers it at all. This paper uses photographs from the first two seasons of work at the tomb of Tutankhamun (1922–4) to show that photography contributed to discursive strategies that positioned archaeology as a scientific practice – both in the public presentation of well-known sites and in

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3

Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations." Journal of Material Culture 22, no. 1 (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 ae

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4

Edwards, Elizabeth. "Photography and Archaeology." History of Photography 37, no. 2 (2013): 245–47. http://dx.doi.org/10.1080/03087298.2013.769737.

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5

Myers, J. Wilson, and D. N. Riley. "Air Photography and Archaeology." American Journal of Archaeology 93, no. 4 (1989): 599. http://dx.doi.org/10.2307/505332.

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6

Frere, S. S., and D. N. Riley. "Air Photography and Archaeology." Britannia 19 (1988): 530. http://dx.doi.org/10.2307/526231.

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7

Jagger, Nicholas. "Towards an Archaeology of Photography." Art History 19, no. 2 (1996): 296–300. http://dx.doi.org/10.1111/j.1467-8365.1996.tb00667.x.

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8

Nicholson, Paul T. "Three-dimensional imaging in archaeology: its history and future." Antiquity 75, no. 288 (2001): 402–9. http://dx.doi.org/10.1017/s0003598x00061056.

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Whilst digital cameras and computer graphics are starting to be used in archaeological recording, stereoscopic photography tends to be overlooked. This technique has been used successfully in three recent projects and could be beneficial as a means of 3D photographic recording.

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9

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

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

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10

Edwards, Elizabeth. "The Marshall Albums: Photography and Archaeology." History of Photography 36, no. 2 (2012): 232–33. http://dx.doi.org/10.1080/03087298.2012.666107.

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11

Dahlgren, Anna. "Photography Reframed." Culture Unbound 8, no. 1 (2016): 3–19. http://dx.doi.org/10.3384/cu.2000.1525.16813.

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This article discusses the benefits of analysing photography as mediated, reproduced and entangled in media systems, and consequently as part of a larger media culture. Moreover it combines technological considerations drawn from media archaeology with art historical analysis focusing on visual aesthetics. It considers two mediating devices for photography in the nineteenth century, the photo album and the illustrated press. As displayed, a media historical perspective airs new interpretations and understandings of processes and practices in relation to photography in the period. Thus what fro

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12

Papatheodorou, Artemis. "Photography and other Media at the Service of Ottoman Archaeology." DIYÂR 1, no. 1 (2020): 108–28. http://dx.doi.org/10.5771/2625-9842-2020-1-108.

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From its earliest days, photography was linked to material remains of the past. Western pioneers of the medium were attracted to photographing Ottoman lands, especially the land of the Pharaohs, and the Holy Land. The Ottomans also seized upon photography themselves, turning the lens upon monuments and artefacts within their own Empire. The literature on archaeological photography in the region has focused on European travel photography, and on the upper echelons of state officialdom. This article shifts attention to Ottoman bureaucracy, and to the societal level. It discusses the relationship

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13

Gosden, Chris. "AIR PHOTOGRAPHY AND ARCHAEOLOGY, by D.N. Riley." Australian Archaeology 28, no. 1 (1989): 159. http://dx.doi.org/10.1080/03122417.1989.12093227.

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14

Sterling, Colin. "Archaeology and Photography: Time, Objectivity and Archive." History of Photography 44, no. 2-3 (2020): 221–23. http://dx.doi.org/10.1080/03087298.2020.1911086.

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15

Bergstein, Mary. "Eros in Vienna: Dreams/Archaeology/Photography/Film." American Imago 78, no. 2 (2021): 307–39. http://dx.doi.org/10.1353/aim.2021.0014.

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16

Cox, Chris. "Satellite imagery, aerial photography and wetland archaeology." World Archaeology 24, no. 2 (1992): 249–67. http://dx.doi.org/10.1080/00438243.1992.9980206.

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17

Prince, Gene. "Photography for discovery and scale by superimposing old photographs on the present-day scene." Antiquity 62, no. 234 (1988): 112–16. http://dx.doi.org/10.1017/s0003598x00073579.

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The precise placing of spots in the landscape from the evidence of old photographs – whether of things themselves of archaeological interest or for re-locating old excavations – is obvious enough in principle, and clearly useful. Here is a practical means to do this, with two examples from historical archaeology in the United States, a context where matters of archaeological interest come more often into the era of photography than they do in some other places.

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18

Sheehi, Stephen. "A SOCIAL HISTORY OF EARLY ARAB PHOTOGRAPHY OR A PROLEGOMENON TO AN ARCHAEOLOGY OF THE LEBANESE IMAGO." International Journal of Middle East Studies 39, no. 2 (2007): 208a. http://dx.doi.org/10.1017/s0020743807070341.

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This article examines Arab photography in Ottoman and Mandate Lebanon. It begins to explain how the photographic image naturalized the discourses of individualism, class identity, and nationalism that were germinated in the political economy and the organic intellectual culture of the late Ottoman Empire. Inspired less by Orientalist imagery or mimicry of the West than by specific ideological planks of capitalism and modernity, images produced by professionals Sabunji and the Kovas and such amateurs as Salim Abu Izz al-din and Marie Khazen instituted a new process of desiring capitalist produc

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19

Mohamed Ali, Abbas Sayed Ahmed, and Ahmed Abu Al Qasim Al Hassan. "Remote Sensing and Its Uses in Archeology." Journal of Arts and Social Sciences [JASS] 2, no. 1 (2011): 5. http://dx.doi.org/10.24200/jass.vol2iss1pp5-25.

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Aerial photography, remote sensing technique has been used as a tool for acquisition of archaeological information for several decades. At the turn of the twentieth century, archaeologists realized that valuable archaeological data could be extracted from aerial photos, thus it has been developed into a systematic discipline known as aerial archaeology. Though aerial photography has a long history of use, Satellite remote sensing is a recent discipline applied in detection, mapping and analysis of archaeological matter, providing that the spatial resolution of the sensor is adequate to detect

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20

Mohamed Ali, Abbas Sayed Ahmed, and Ahmed Abu Al Qasim Al Hassan. "Remote Sensing and Its Uses in Archeology." Journal of Arts and Social Sciences [JASS] 2, no. 1 (2011): 5–25. http://dx.doi.org/10.53542/jass.v2i1.1032.

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Aerial photography, remote sensing technique has been used as a tool for acquisition of archaeological information for several decades. At the turn of the twentieth century, archaeologists realized that valuable archaeological data could be extracted from aerial photos, thus it has been developed into a systematic discipline known as aerial archaeology. Though aerial photography has a long history of use, Satellite remote sensing is a recent discipline applied in detection, mapping and analysis of archaeological matter, providing that the spatial resolution of the sensor is adequate to detect

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21

Foster, Giraud V., and Norman J. Barker. "Close-Up Photography of Archaeological Objects." Journal of Field Archaeology 23, no. 3 (1996): 369. http://dx.doi.org/10.2307/530488.

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22

Foster, Giraud V., and Norman J. Barker. "Close-Up Photography of Archaeological Objects." Journal of Field Archaeology 23, no. 3 (1996): 369–75. http://dx.doi.org/10.1179/009346996791973864.

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23

Rahtz, Philip. "Photography in Archaeology and Conservation. By PeterG. Dorrell." Archaeological Journal 147, no. 1 (1990): 471–72. http://dx.doi.org/10.1080/00665983.1990.11077986.

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24

Sheehi, Stephen. "A SOCIAL HISTORY OF EARLY ARAB PHOTOGRAPHY OR A PROLEGOMENON TO AN ARCHAEOLOGY OF THE LEBANESE IMAGO." International Journal of Middle East Studies 39, no. 2 (2007): 177–208. http://dx.doi.org/10.1017/s0020743807070067.

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Viewing an exhibition of civil war paintings in 1886, Lea Barakat wrote that her “country came to mind: the splendor of its ruins, the wonders of their form like the fortress of Baalbek, the ruins of Palmyra, and the scenes of Lebanon…” Native women should paint like this, she states, and “not leave a scene [of Lebanon] unpainted… They can decorate the rooms of their homes and sitting rooms with these pictures…” She concludes that “since the ladies of our country are smarter and more industrious in their handcrafts than [American] ladies,” they too can obtain a similar level of “wealth, honora

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25

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

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

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26

Zawojski, Piotr. "A difficult history of light. About metaphysical ideas of “light writing” formulated before the birth of photography." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (2021): 281–95. http://dx.doi.org/10.14746/i.2021.39.14.

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The reflections presented in this article are devoted to Junko Theresa Mikuriya’s book, A History of Light. The Idea of Photography. It is a unique view on the search for pre-photographic origins of photography in the field of philosophical writings ranging from Plato, through the neoplatonic philosopher Jamblich’s enquiry, to the texts by Philotheus of Batos and by an early Renaissance philosopher, Marsilio Ficino. When thinking about metaphysics present in (moving and still) images, one should not forget about the metaphysics of the image itself. The idea of photography – regardless of wheth

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27

Leckebusch, Jürg. "Aerial archaeology: a full digital workflow for aerial photography." Archaeological Prospection 12, no. 4 (2005): 235–44. http://dx.doi.org/10.1002/arp.260.

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28

Cerasoni, Jacopo Niccolò, Felipe do Nascimento Rodrigues, Yu Tang, and Emily Yuko Hallett. "Do-It-Yourself digital archaeology: Introduction and practical applications of photography and photogrammetry for the 2D and 3D representation of small objects and artefacts." PLOS ONE 17, no. 4 (2022): e0267168. http://dx.doi.org/10.1371/journal.pone.0267168.

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Photography and photogrammetry have recently become among the most widespread and preferred visualisation methods for the representation of small objects and artefacts. People want to see the past, not only know about it; and the ability to visualise objects into virtually realistic representations is fundamental for researchers, students and educators. Here, we present two new methods, the ‘Small Object and Artefact Photography’ (‘SOAP’) and the ‘High Resolution “DIY” Photogrammetry’ (‘HRP’) protocols. The ‘SOAP’ protocol involves the photographic application of modern digital techniques for

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29

Stamp, Gavin. "The photograph album of Albert Henry Scott, the photographer son of George Gilbert Scott." Antiquaries Journal 93 (May 31, 2013): 401–15. http://dx.doi.org/10.1017/s0003581513000036.

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This paper describes the contents of an album of photographs taken in 1861–2 by the seventeen-year-old third son of the renowned architect George Gilbert Scott. The album is evidence of the growing popularity of photography as a hobby for amateurs in the 1850s and 1860s as a result of technical developments that made the equipment easier to transport and use in the field. Analysis of the subjects in the album reveals a pioneering interest in vernacular architecture; the album also contains rare and early photographs of railway subjects and the only known portrait of George Gilbert Scott's wife

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30

Rose, Gillian. "Practising photography: an archive, a study, some photographs and a researcher." Journal of Historical Geography 26, no. 4 (2000): 555–71. http://dx.doi.org/10.1006/jhge.2000.0247.

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31

Smith, Monica L. "Citizen Science in Archaeology." American Antiquity 79, no. 04 (2014): 749–62. http://dx.doi.org/10.7183/0002-7316.79.4.749749.

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Abstract Citizen science, as a process of volunteer participation through crowdsourcing, facilitates the creation of mass data sets needed to address subtle and large-scale patterns in complex phenomena. Citizen science efforts in other field disciplines such as biology, geography, and astronomy indicate how new web-based interfaces can enhance and expand upon archaeologists’ existing platforms of volunteer engagement such as field schools, community archaeology, site stewardship, and professional–avocational partnerships. Archaeological research can benefit from the citizen science paradigm i

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32

Myhr, Kjersti, Terje Thun, and Håkan Hytteborn. "Dendrochronological Dating of Wooden Artefacts using Photography." Norwegian Archaeological Review 40, no. 2 (2007): 179–86. http://dx.doi.org/10.1080/00293650701708909.

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33

Pintucci, Alessandro. "Politics, Migration and Race. A Conversation with Yannis Hamilakis." Ex Novo: Journal of Archaeology 6 (February 11, 2022): 233. http://dx.doi.org/10.32028/vol6isspp233.

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Yannis Hamilakis is Joukowsky Family Professor of Archaeology and Professor of Modern Greek Studies at the Brown University (USA). His main research and teaching interests are the socio-politics of the past, the body and bodily senses, the archaeology of eating and drinking, the ontology and materiality of photography, archaeology and nationalism, archaeological ethnography, and critical pedagogy in archaeology. Yannis is committed to an anthropologically-informed, critical archaeological engagement with past and present material culture, and to the inter-disciplinary nature of archaeological

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34

Kennedy, Hailey, and Hugh McKenzie. "Art and Archaeology." Pathways 4, no. 1 (2023): 27–44. http://dx.doi.org/10.29173/pathways50.

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Observational skills provide the foundation for both drawing and archaeological techniques. Drawing was frequently employed within archaeology as a recording technique or to produce technical illustrations for published academic papers. However, in recent years the widespread use and adoption of digital photography and 3D imagery has resulted in a decline of its use and such skills are now only briefly considered in archaeological teaching as practical and worthwhile endeavors. This paper considers the role drawing can have within archaeology and suggests that drawing is a useful tool to aid i

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35

Mandler, P. "Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955." English Historical Review CXXIII, no. 503 (2008): 1084–85. http://dx.doi.org/10.1093/ehr/cen216.

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36

Gough, Paul. "Photography and Flight." Journal of Historical Geography 36, no. 4 (2010): 494–95. http://dx.doi.org/10.1016/j.jhg.2010.08.008.

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37

Moeller, Susan D. "Caroline Brothers.War and Photography: A Cultural History:War and Photography: A Cultural History Caroline Brothers." American Historical Review 103, no. 5 (1998): 1562. http://dx.doi.org/10.2307/2649981.

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38

Hallote, Rachel. "Photography and the American Contribution to Early "Biblical" Archaeology, 1870-1920." Near Eastern Archaeology 70, no. 1 (2007): 26–41. http://dx.doi.org/10.1086/nea25067686.

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39

Villagrán Olivares, Angelo, and Solange Leiva Mac Lean. "Quilpué Museum: a visual tour through a local experience." Revista de Antropología Visual 4, no. 31 (2023): 1–20. http://dx.doi.org/10.47725/rav.031.09.

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Despite a significant cultural heritage, currently, the city of Quilpué lacks an established and consolidated museum that narrates the history and connection of its inhabitants with the Marga Marga Valley. However, in the early 1980s, there was an interest from the Municipality in having a space that alludes to the importance of the history and archaeology of the area, what gave rise to the Quilpué Museum, which operated until 1983. Photographs related to its short institutional life and records of its activities in education and research of the central zone's past are collected and analyzed.

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40

Barba, Luis, Jorge Blancas, Agustin Ortiz, and David Carballo. "Geophysical prospection and aerial photography in La Laguna, Tlaxcala, Mexico." ArchéoSciences, no. 33 (suppl.) (October 30, 2009): 17–20. http://dx.doi.org/10.4000/archeosciences.1194.

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41

Finnegan, Cara A. "Colleen McDannell.Picturing Faith: Photography and the Great Depression.:Picturing Faith: Photography and the Great Depression." American Historical Review 111, no. 1 (2006): 221–22. http://dx.doi.org/10.1086/ahr.111.1.221a.

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42

Lysandrou, Vasiliki, and Athos Agapiou. "The Role of Archival Aerial Photography in Shaping Our Understanding of the Funerary Landscape of Hellenistic and Roman Cyprus." Open Archaeology 6, no. 1 (2020): 417–33. http://dx.doi.org/10.1515/opar-2020-0117.

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AbstractThis study deals with the investigation of the Eastern necropolis of Nea Paphos in western Cyprus, employing archival and recent aerial photographs for the identification of surface/near-surface ancient architectural remains. The analysis of the primary archival aerial photograph employed for this study reveals the archaeological visibility of the site as it had been captured approximately 15 years before its rescue excavation in the 1980s. The outcomes from the enhancement and interpretation of the archival aerial photograph supplement known archaeological information of the area and

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43

Edis, Jonathan, David Macleod, and Robert Bewley. "An archaeologist's guide to classification of cropmarks and soilmarks." Antiquity 63, no. 238 (1989): 112–26. http://dx.doi.org/10.1017/s0003598x00075621.

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The classification of man-made features recorded on aerial photographs depends on a combination of morphological comparison and functional interpretation. Here, a computer-based method of morphological recording and classification is described, and its advantages argued. It has special relevance in England, where the Monument Protection Programme needs to assess the relative value and importance of many thousands of buried archaeological sites that are known only from the evidence of aerial photography.

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44

De Tomasi, Filippo. "Notes on camera obscura: three contemporary artistic perspectives on the path of photography." Arte, Individuo y Sociedad Avance en línea (September 5, 2023): 1–15. http://dx.doi.org/10.5209/aris.87944.

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 In 1971, Rockne Krebs presented an immersive artwork composed of the optical phenomenon of the camera obscura, among other elements. Although this artist appears to be the first interested in this phenomenon, it was only from the 1990s onwards that the artistic practice of camera obscura as room installation became widespread. In the decades since, several authors have included it in their production—developing projects of a photographic nature through different approaches, mainly focusing on projected image or spectator participation. Through the method of media archaeology, it is poss

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45

Nichols, Deborah L. "Infrared Aerial Photography and Prehispanic Irrigation at Teotihuacan: The Tlajinga Canals." Journal of Field Archaeology 15, no. 1 (1988): 17. http://dx.doi.org/10.2307/530127.

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Nichols, Deborah L. "Infrared Aerial Photography and Prehispanic Irrigation at Teotihuacán: The Tlajinga Canals." Journal of Field Archaeology 15, no. 1 (1988): 17–27. http://dx.doi.org/10.1179/009346988791974574.

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47

Osborne, Dora, and Eric Downing. "After Images: Photography, Archaeology, and Psychoanalysis and the Tradition of Bildung." Modern Language Review 103, no. 3 (2008): 911. http://dx.doi.org/10.2307/20468006.

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48

Nichols, Ulrike Peters. "After Images: Photography, Archaeology, and Psychoanalysis and the Tradition of Bildung." Monatshefte 99, no. 3 (2007): 427–29. http://dx.doi.org/10.1353/mon.2007.0069.

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49

Allen, Peter S. "Photography and Archaeology by Frederick N. Bohrer. London: Reaktion Books, 2011." Visual Anthropology Review 29, no. 2 (2013): 157–59. http://dx.doi.org/10.1111/var.12014.

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50

Bewley, Robert, and Michael Fulford. "Aerial Photography and the Plan of Silchester ('Calleva Atrebatum')." Britannia 27 (1996): 387. http://dx.doi.org/10.2307/527059.

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