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Journal articles on the topic 'Photography in education'
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1
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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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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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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Nair, Janaki. "Seeing like the Missionary: An Iconography of Education in Mysore, 1840–1920." Studies in History 35, no. 2 (August 2019): 178–217. http://dx.doi.org/10.1177/0257643019865233.
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Missionaries working in Mysore, as elsewhere in India, took enthusiastically to the new art of photography from the 1840s, to record their ‘views’ of the society they undertook to transform. Evangelising was, however, early on, allied with education as a way for missionaries to make their way into a complex, hierarchical society with learning traditions of its own. How did the missionary ‘see’ the Indian classroom, and invite the viewer of their photographs to participate in its narrative of ‘improvement’? What was the place of the photograph at a time when meticulous written records were kept of victories and reverses in the mission field of education? Revealing the work of the photograph in aiding missionary work must perforce begin with the more instrumentalist uses of this new art, as technologies of recording par excellence, before turning to the possible ways of looking at photographs, whether by those contemporaries of the missionaries who were physically distanced from the location, and were yet linked to their work in India, or when they formed part of the contemporary historian’s archive. Here one may exploit photography’s ‘inexhaustible invitations to deduction, speculation and fantasy’ instead of its truth-telling capacity. I am precisely posing a dynamic and perhaps even antagonistic relationship between the copious written and the sparser visual record of educational changes in Mysore in the 19th and early 20th centuries. This investigation of the visual field in the service of education also allows us also to speculate about the specific aesthetic achievements of missionary photography, with its own pedagogic goals.
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Abu Hassan, Nazrul Azha, Adzrool Idzwan Ismail, Siti Salmi Jamali, and Jati Widagdo. "Digital Documentation through Underwater Photography Method." Environment-Behaviour Proceedings Journal 8, SI16 (November 26, 2023): 243–50. http://dx.doi.org/10.21834/e-bpj.v8isi16.5248.
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This study focuses on the educational value of photographs and investigates discursive methods for employing underwater photography in environmental education. This research will examine the effectiveness of the relationship between photography and the environment using a qualitative methodology. The results indicate that data collection and photographic documentation might be very valuable, and understanding the fundamentals and techniques will greatly enhance the use of underwater photography. To sum up, research has shown that underwater photography can generate a distinctive dynamic and concept that can be used in a Public Service Announcement (PSA) to educate the public about the condition of the coral reef.
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Budzik, Justyna Hanna. "METAPHOtogRaphy: Reflections on the Connections of Thoughts and Photos." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 6 (September 22, 2021): 125–41. http://dx.doi.org/10.17951/en.2021.6.125-141.
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The article is an attempt to collect and comment on discourse on the relationship between photography and metaphor, which is dispersed in different theoretical works on photography. The author finds these connections crucial in the educational perspective, because they help to inscribe pedagogical activities on photography in a broader humanistic education that aims at cultivating the ability to think. The main theoretical contexts are writings by Bernd Stiegler and Hannah Arendt. The author gives an exemplary analytical study of photographs by Krzysztof Szlapa and Kamil Myszkowski as well as a suggestion of a practical photographic task whose objective is to inspire metaphorical thinking.
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HANNA, Helen. "Photography as a Research Method with Learners in Compulsory Education: A Research Review." Beijing International Review of Education 2, no. 1 (April 3, 2020): 11–34. http://dx.doi.org/10.1163/25902539-00201003.
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This article offers a review of thirty-one research articles from 2001–2019 on the use of photography as a research method with learners in compulsory education. Understood within the scope of ‘visual’, ‘participatory’ and ‘arts-based’ research methods, many scholars have linked the increased use of the photographic method to greater awareness of the rights of the child and changing understandings of children as full ‘human beings’ with agency rather than simply vulnerable ‘human becomings’. Nevertheless, photography is still a relatively under-utilised approach in research with learners in school-based compulsory education and its use is not widespread globally. Against the background of the history of visual and photographic methods in general and in education in particular, this article highlights two key themes in the empirical research literature: why the photographic method is used (dealing with representation, participation and emancipation); and how the photographic method and the photos themselves are used (pre-generated and participant-generated photographs). It closes with a reflection on what may be holding back its expansion, including key ethical concerns, and a proposal for encouraging its use in education.
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Ben-Choreen, Tal-Or K. "Emergence of Fine Art Photography in Israel in the 1970s to the 1990s Through Pedagogical and Social Links with the United States." Contemporary Review of the Middle East 6, no. 3-4 (September 2019): 252–65. http://dx.doi.org/10.1177/2347798919872588.
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The flourishing of photography as a tool for expressive reportage and artistic practice transformed photographic education during the mid-twentieth century. American-based academic institutions quickly established reputations in the emerging fine art field as leaders in photographic education drawing international students from diverse locations, including Israel. Many Israelis who studied photography in American institutions returned to Israel bringing with them the knowledge they had gained while abroad. This article considers the impact of American pedagogical models and social networks on the development of the Israeli photographic field. Included in this discussion is an exploration of the emergence of Israeli photography programs in institutions of higher education, photography galleries, museum collections, and exhibitions. By approaching the study through a network methodological approach, this article traces the transnational movements of individuals: photographers, program graduates, and curators in order to demonstrate the significant impact American photographic education had on the emerging Israeli photographic field.
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Crawford, Edward C. "Clinical Orthodontic Photography: Part I – Intra-oral." Australasian Orthodontic Journal 9, no. 1 (March 1, 1985): 185–88. http://dx.doi.org/10.2478/aoj-1985-0004.
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Abstract Intra-oral photography provides depth to orthodontic case assessment and valuable visual material for patient and professional education. Photographs of excellent quality are obtained using good equipment standardized for the task and require a consistent method of setting, up and execution. The article discusses requirements for good photography and lists features ot photographic equipment important in producing excellent intra-oral pictures for orthodontic purposes. Correct selection of the camera body, lens and flash unit appropriate for this task is also discussed together with the auxilliary equipment necessary, such as cheek retractors and mirrors. Techniques involved in taking frontal and buccal (mirror-view) pictures are described.
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Oksanen, Susanna Maria, Markku S. Hannula, and Anu Laine. "The potential of photography for mathematics education and research–A literature review." International Electronic Journal of Mathematics Education 19, no. 3 (July 1, 2024): em0780. http://dx.doi.org/10.29333/iejme/14613.
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This literature review examines the use of photography in educational research and in education, to learn how photography could be better used in teaching and learning mathematics and mathematics education research. The authors analyzed 125 publications published between 1975 and 2023 to identify different research methods and teaching solutions that utilize photography. Within educational research two main approaches that are often used combined were photo-elicitation (photographs are used in an interview as a stimulus) and photovoice (taking photographs is a way the participant communicates their perspective). Mathematics education research could also combine these methods, for example in identity research. Our findings regarding teaching show that photographs have an important role in connecting mathematics to the real world and for visualizing mathematics. The best way to engage students is when they take photographs of themselves as a starting point to mathematical activity. Based on this review we identify future exploratory directions and various research gaps.
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Holmstrom, Steven E. "Oral Photography." Journal of Veterinary Dentistry 8, no. 3 (September 1991): 8–10. http://dx.doi.org/10.1177/089875649100800302.
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Oral photography is an important tool in veterinary dentistry. For years it has been used in the education process. Case documentation by photography has become more valuable. It is important that these photographs be of good quality. This article reviews the hardware such as cameras and the software such as film and exposure.
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Harrison, Barbara. "Photographic visions and narrative inquiry." Narrative Inquiry 12, no. 1 (September 26, 2002): 87–111. http://dx.doi.org/10.1075/ni.12.1.14har.
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This paper examines the ways in which photographic images can be used in narrative inquiry. After introducing the renewed interest in visual methodology the first section examines the ways in which researchers have utilised the camera or photographic images in research studies that are broadly similar to forms of narrative inquiry such as auto/biography, photographic journals, video diaries and photo-voice. It then draws on the published literature in relation to the author’s own empirical research into everyday photography. Here the extent to which the practices which are part of everyday photography can be seen as forms of story-telling and provide access to both narratives and counter-narratives, are explored. Ideas about memory and identity construction are considered. A critical area of argument centres on the relationship of images to other texts, and asks whether it is possible for photographs to narrate independent of written or oral word. It concludes with some remarks about how photographs can be used in research and as a resource for narrative inquiry. This necessitates a understanding of what it is people do with photographs in everyday life.
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Babatunde, Olaitan Peter, and Oseni Ganiyu Oladiran. "Clinical photography among African cleft caregivers." Indian Journal of Plastic Surgery 44, no. 03 (September 2011): 484–87. http://dx.doi.org/10.1055/s-0039-1699522.
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ABSTRACT Objective: The aim of this paper is to document the practice of photography among clinicians whose daily work depends and is influenced so much by medical photography. Materials and Methods: Questionnaires documenting the bio data, place of practice, and experience of cleft caregivers with clinical photography were distributed. Knowledge of rules guiding clinical photography and adherence to them were also asked. Types of camera used were documented and knowledge of the value of clinical photographs were also inquired. Results: Plastic surgeons constitute the highest proportion of 27 (38.6%), followed by Oral and Maxillofacial surgeons with 14 (20.0%). Twenty one (30.0%) of the respondents always, 21 (30.0%) often, 12 (17.1%) frequently, while 9 respondents sometimes took photographs of their patients. Suggested uses of clinical photographs included training, 52 (74.3%), education, 51 (72.9%), medicolegal, 44 (62.9%) and advertisement, 44 (62.9%) among others. Twenty two (31.4%) did not know that there were standard guidelines for taking clinical photographs. Twenty three (32.9%) of them did not seek the consent of the patients before taking clinical photographs. Conclusion: While the practice of clinical photography is high among African cleft caregivers, there is a need for further education on the issues of standard rules and obtaining consent from patients.
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Khoza, Bongani Joseph, and Nompilo Tshuma. "Photography Education in Resource-Constrained Contexts." International Journal of Mobile and Blended Learning 14, no. 3 (July 1, 2022): 1–13. http://dx.doi.org/10.4018/ijmbl.313974.
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The history, development, products, and impact of image-making are well-represented in literature. The literature looks extensively at the technological developments and advancements in the field and how photography has contributed to our understanding of historical, political and social tensions. However, the training and preparation of photographers has received less attention in the literature, particularly in photography education in resource-constrained contexts. This paper seeks to present mushfaking as a conceptual framework that addresses the multi-literacies required in photography education. This approach uses inexpensive solutions to aid digital photography's teaching and learning process. Mushfaking is offered as a learning design tool for practice-based teaching and learning. The paper aims to offer a new dimension on how mushfaking can be used as a learning design principle to show how this concept could bring theory and praxis together, facilitating the design of context-based solutions to educational problems.
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Dukic, Zlatko. "Photography in clinical dental practice." Serbian Dental Journal 54, no. 2 (2007): 97–104. http://dx.doi.org/10.2298/sgs0702097d.
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The emersion of photography represents a milestone in the development of human society making life richer and more comprehensive. Dental photography, a part of clinical medical photography, has primarily the role as a document, but also a tool in education of students and continuing professional education of dentists. The aim of this paper is to present possible applications of classical and digital photography in dentistry on today?s level of technological development. Dental photography requires certain additional equipment (special lights, polarization filters, retractors, small neutral background plates?) for quality images of intraoral structures. An important feature of dental photography is documentation i.e the possibility to record maximum information in repeatable conditions. Standardization of conditions during intraoral photographing, adequate storage and archiving of dental photographs are also important preconditions for quality and useful photography. .
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Al Balushi, Amal A. "The Ethics and Legality of Using Personal Smartphones to take Medical Photographs." Sultan Qaboos University Medical Journal [SQUMJ] 19, no. 2 (September 8, 2019): 99. http://dx.doi.org/10.18295/squmj.2019.19.02.003.
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ABSTRACT: Photography in the medical profession is an asset that may help during patients’ follow-up, monitoring the progression of diseases, getting a second opinion and in medical educational activities. Advances in technology, specifically smartphones, have enabled medical professionals to obtain high-quality photographs with minimal effort and photography experience. This article discusses the ethics and legality of using personal smartphones in a medical professional setting for medical photography. Written informed consent should always be obtained from the patient and should include details about how the photographs will be used.Keywords: Photography; Smartphone; Informed Consent; Ethics; Medical Legislation; Publications; Medical Education; Oman.
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Sile, Agnese. "Mental illness within family context: Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty." Arts and Humanities in Higher Education 17, no. 1 (January 12, 2018): 84–103. http://dx.doi.org/10.1177/1474022216684635.
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The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the process how it challenges representation itself, on which it is dependent. The focus of the analysis is on identifying and illuminating the intimate space that opens between the photographer and the photographed person and that provides new forms of communication as well as uncovers existing forms of knowledge that is shared between them. This paper will also assess the political and cultural significance of such representation.
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Cleland, Jennifer, and Anna MacLeod. "The visual vernacular: embracing photographs in research." Perspectives on Medical Education 10, no. 4 (June 2, 2021): 230–37. http://dx.doi.org/10.1007/s40037-021-00672-x.
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AbstractThe increasing use of digital images for communication and interaction in everyday life can give a new lease of life to photographs in research. In contexts where smartphones are ubiquitous and many people are “digital natives”, asking participants to share and engage with photographs aligns with their everyday activities and norms more than textual or analogue approaches to data collection. Thus, it is time to consider fully the opportunities afforded by digital images and photographs for research purposes. This paper joins a long-standing conversation in the social science literature to move beyond the “linguistic imperialism” of text and embrace visual methodologies. Our aim is to explain the photograph as qualitative data and introduce different ways of using still images/photographs for qualitative research purposes in health professions education (HPE) research: photo-documentation, photo-elicitation and photovoice, as well as use of existing images. We discuss the strengths of photographs in research, particularly in participatory research inquiry. We consider ethical and philosophical challenges associated with photography research, specifically issues of power, informed consent, confidentiality, dignity, ambiguity and censorship. We outline approaches to analysing photographs. We propose some applications and opportunities for photographs in HPE, before concluding that using photographs opens up new vistas of research possibilities.
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Kim, William, and Torunn Sivesind. "Patient Perceptions of Dermatologic Photography: Scoping Review." JMIR Dermatology 5, no. 1 (January 26, 2022): e33361. http://dx.doi.org/10.2196/33361.
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Background Medical photography is used extensively in dermatology to record disease progression, measure treatment response, and help teach patients about skin disease; such photos are also commonly utilized in teledermatology, medical education, research, and medical reference websites. Understanding patient perceptions of medical photographs obtained during dermatologic care in the clinic or hospital setting is critical to enable the delivery of high-quality, patient-centered medical care. Objective The aims of this study were to elucidate patient perceptions of skin photos in dermatology and to explore possible next steps in improving the patient experience with medical photography in the hospital or clinic setting. Methods A scoping review of the literature was performed using the PubMed database, with clinic- or hospital-based full-text publications in English spanning the last 10 years considered for inclusion. Results The majority of included studies (10/11, 91%) found positive patient attitudes toward medical photographs. The majority of patients (1197/1511, 79.2%) felt that medical photographs could improve medical care in the clinic setting. Written consent detailing all photo uses, including secondary uses (such as research or teaching), was preferred, apart from in 1 study. Patients preferred or found it acceptable for the photographer of their medical photos to be a physician (1301/1444, 90.1%). Clinic-owned cameras with departmental record storage were the preferred modality. Latinx and African American patients expressed less trust in the utility of medical photographs to improve care, compared with Asian and White patients. The minimal number of available publications on this topic and the inclusion of articles older than 5 years are limitations, since patient perceptions of medical photography may have rapidly changed during this time span, particularly in light of the COVID-19 pandemic and the subsequent increase in teledermatology visits. Conclusions Patients reported positive perceptions of dermatologic photography for improving their medical care. Ethnic disparities in patient perceptions require further exploration to better elucidate nuances and develop interventions to improve the experience of marginalized patients. Building patient trust in nonphysician photographers may enhance clinic efficiency. Although clinic-owned cameras are well-accepted by patients, improved patient education surrounding the safety of electronic medical record phone applications is needed.
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Reynolds, Rebecca A., Lawrence B. Stack, and Christopher M. Bonfield. "Medical photography with a mobile phone: useful techniques, and what neurosurgeons need to know about HIPAA compliance." Journal of Neurosurgery 132, no. 1 (January 2020): 260–64. http://dx.doi.org/10.3171/2018.8.jns182075.
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Medical photographs are commonly employed to enhance education, research, and patient care throughout the neurosurgical discipline. Current mobile phone camera technology enables surgeons to quickly capture, document, and share a patient scenario with colleagues. Research demonstrates that patients generally view clinical photography favorably, and the practice has become an integral part of healthcare. Neurosurgeons in satellite locations often rely on residents to send photographs of diagnostic imaging studies, neurological examination findings, and postoperative wounds. Images are also frequently obtained for research purposes, teaching and learning operative techniques, lectures and presentations, comparing preoperative and postoperative outcomes, and patient education. However, image quality and technique are highly variable. Capturing and sharing photographs must be accompanied by an awareness of the legal ramifications of the Health Insurance Portability and Accountability Act (HIPAA). HIPAA compliance is straightforward when one is empowered with the knowledge of what constitutes a patient identifier in a photograph. Little has been published to describe means of improving the accuracy and educational value of medical photographs in neurosurgery. Therefore, in this paper, the authors present a brief discussion regarding four easily implemented photography skills every surgeon who uses his or her mobile phone for patient care should know: 1) provide context, 2) use appropriate lighting, 3) use appropriate dimensionality, and 4) manage distracting elements. Details of the HIPAA-related components of mobile phone photographs and patient-protected health information are also included.
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Shetty, Sharath Kumar, Arushi Verma, Mahesh Kumar Y, and Vijayananda K. Madhur. "Clinical Photography in Orthodontics." Scholars Journal of Dental Sciences 8, no. 7 (August 13, 2021): 220–23. http://dx.doi.org/10.36347/sjds.2021.v08i07.006.
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Clinical photographs are essential for maintaining patient records, patient education, diagnosis and treatment planning. The application of photography in dental practice is simple, quick and particularly useful in documenting of work, assisting in patient education and helping in clinical investigations, thus benefits dentists and patients. Its widespread application include self-checking of one’s own results, illustration of lectures and publications, marketing and accomplishing electronic tele dental systems.
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Dorofeeva, Yuliya, and Aleksey Moiseev. "Systematization of theory and methodology for teaching advertising and portrait photography based on the Russian experience." E3S Web of Conferences 210 (2020): 18112. http://dx.doi.org/10.1051/e3sconf/202021018112.
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This article aims at systematizing the key methods, principles, and approaches that underlie the proprietary integrated methodology for teaching advertising and portrait photography. Summarizing the authors’ wealth of educational expertise and successful experiments in teaching photography in Russia has become the primary objective of this article. The main research methods we employed were as follows: comparative analysis and pedagogical experiment (ascertaining, searching, educational). Findings: Essential aspects of the proprietary integrated methods of teaching advertising and portrait photography have been described; the global and domestic experience of teaching photography has been summarized. The proprietary integrated methods for teaching advertising and portrait photography has been tested by the authors in the systems of higher education, secondary vocational education, and continuing professional education in various fields and areas: design, computer graphics, art photography / photo art, the history, theory, techniques, and technology of photography, including advertising and portrait photography. The following institutions have become the main testing platforms: GOU VO MO Moscow State Regional University, the Arts and Design School under ANO VO Business and Design Institute, the School of ANOO VO Russian University of Cooperation under the Central Union of Consumer Societies of the Russian Federation (Centrosoyuz of Russia). The article suggests a classification of the aspects essential for advertising and portrait photography, provides recommendations for how to teach these types of photography, along with featuring the statistics on successful/failed students’ assignments and providing examples of copyrighted photographs taken for magazines.
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Cura, Mariana, Hélio Alves, and José Paulo Andrade. "Medical Photography Usage Amongst Doctors at a Portuguese Hospital." International Journal of Environmental Research and Public Health 19, no. 12 (June 14, 2022): 7304. http://dx.doi.org/10.3390/ijerph19127304.
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Technological advancements in smartphones have made it possible to create high-quality medical photographs, with the potential to revolutionise patient care. To ensure the security of the patient’s data, it is important that medical professionals receive informed consent from the patient, that physical conditions are met to take a photograph, and that these medical images are stored correctly. This study aimed to determine if medical professionals of an academic hospital make use of medical photography, and how the content is obtained, stored, transferred, and used. Methods: A 30-question questionnaire was distributed across 29 medical departments at Centro Hospitalar Universitário de São João (CHUSJ), a tertiary referral and teaching hospital in Porto, Portugal, with approximately 900 medical professionals. Quantitative statistical methods were used to analyse questionnaire responses. Results: There were a total of 257 respondents. Of these, 93% used medical photography, 70% used it to document a patient’s clinical progress, 70% to ask for a second opinion, 56% for education, 65% for research and publication, and 68% to present at medical conferences. Medical photography was used by 33% weekly and 36% monthly, with 71% of respondents always asking for the patients’ consent before taking a photograph. Doctors aged 20–40 years used photography more often than doctors over 40 years of age to document the clinical progress of the patients (77% and 52%, respectively, p = 0.01) and to ask for a second opinion (78% and 52%, respectively, p < 0.001). Conclusions: Our study shows that medical photography is a common practice amongst medical doctors. However, appropriate measures need to be created to obtain patients’ consent, store images, and sure the security of patients’ information.
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Nam, Tack-Oon. "Photography's educational study : Against practical-based curriculum in photography education." Journal of Digital Convergence 14, no. 2 (February 28, 2016): 359–67. http://dx.doi.org/10.14400/jdc.2016.14.2.359.
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Choi, Jeongho, and Dukhwan Kim. "A Study on the Reality and Artistic Value of Realistic Photography." Asia Europe Perspective Association 21, no. 2 (June 30, 2024): 135–49. http://dx.doi.org/10.31203/aepa.2024.21.2.135.
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This study explores the essence and evolution of photographic art, focusing on the debate surrounding the reality and artistic value of realistic photography. It examines the progression of photography from a mere recording tool to an independent art form and analyzes how the advent of the digital age has expanded the modes of expression and artistic value of photography. The study systematically reviews the technological advancements and artistic expressions from the invention of early photography to modern digital photography. The study emphasizes that the reality of photography is not a simple replication of reality but a reconstructed reality through the photographer’s subjective interpretation and creative intervention. Based on Susan Sontag's theories, it discusses the social, cultural, and personal interpretations of photographic images and explores the impact of digital technology on the truthfulness and ethics of photography. The significance of this study lies in its reevaluation of the artistic value of photography and the presentation of new artistic possibilities in the digital age. It suggests the integration of factual accuracy and creativity, the delivery of social messages, and the creative use of digital technology as essential for the advancement of photographic art. It also highlights the importance of comprehensive photography education. In conclusion, the artistic value of realistic photography can be secured through the harmony of factual accuracy and creativity. Continuous exploration of new artistic possibilities, reflecting the changes brought by the digital era, is essential. Through this, photographic art will evolve into richer and more diverse forms, playing a crucial role in conveying social messages.
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Lee, Anjung, and Jaewoong Yoon. "A Study on Poetry Writing Education Using Photography." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 4 (February 28, 2023): 621–38. http://dx.doi.org/10.22251/jlcci.2023.23.4.621.
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Objectives This study searched for a method to enhance both writing poetry and quality of media language education, using photographic images in a poetry writing class. Focusing on the similarity of the meaning structure of photography and poetry, confirmed that self constructed idea and embodying the nature of the metaphoric experience of poetry writing education was possible. Teaching writing a poetry shall start from teaching and learning that can profoundly use poetry in the daily lives and express stories that can be empathized. Writing photographic poetry class where a student can implement a special meaning in their daily lives, is composed of student activity oriented class. Likewise, photographic poetry is a result of emotional relationship creation, embodying the value and ideology they want to reveal into a poetry, using the photographic images they have chosen.
Methods The objects of this study were 278 male students in Y highschool of Seoul, second grade, 11 classes. In this study, chose second grade students of Y highschool, got permissions beforehand and set the research period from the 19th of September to 24th of October in 2022, and proceeded research class. Collected activity report and survey as soon as the class ended and analyzed the results.
Results Learning the expression of ‘self-compositional ideas’ and ‘the substance of metaphorical experiences’ expressed in the process of poetry classes using photography was able to solve the problems of learners who avoid poetry writing classes and burden from vague poetry writing tasks. In addition, through a series of processes from photo planning and photography, learners' participation and satisfaction in class were greatly improved, and the effectiveness of classes and the quality of lectures were improved. The results of the poem writing class using the photos of this study are summarized as follows. First, students became interested in poetry class. Second, through photographic poetry writing class conducted in a free atmosphere, it was confirmed through survey results that they had no difficulty in expressing their emotions in poetry language. Third, by sharing their photographies and poetries with their friends, they grew in confidence in writing a poetry.
Conclusions In the future, research on incorporated literature teaching research shall be activated, for each level poetry writing of students who live in the era of social network. Hoping this tendency of change in literature education for the new era after the pandemic to prolong, there should be various poetry writing class method beyond single poetry writing class.
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Dukic, Zlatomir. "Depth of field in dental photography and methods for its control." Serbian Dental Journal 61, no. 3 (2014): 149–56. http://dx.doi.org/10.2298/sgs1403149d.
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The emergence of photographs has been a milestone in the development of society by making life richer and more comprehensive. Dental photography as part of clinical medical photography plays a role primarily as a document, but also as a tool for educating students and continuing education of dentists. The aim of this paper is to present possible applications of traditional and digital photography in dentistry at the present stage of technological development. Dental photography requires some knowledge and equipment to obtain quality images of intraoral structures. The control of depth of field (DOF) is one of the important factors for successful dental photography. DOF can be controlled by changing relative aperture, using special lenses with decentring to achieve the effect of Scheimpflug?s principle as well as the use of specialized software which uses series of images with selective focus to form a composite picture. Special significance of dental photography is documentation and ability to record maximum information in conditions that can be repeated. Standardization of conditions during recording oral cavity, adequate storage and archiving of dental photographs are also important prerequisites for quality and useful photography.
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Mago, Zdenko, Łukasz P. Wojciechowski, Magdaléna Balážiková, and Amiee J. Shelton. "Learning by Playing. A Case Study of the Education in Photography by Digital Games." Journal of Education Culture and Society 14, no. 1 (June 20, 2023): 465–79. http://dx.doi.org/10.15503/jecs2023.1.465.479.
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Aim. The study aims to explore the current state of digital game-based learning to reflect the extent, possibilities, opportunities, and limitations of its implementation in the specific field of education as visual art, especially photography. Method. The explorative study employed the method of theoretical analysis of available literature and other secondary sources related to the issue, and subsequently applied the method of an illustrative (descriptive) case study. Results. Photo modes of commercially available digital games, originally intended to increase the players’ retention and participation, have led to the birth of a new art form, virtual photography. The technology of photo modes in a larger variety of recent games has made virtual photography available to significantly more players. Photo modes provide artistic control and creative options alongside a whole catalogue of lenses, camera parameters, and other features, reducing the financial burden associated with the purchase of photographic equipment. Furthermore, photo modes offer more than just a substitutable alternative to traditional photography, as added artistic value is found within virtual worlds. Conclusions. Despite some limitations regarding the overall implementation of digital game-based learning in photography classrooms, photo modes of commercially available digital games are a suitable tool for educational efforts in photography through both self-development and measurement of outcome-based learning.
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Damarjati, FX. "RELASI SUBJEK, OBJEK, DAN NILAI PADA PENCIPTAAN KARYA FOTOGRAFI SENI NICO DHARMAJUNGEN." Jurnal Dimensi Seni Rupa dan Desain 19, no. 2 (February 28, 2023): 235–52. http://dx.doi.org/10.25105/dim.v19i2.16454.
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In the discourse of fine arts, photography is a medium for expressing the expression of its artists whose practice has been similar to other processes of art creation. Expressive photography has become more subjective than other genres such as journalistic and commercial. It is this difference that makes expression photography an interesting discourse to research from the creation process, the embodiment of the work to the presentation technique. An important element in the process of embodiment of expressive photography is the relationship between the subject, object and the value of the artist’s thoughts. The subject as a photographer/creator/artist undergoes aesthetic and artistic experiences that are heavily influenced by his own history, formal education in art schools, experience of undergoing continuous photography practice, experience of observing and seeing the development of photography both in Indonesia and western country. It is this influence that makes the subject become more mature in choosing objects so that they have value and meaning for their photography career journey as well as being wiser in choosing the stories implied in their photographic works of art. In this study, the figure of Nico darmajungen was deliberately chosen considering the criteria above in accordance with his figure. Moreover, his photography styles have brought about a change in the paradigm of photography in Indonesia. The conclusion of this study is that the aesthetic experience experienced by artists and spectators becomes a major stage before works of art are created. Aesthetic experience has stimulated the brain to create works in accordance with the artistic experience that is practiced. The stages that occur subconsciously but are always repeated in the creation of a work of art seem to be a bridge to read an artist’s creative process.Keywords: Art Photography, Nico Dharmajungen, Art Objects, Art Value, Art Subjects
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Lipson Lawrence, Randee. "Trouver L’extraordinaire dans L’ordinaire." Canadian Journal for the Study of Adult Education 32, no. 2 (June 10, 2020): 1–16. http://dx.doi.org/10.56105/cjsae.v32i2.5588.
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As an adult educator, I often incorporate creative expression into my teaching practice through engaged pedagogy and student assignments. My major influences came not from education but from the art world and natural surroundings. In the 1990’s, I discovered New Brunswick-based photographer Freeman Patterson. His style and philosophy of photography not only influenced my own photography but also found its way into my academic practice. In 2001, I visited Ghost Ranch Education and Retreat Center in Abiquiu, New Mexico and knew I had found a spiritual home among the red rocks and wide-open spaces. I identified with Georgia O’Keeffe who lived there for many decades. I taught creativity and photography there but also started bringing more creativity into teaching graduate students in adult education. This article chronicles my transformative journey as an artist and educator, using original photography and personal narrative. I offer practical strategies for teaching and learning
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Naldi, Chiara. "Florence’s schools photographic heritages: themes and method of a work in progress research." Rivista di Storia dell’Educazione 9, no. 2 (November 25, 2022): 63–74. http://dx.doi.org/10.36253/rse-13259.
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This contribution intends to define aims and methodologies of a research project on Florence’s school photographic heritages between Nineteenth and Twentieth century. The research is part of relevant national interest project on school memory and proposes a first and partial reconstruction of the significant role of photography in visual school memories. The research methodology intertwine History of Education with History of Photography and starts from the photographic objects found in the single schools to investigate the historical and pedagogical contests in relationship with their photographic representation. Focusing on three cases studies, the research project aims to investigate the different using of photography at school, it also exploring the specific visual culture developed between different approaches, experiments and views on students and teaching activity.
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Erceg, Nataša, Ivica Aviani, and Vanes Mešić. "Using photographs to elicit student ideas about physics: The case of an unusual liquid-level phenomenon." Canadian Journal of Physics 92, no. 1 (January 2014): 9–17. http://dx.doi.org/10.1139/cjp-2013-0302.
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This work is aimed at exploring some pedagogical opportunities of using photographs in physics instruction. In our study, the photography has been used for eliciting and probing students’ ideas regarding the physics of fluids in noninertial frames of reference and under conditions of equilibrium. The study involved a heterogeneous sample of 235 secondary school students, 41 physics students, and 48 physics teachers. They were presented with a photograph of a wine glass filled with liquid whose surface appeared inclined. The students were asked to comment on the reality of the phenomenon captured in the photograph, and the teachers were asked to predict the students’ responses. The results showed that about half of the students had a complete or partially complete understanding of the physical ideas and that their practical and conceptual knowledge was not dependent on their education level or curriculum followed. Most of the respondents found the task interesting and relevant. The results indicate that the teachers’ expectations regarding students’ understanding of physics often significantly depart from reality. We suggest that physics teachers include some photography-based problems and discussions in their classes. This could encourage a broad participation of students with different levels of abilities.
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Biarincová, Patricia. "Documentary photography in art education." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 10 (2015): 87–98. http://dx.doi.org/10.16926/ep.2015.10.06.
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Breeden, Lori E. "Occupational Therapy Home Safety Intervention via Telehealth." International Journal of Telerehabilitation 8, no. 1 (July 1, 2016): 29–40. http://dx.doi.org/10.5195/ijt.2016.6183.
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Photography can be an effective addition for education-based telehealth services delivered by an occupational therapist. In this study, photography was used as antecedent to telehealth sessions delivered by an occupational therapist focused on narrative learning about home safety. After taking photographs of past home safety challenges, six participants experienced three web-based occupational therapy sessions each. Sessions were recorded and transcribed. Data were examined using content analysis. A content analysis identified the following themes as well as an understanding of the learning process. Analyses yielded themes of: the value of photos to support learning, the value of narrative learning related to home safety education, abstract versus concrete learners. Procedural findings are included to support future endeavors. Findings indicate that within a wellness context, home safety education for older adults can be delivered effectively via telehealth when using photography as a part of an occupational therapy intervention.
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Lynn, Darren, Trevor Jones, Jacob Whitsitt, Ritika Trikha, Megan J. Schlichte, Chante Karimkhani, Lindsay Boyers, Helena Winston, Cory A. Dunnick, and Robert P. Dellavalle. "The impact of ultraviolet photography on the sun safety awareness and behavior of skiers and snowboarders." Journal of Epidemiological Research 2, no. 1 (September 21, 2015): 9. http://dx.doi.org/10.5430/jer.v2n1p9.
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Objective: Snow sport enthusiasts, such as snowboarders and skiers, are a less studied population at significant risk for ultraviolet(UV) exposure due to long hours spent at high altitudes with more intense UV radiation. Studies have documented the efficacy ofUV photography to impact sun protection habits by individuals with a range of skin cancer risk factors. Informing snow sportenthusiasts of their sun damage through UV photography may be a way to change this population’s perception and behavior of sun protection.Methods: A UV camera was utilized at the 2013 SnowSports Industries America Snow Show in Colorado to assess the levelof accumulated sun damage in show attendees. A follow-up survey was performed at this same event one year later in 2014. Participants at the 2013 event were recruited to a UV camera booth and completed a ten-question pre-survey assessing baselinesun-safety awareness and behaviors. Full-face frontal photographs using two different UV camera models were then takenand shown on a digital screen to the participants. Individualized education was provided regarding the degree of sun damage revealed by the intervention as well as sun safety recommendations. Participants were at the 2013 event were then contacted viaemail six months later to complete a ten-question survey on surveymonkey.com. The survey assessed the permanence of the UV photography intervention on sun habits over the duration of the ski/snowboard season. Email was used for communication purposes after a poor response rate using telephone for a one-month post-intervention follow-up.Results: The 2013 post-intervention study revealed a 41% response rate (n=46) with overall positive influence of UV photographyon sun protection behavior in the survey. Post-intervention survey results for the 2014 study with an observed response rate of 28% (n=37) with a similar overall positive influence of our intervention on sun protection behavior.Conclusions: UV photography-based interventions and education may impact sun-safety behavior in high-risk populations such as skiers and snowboarders that may otherwise not receive appropriate education regarding the dangers of UV exposure and prevention of skin cancer. However, more controlled studies should be conducted to positively associate UV photography intervention and education and sun safety behavior.
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La, Kristie. "“Enlightenment, Advertising, Education, Etc.”: Herbert Bayer the Museum of Modern Art's Road to Victory." October 150 (October 2014): 63–86. http://dx.doi.org/10.1162/octo_a_00201.
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“In the beginning was virgin land and America was promises.”2 So began the text panel located in the opening panorama of the photo exhibition Road to Victory: A Procession of Photographs of the Nation at War that the Museum of Modern Art organized in 1942 and circulated between 1943 and 1945. Years before Edward Steichen became curator of photography at MoMA and organized the global blockbuster exhibition The Family of Man, he combed government, press, and corporate archives to select the photographs for Road to Victory, his first curatorial project at the museum. Encircling the opening text were large photographic panels of picturesque landscapes, stern Native Americans, and a few buffalo. The largest panel—of pristine mountain valleys—was sixteen by twelve feet, making the viewer about the same height as the three portraits of Native Americans. Exhibition designer Herbert Bayer, recent Austrian émigré and former Bauhaus master, removed the walls from the second floor of the museum, using the large-scale photographs to structure the exhibition architecturally. Arranged in a semicircle, these opening panels welcomed the viewer and urged him to follow the curve into the exhibition.
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Coronel, Jose M., and Iván Rodríguez Pascual. "Let Me Put It Another Way: Methodological Considerations on the Use of Participatory Photography Based on an Experiment with Teenagers in Secondary Schools." Qualitative Research in Education 2, no. 2 (June 28, 2013): 98–129. http://dx.doi.org/10.4471/qre.2013.20.
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This article reflects on the use of participant photography as a methodological component of a qualitative research study into student intercultural relations in four secondary schools in Spain. Forty boys and girls took part and we selected over 400 photographs they had taken. The article draws attention to the importance of student ‘voices’ to show the interaction processes and the value of participatory photography as an approach that encourages their participation beyond the traditional interviews and field observations. The results acknowledge the value of photography to reflect the relationships among adolescents. However, while the experiment was positively rated by the participants, the study recognises the risks taken and the achievements, constraints, dilemmas and difficulties encountered by the investigators carrying out the research.
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Britsch, Susan. "Exploring science visually: Science and photography with pre-kindergarten children." Journal of Early Childhood Literacy 19, no. 1 (April 6, 2017): 55–81. http://dx.doi.org/10.1177/1468798417700704.
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This paper presents initial findings from a project that explored the use of digital cameras by preschool children in classroom science investigations. Children’s science experience was viewed through a multimodal, social semiotic lens. A qualitative approach to data analysis was used to track and codify the visual choices made by the child photographers. This paper characterizes the precise visual choice-making in which the children engaged to compose their photographs. Focusing on one investigation of mixture and separation, the paper contrasts case studies of two of the focal children, arguing that a series of child-composed photographs can be viewed as a visual structuring of perceptual experience. In fact, the photographs provided visual evidence of the children’s relationships to the investigation. These photographs are also compared with the children’s post-investigation drawings to demonstrate differences in the use of image-as-photograph and image-as-drawing to visually characterize their roles in the science investigation.
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Yavuz, Ozan. "Reflections Ecole and Style Issues of Turkish Photography to Photography Education." Procedia - Social and Behavioral Sciences 106 (December 2013): 2222–29. http://dx.doi.org/10.1016/j.sbspro.2013.12.253.
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Mureșan, Anca. "PHOTOGRAPHY IN THE PRACTICE OF CONTEMPORARY PAINTING. A PEDAGOGICAL PERSPECTIVE." Studia Universitatis Babeș-Bolyai Historia Artium 68 (December 30, 2023): 165–88. http://dx.doi.org/10.24193/subbhistart.2023.07.
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Photography in the Practice of Contemporary Painting. A Pedagogical Perspective. Photography is a technological medium that suffers continuous evolution. From its earliest developments to the various types of recent printing, the photographic image has become an avatar of the world. Since images are irreversibly intertwined with human activity, their usage becomes an increasingly frequent practice in the area of traditional creative techniques. This article discusses some examples of this usage in the context of contemporary painting studios in higher education. Photography is accessed by young students and the foray into photographic documentation is now an inevitable tool. The way students use it as an intermediary can be disruptive to their learning process, as long as the role of photography in painting practice is not fully comprehended. There are different ways of integrating photography into the practice of contemporary painting. The present article addresses conceptual aspects, presents several particular situations and launches some perspectives for better understanding these practices. Photography is a tool, not an end, but what happens when these terms juxtapose or are taken for granted? What kind of painting results out of the practical process “contaminated” by photography? However, if technology is properly and timely integrated in the practice of painting, one can no longer talk about a “contamination”, but rather about a conscious process able to generate quality painting. Keywords: painting, photography, hyper-realism, photorealism, contemporary art, art teaching, art pedagogy, art courses, artist, contemporary painters
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Ijisakin, Eyitayo Tolulope, Feyisara Sunday Omolola, and Olufemi Joseph Olaleye-Otunla. "Of moments and memories: remembering and the art of photography in the works of Sunmi Smart-Cole." Global Journal of Arts, Humanities and Social Sciences 10, no. 10 (October 15, 2022): 1–21. http://dx.doi.org/10.37745/gjahss.2013/vol10n10121.
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Photography has served the purpose of documentation, information, education and creation of works of art. Telling stories without the illustrations such as what photography provides is somehow abstractive. Creative photography as evident in the works of Smart-Cole has aided the proliferation of images arising from improvement in technology than any other work of art. This study investigates photography through the lens of literature; how Sunmi Smart-Cole found his métier in photography and analysed moments and memories in the works of Sunmi Smart-Cole. Data were collected through in-depth interviews with Smart-Cole, and from journal articles, books, and Internet sources. Data collected were analysed using the descriptive approach of art historical research. The study argues that with photography, the world is offered a series of discrete histories and sets of anecdotes and faits divers. It concludes that Smart-Cole’s photographs generally arouse interest, desire and curiosity, they also reflect spontaneity; the narratives are useful memories that aid the remembering of diverse contexts of identity, and the socio-political history of the Nigerian nation.
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Bowcock, L. "Reports: Photographic Education Group Conference - Careers in Photography Sheffield 2 March 1987." Journal of Audiovisual Media in Medicine 10, no. 4 (January 1987): 152. http://dx.doi.org/10.3109/17453058709150474.
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Morris-Reich, Amos. "Two Modes of Political Engagement in Contemporary Israeli Art Photography." IMAGES 11, no. 1 (December 4, 2018): 85–108. http://dx.doi.org/10.1163/18718000-12340085.
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AbstractRanging from photojournalism to landscape photography from the late 1980s to the present, this article studies the ways in which Israeli still art photography has engaged politically with the Israeli-Palestinian conflict. Following historical contextualization of the emergence of critical engagement in the late 1980s and the iconography of the conflict during the first Intifada, and after introducing notions from the sociology of critique, the article uses distinctions made by art photographers in classifying themselves and their peers and identifies two contrasting poles that mark the extremities of the field. Based on the understanding of the distinctness of photography as a medium with regard to the ways the photographer draws on signs from reality, the article characterizes the two modes of engagement as “indirect” or “direct.” The indirect mode is metaphorical, evading the easily identifiable iconography of the conflict; the direct mode focuses on its already visually fixed expressions in order to place its image before the eyes of viewers. The article then illustrates both modes with photographers who consistently pursue either a direct or an indirect mode of engagement and argues for a close relationship between each of the two modes and a distinct conception of politically engaged photographic critique. The article argues that the two modes differ both in terms of their conception of photography and with regard to their conception of politics and political education. Without ignoring ambivalence, which is built into the medium of photography, or the ambiguities built into any attempt of classification, the aim of the article, ultimately, is to bring to the surface the contrasting foundations of the two modes and the methods of engagement to which they are tied.
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Biarincová, Patricia. "Fotografia dokumentalna w edukacji artystycznej." Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 22, no. 3 (2023): 112–17. http://dx.doi.org/10.54937/ssf.2023.22.3.112-117.
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Documentary photographs of Karel Plicka, Martin Martinček are interesting for us not only as valuable historical documents, but also for their great artistic value. In this paper we will present practical examples of how documentary photography can be used in contemporary visual art education.
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Salas, Xavier Motilla, and Sara González Gómez. "RESEARCH AND TEACHING WITH PHOTOGRAPHS: HISTORICAL AND EDUCATIONAL PHOTOGRAPHY RESOURCES IN ILLUSTRATED MAGAZINES (MAJORCA, SPAIN, 1902-1936)." História da Educação 22, no. 56 (December 2018): 38–56. http://dx.doi.org/10.1590/2236-3459/79878.
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Abstract The origins of the illustrated press on the island of Majorca (Spain) date to the last two decades of the 19th century when visual records received a major push thanks to the consolidation of new graphic printing techniques, favouring more illustration and photography in the local press - an aspect that further strengthened in the early 20th century in news magazines. Subsequently, and running parallel to the development of international print media, photography was introduced into different media publications in Majorca, often adopting the term 'illustrated magazine'. And the news reports in these general or specialised illustrated publications are precisely where we come across different photographic and/or photojournalism reports on schools and education in general in Majorca, as well as illustrated advertising for education establishments. This article will offer an approach and analysis of the photographic resources contained in the different illustrated magazines on the island from the first three decades of the 20th century. We will also look at the image of schools from the period and the out-of-school education they provided, as well as the possible potential and uses the images represent for didactics in the history of education field.
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Allen, Quaylan. "Examining the Multiple Sites of Meaning in a Participant Photography Project With Black Male College Students." International Journal of Qualitative Methods 19 (January 1, 2020): 160940692094409. http://dx.doi.org/10.1177/1609406920944090.
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Participant photography is a visual method that has been widely used in research to elevate the voices of historically marginalized populations. Although much has been written about the nature of the visual method, including its benefits and challenges, less is known about how meaning is made of the visual images as they move throughout the research process. To this end, this article draws upon data and the methodological notes from a research study examining Black masculinities and employs a critical visual methodology to examine the different sites of meaning-making in a participant photography research project with Black college men. First, the participant reflections on the visual methodology will be used to examine the image production process, which includes the men’s decisions regarding photographic tools and their image-making strategies. Then, select images from the project and the corresponding narratives will be shared and situated within the social context in which they were produced. Finally, this article will discuss practical and ethical considerations regarding the circulation and audiencing of the project images and conclude with a discussion of the lessons learned in using a critical visual methodology to explore how meaning is made in a participant photography project with Black men.
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K.S., Sahasrabudhe,, and Shah, V. "Design Fundamental through Photography: Teaching approach in Higher Education." CARDIOMETRY, no. 24 (November 30, 2022): 743–51. http://dx.doi.org/10.18137/cardiometry.2022.24.743751.
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Introducing photography to a design student is a challenge. They must have a basic understanding of design fundamentals. Hence, it becomes easy to visualize a composition and techniques of light painting. Visual literacy is implemented from the foundation course of design college. However, they are parts of the study of art and design, design fundamentals, sketching and drawing, and visualization techniques. Students are introduced to photography as a core subject. Thus they are to be trans-mediate from drawing/sketching-medium to photo/ light-medium from the second year of their college day. To device a specific task that will get the student an understanding of the process of photography. This systematic literature review is designing, evaluating, and authenticating the course Introduction to Photography assignment. Thus, this research is reflective research to plan an assignment and evaluate the assignment using eye-tracking and other research tools to analyze the findings to achieve well-documented outcomes. Thus, helping students to comprehend a well-designed and researched assignment with confirmed evidence. It is an action plan for the prerequisite assignment of Introduction to Photography. This research will be a steppingstone for creating photography taxonomy in detail to calibrate students learning in photography.
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Licul, Nina. "Teachers’ Views on the Use of Photography in Teaching Arts in Croatian Primary Schools." Center for Educational Policy Studies Journal 10, no. 4 (December 22, 2020): 187–205. http://dx.doi.org/10.26529/cepsj.909.
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Contemporary art education relies on the use of diverse methods, approaches, art techniques, and technologies. Although photography is part of daily visual communication and gallery exhibitions, there is no structured approach to photography as a medium for learning the arts in Croatian primary schools. The objectives of the quantitative study were to determine art teachers’ views on (1) their knowledge about photography, (2) their abilities in using photography in art teaching, (3) obstacles to using photography in art teaching, and (4) the importance of photography in students’ visual culture. Regarding the fourth objective, we wanted to examine possible differences in terms of the teachers’ gender, age, and length of service. A survey was conducted with 112 teachers who teach arts in 5th to 8th grades in 17 Croatian counties. The results of the descriptive statistics were supplemented with a qualitative analysis of the teachers’ responses in the questionnaire. The results show that the teachers perceive their knowledge about photography obtained by formal education as average, but they assess their abilities to apply photography in their lessons as slightly better. The main problem, in their view, is a low number of art lessons in the Croatian curriculum. The teachers generally agree that photography is very important in a student’s visual culture, regardless of the teachers’ gender, age. and years of service. These findings indicate the need to place greater emphasis on photography as an artistic medium in primary school, as it may generate new visual knowledge and artistic skills.
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Newbury, Darren. "Talking about Practice: photography students, photographic culture and professional identities." British Journal of Sociology of Education 18, no. 3 (September 1997): 421–34. http://dx.doi.org/10.1080/0142569970180307.
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Aina, Salma Qurrotu. "FASHION PHOTOGRAPHY ON INSTAGRAM: A STUDY OF VISUAL ATTRACTION AND MESSAGES DELIVERED." Arty: Jurnal Seni Rupa 11, no. 2 (July 11, 2022): 41–55. http://dx.doi.org/10.15294/arty.v11i2.53871.
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Fashion photography that was previously distributed through printed media such as magazines, is now also distributed online through social media such as Instagram. Seeing these developments, this study aims to examine the form, visual appeal, and messages conveyed by fashion photography in Instagram’s content. This study uses a descriptive qualitative research approach with analysis of visual methods. Observations and interviews were used for data collection, sourced from fashion marketing accounts on Instagram, and from other Instagram users with photography and fashion education backgrounds. The results show that the form of fashion marketing photography varies depending on the concept and product being sold. Photos that are unique, different, and use good compositions are favored by the participants. Each photo has its own theme and message concept, but each photo shows that anyone can look cool and attractive if they use the fashion products shown in the photos. So, the fashion photography used in Instagram content should look unique and different, with good photographic composition, and easy-to-understand messages.