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Journal articles on the topic 'Photography in literature'
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1
Huen, Antony. "Photographs, Photography and the Photographer." Wasafiri 34, no. 3 (July 3, 2019): 59–63. http://dx.doi.org/10.1080/02690055.2019.1613016.
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Battin, Justin Michael. "Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context." Review of International American Studies 15, no. 2 (December 31, 2022): 49–70. http://dx.doi.org/10.31261/rias.14868.
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In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explores these photographs through the lens of the “event of photography,” a term emphasizing the temporal moment when a photographer, photographed subject, and camera encounter one another. With this interpretation, photographs are positioned as historical documents and the practice of photography as a civil and political matter, thus inviting new possibilities to read political life through its visual dimension, as well as to trace different forms of power relations made evident during the ‘event.’ This paper uses phenomenological reflection to explore the meshwork manifestation of these power relations, and articulate how they provide insights about one’s place and responsibility within that ‘event’ in a range of relational contexts.
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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.
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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”
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Chervonik, Olena, and Geoffrey Batchen. "Negative Thinking - A History of the Photographic Negative as a Repressed Other: Conversation with Geoffrey Batchen." Master, Vol. 5, no. 2 (2020): 106–10. http://dx.doi.org/10.47659/m9.106.int.
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Olena Chervonik talks with Geoffrey Batchen about his two most recent publications: Apparitions: Photography and Dissemination, that reached bookshelves in 2018, and Negative/Positive: A History of Photography, slated for release later in 2020. The conversation revolves around the photographic condition of reproducibility, repetition and difference, embedded in the medium from the time of its inception. While Apparitions explores photography’s relation to various newsprint outlets of the nineteenth century, Negative/Positive traces a comprehensive history of the medium’s propensity for multiplication, predicated on the dependence of photographs on the function of a negative, which, according to Batchen, seems to be a repressed Other in photographic history. A vehicle that enables reproducibility, a photographic negative is rarely discussed in critical literature and even more rarely reproduced or featured in the exhibition space. Batchen ponders this occlusion of a medium’s critical component, suggesting that a negative is linked to photography’s operation as capitalist mode of production. By omitting to profile a negative, we naturalize capitalism’s operational logic – a condition that clearly needs to be upset by directing a critical, revelatory, and thus politically engaged spotlight on photography’s predilection for image massification. Keywords: photography, negative, reproducibility, commodification, massification, capitalism, politics of resistance
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Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN." Victorian Literature and Culture 33, no. 1 (March 2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.
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AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was developed by Tate curator Richard Humphreys and Butler scholar Elinor Shaffer, with the support of librarian Mark Nicholls from St. John's College at Cambridge, which houses most of Butler's extensive photographic work in its special collections. Titled “Samuel Butler and the Ignorant Eye,” after Shaffer's notion in her Erewhons of the Eye: Samuel Butler as Painter, Photographer, and Art Critic (1988) that Butler's photography renders “the eye of the viewer … ignorant and open” (229), the black-and-white secularism of Butler's work offered a startling change in imagery from the intense colorism of “Rossetti and Medievalism,” the exhibit that preceded it in Gallery sixteen.
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Hoffman, Jesse. "ARTHUR HALLAM’S SPIRIT PHOTOGRAPH AND TENNYSON’S ELEGIAC TRACE." Victorian Literature and Culture 42, no. 4 (September 19, 2014): 611–36. http://dx.doi.org/10.1017/s1060150314000229.
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Blanche Warre Cornish's 1921–22tripartite memoir, “Memories of Tennyson,” begins in 1869 when she meets the poet by way of her parents’ friendship with Tennyson's neighbor, the photographer Julia Margaret Cameron (145) (Figure 1). The photograph that Cornish recalls as “psychophotography” is one instance of a trend in Victorian England of spirit photography that was first practiced around 1872 after it was imported from America, where William Mumler had developed it (Tucker 68; Doyle 2: 128). Reactions to these spirit photographs took various forms: while some viewers regarded them as a credible medium for communication with the dead, their detractors saw them as deliberate acts of deception. Others employed photography's spectral qualities for entertainment, such as the London Stereoscopic Company that had marketed photographs of angels, fairies, and ghosts for their customers’ amusement in the 1860s (Chéroux 45–53). By the time the “shadowy figure of a man” appears beside Arthur Hallam's erstwhile fiancé, Mrs. Jesse, Tennyson's sister, the practice had been subject to public intrigue and scandal as a part of broader and contentious Victorian debates about the status of photography as art or document. The already surreal qualities of Cornish's anecdote are amplified by Tennyson's question, “Is that Arthur?,” which entertains the possibility of Hallam being present in a visible, spectral form while unrecognized by his beloved friend.
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Górska, Irena. "Dramaturgia fotografii. Między teorią a osobistym doświadczeniem (przypadek Rolanda Barthes’a)." Przestrzenie Teorii, no. 36 (December 15, 2021): 91–105. http://dx.doi.org/10.14746/pt.2021.36.5.
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The article discusses Roland Barthes’ experience of photography and presents its distinctive dramaturgy, which emerges from the reflections of the author of The Light of Image. It is played out between attempts at a theoretical grasp of the essence of photography and a personal, intimate experience of being photographed, but also of being a spectator looking at various photographs. Barthes places this experience in two basic perspectives. The first is connected with the process of taking photographs and the second with the experience of the spectator. This also includes the experience of photography with one’s own image, which according to the author, is always an experience of oneself as someone else, and the experience of searching for “the truth of photography”, especially important in the context of the photographs of his deceased mother. It is significant in Barthes’s concept that he is talking about traditional photography which had a completely different character and performed different functions to digital images do today. Moreover, as the author notes, Barthes’s theoretical findings would be untenable in relation to digital photography.
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Bennett, Katelyn G., Steven C. Bonawitz, and Christian J. Vercler. "Guidelines for the Ethical Publication of Facial Photographs and Review of the Literature." Cleft Palate-Craniofacial Journal 56, no. 1 (May 1, 2018): 7–14. http://dx.doi.org/10.1177/1055665618774026.
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Facial photography presents a unique ethical dilemma, as faces are difficult to deidentify for publication. We performed a review of the literature to examine current guidelines for the publication of facial photographs. We also reviewed societies’ websites, journal requirements, and ethical and legal aspects of confidentiality. Most articles emphasized the importance of consent for photography and publication. Masking is not appropriate, but some journals continue to allow masking. Most legislation allows patients to restrict the uses of photographs. In the end, it is imperative to protect patient privacy by obtaining consent for photograph publication after full disclosure of risks, and specific recommendations are provided regarding a comprehensive consent process.
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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (December 16, 2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.
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AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.
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Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.
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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic seeing instantiates. Ultimately, Lockhart's relational practice of photography-connecting each photograph she makes to prior images, while never fully duplicating or replicating them-provides a model for understanding the relational dynamics of photographic spectatorship. The essay also discusses Paul Strand, Roland Barthes's Camera Lucida, Kaja Silverman's World Spectators, “straight photography,” and Michael Fried.
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Stanulevich, Nadezhda A. "Photography and photographic literature as a part of ideological language in the 20th century." Vestnik of Saint Petersburg State University of Culture, no. 3 (56) (2023): 95–101. http://dx.doi.org/10.30725/2619-0303-2023-3-95-101.
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Soviet photography has been the subject of various disciplines. The role of photographic handbooks and magazines in the creation of iconic images remains uncovered. The following questions remain ambiguous: What is the type of photographic handbook content? How were handbooks designed in different countries? Is there a connection between the handbook’s content and the images they create? The base for the study was manuals for photographers published in the USSR and the USA in 1920–1960s; images from retrospective editions of photographic collections; photographs published in the Soviet Photo; photo collections presented on the website of the State Catalog of the Museum Fund of the Russian Federation. Based on the analysis and comparison of the content of handbooks, research shows the main trends in educational strategies for photographers. Comparison of the representative part of the works of Soviet and American photographers of the 1920s–1960s gives an idea of similar plots and themes with differences in each chronological period. The article contributes to the study of photography as a tool of political ideologies and demonstrates the universality of photographic images in countries with different socio-economic policies. This work provides a basis for future studies of Soviet educational programs in photography.
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Stafford, Andy. "Bazin and Photography in the Twenty-First Century: Poverty of Ontology?" Paragraph 36, no. 1 (March 2013): 50–67. http://dx.doi.org/10.3366/para.2013.0077.
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According to André Rouillé (2005) the search for photography's ontology is both fruitless and pointless. Six decades after André Bazin's seminal essay, ‘The Ontology of the Photographic Image’ (1945), there is a concerted attempt to remove photography from the ‘reliquary’ of death in which Bazin had (seemingly) locked it. Preferring ‘genesis’ to ‘result’, Bazin had suggested that photography benefited from an ‘essential objectivity’ and that it was close to being a ‘natural phenomenon’: for the first time in history, representation of the external world emerges, mechanically, without human intervention. For Rouillé however, this is a ‘poverty of ontology’, a theory of the ‘index’ based on Peirce erroneously attached to a semiotics of the photographic image. So what happens to the photograph's temporal dimension, crucial to Bazin's definition, if we reject the image as record of the ‘that-has-been’ (Barthes)? Can we still use Bazin's ontology in the twenty-first century?
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Nourkova, Veronika V. "Why are all photos beautiful? On the hedonistic effect of photography eidetics." National Psychological Journal 51, no. 3 (2023): 35–45. http://dx.doi.org/10.11621/npj.2023.0305.
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Background. A growing number of studies on the aesthetic attributes of photography employs inductive methods of big data analysis and psychosemantic methods of identifying superordinate categories relevant to the aesthetic assessment of photo images. However, the question of the causes and mechanisms of the total hedonistic effect in perceiving photographs is still open. Objective. The manuscript aims to review the main results of the psychophysical and psychosemantic approaches to the aesthetics of photography. The author intends to formulate and provide some theoretical evidence for the novel exploration of the total hedonistic effect of photographs perception, based on the interpretation of photography as a cultural means of developing eidetics. Methods. The literature on aesthetic psychophysics and psychosemantics of photography was reviewed. The study employed the optics of cultural-historical psychology to develop a novel hypothesis on the total hedonistic effect of perceiving photographs. Results. The analysis of literature based on psychophysics approach indicated that such image qualities as contrast, sharpness, grain teased, and composing in accord with the golden ratio impact the attractiveness of photography. The use of psychosemantic methods made it possible to identify more specific categories that mediate subjective beauty of a photograph: Familiarity / Predictability, Dynamism, Monochrome, and Time Distance. However, I supposed that the approaches described above do not take into account the status of photography as a cultural means of over-compensation for the biological limitations of visual perception and iconic memory. From this perspective, photography scales the scene to the zone of central vision, eliminates the color overload and, thus, provides optimal conditions for high-quality and economical perception. To compensate for iconic memory deficiencies, photography stabilizes the image and makes repetition possible. In addition, photography returns to the viewer the experience of a “long” iconic image, characteristic of a child, which degrades in adulthood and, thus, provokes nostalgic emotions. Conclusion. It is assumed that the basis of the hedonistic effect of viewing photographs is the optimal complement of visual perception and iconic memory, so that photography not only compensates for its deficiencies, but also implements an ideal project for their development.
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Golia, Maria. "Surrealism and Photography in Egypt." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.
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Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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Tsench, Yu S., and N. I. Zakharova. "Trends in development of agricultural aerial photography technology." Agricultural Machinery and Technologies 17, no. 3 (September 19, 2023): 16–26. http://dx.doi.org/10.22314/2073-7599-2023-17-3-16-26.
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Aerial photography is becoming an integral part of remote sensing in digital agriculture. The first aerial photographs were taken in the mid-19th century. (Research purpose) The paper aims to retrospectively analyze the evolution of aerial photography equipment for capturing agricultural lands, beginning with the creation of the first aerial photograph up to the present day. (Materials and methods) A historical-analytical approach was employed to examine the existing literature. Within this study, the development of agricultural aerial photography equipment was categorized into four distinct time periods: 1885-1908, 1909-1945, 1946-1979, and from 1980 to the present day. (Results and discussion) In the initial phase of experimental aerial photographic equipment development, significant advancements were achieved, encompassing the emergence of the first photograph, the creation of portable cameras and their adaptation for use with hot air balloons and kites, rockets, and birds. Technological growth in the first half of the 20th century contributed to elevating aerial photography to a versatile tool applied for a wide range of intelligence operations, including agricultural tasks. The evolution of space technologies in the second half of the 20th century resulted in the rapid development of both aerial photography equipment and their carriers. This progress facilitated the use of color aerial photography for the examination of the Earth's surface. The advancements of digital technologies at the end of the 20th century and the beginning of the 21st century facilitated the use of high-resolution digital aerial cameras mounted on various carrier platforms, ranging from unmanned aircraft to artificial Earth satellites. (Conclusions) A retrospective analysis reveals that the development and creation of equipment for aerial photography of agricultural lands unfolded in a sporadic fashion. This progression was closely intertwined with global political, social, and economic situation, as well as the state of technological advancement in related areas. Over the coming decade, the sustained application of aerial photography in agriculture is poised to enhance the efficiency of unmanned aircraft, reduce the production costs associated with aerial photography, and facilitate the widespread adoption of digital remote sensing technology within the agricultural sector.
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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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MacLaine, Brent. "Literature and photography." History of Photography 26, no. 3 (September 2002): 247–48. http://dx.doi.org/10.1080/03087298.2002.10443545.
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Baetens, Jan. "Literature and photography." History of Photography 29, no. 2 (June 2005): 205–6. http://dx.doi.org/10.1080/03087298.2005.10441375.
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Welch, Edward. "Literature and Photography." French Studies 73, no. 3 (April 26, 2019): 434–44. http://dx.doi.org/10.1093/fs/knz129.
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Pedri-Spade, Celeste. "“But they were never only the master’s tools”: the use of photography in de-colonial praxis." AlterNative: An International Journal of Indigenous Peoples 13, no. 2 (March 27, 2017): 106–13. http://dx.doi.org/10.1177/1177180117700796.
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The majority of anthropological literature around photography of Indigenous peoples has privileged the actions, agency, and intent of the Western photographer. While one cannot ignore the significant colonizing influences that photographs have had on Indigenous peoples, one cannot presume that these individuals were solely the silenced subject or victim in a one-sided, inferior relationship with the camera and its operator. Recent scholarship is now re-examining the relationship Indigenous peoples have had with photography as a culturally productive technology since its development. In this article, I will address the role of photography in a global context as an object and a method of decolonization in two ways: (a) through archived collections of colonial photography and (b) in the production of contemporary photographs by peoples who experience contemporary colonialism. In both of these contexts, I will explore how various populations or communities with a colonial history use photography to confront ongoing legacies of colonialism, particularly in agendas aimed at repairing and reconfiguring relationships with self, family and kin, colonizer, community, and the natural world. Drawing on examples from several countries and locales, I will address the potentials and challenges of reframing Indigenous peoples’ experience of, and relationship with, photography within the context of de-colonial praxis.
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Hess, Scott. "William Wordsworth and Photographic Subjectivity." Nineteenth-Century Literature 63, no. 3 (December 1, 2008): 283–320. http://dx.doi.org/10.1525/ncl.2008.63.3.283.
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This essay argues that William Wordsworth's poetry constructs a subject position analogous to that of the photographic viewer: hence, a photographic subjectivity. Critics have often read Wordsworth's writing as opposing imagination against visibility and mimetic realism. Many of the visual structures of his poetry, however, continue the structures of the picturesque, whose desire to capture the landscape as framed image culminated in the technology of photography. These structures of perception include the stationed point of view of the observer, focusing the scene from a single location; the tendency to reduce the multisensory, ambient experience of lived environment to pure vision; the separation of the observer from the landscape; and the resulting general disembodiment of that observer. Much of Wordsworth's poetry positions the observer in these ways in order to capture images that can then be viewed in private isolation (as in the ““spots of time””), like a series of internalized photographs. These structures of visuality construct what would emerge, after the invention of photography, as a photographic subjectivity, complementing (rather than opposing) the objectivity of the photographic image. They define the viewing subject, in the manner of photography, as a mobile, seemingly autonomous self in an appropriative relationship to landscape——the paradigm of the modern self, taking a ““view from nowhere”” on a world captured as image. The stability, unity, and autonomy of the Wordsworthian self ultimately depend on these photographic relationships.
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Haran, Barnaby. "‘We Cover New York’: Protest, Neighborhood, and Street Photography in the (Workers Film and) Photo League." Arts 8, no. 2 (May 10, 2019): 61. http://dx.doi.org/10.3390/arts8020061.
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This article considers photographs of New York by two American radical groups, the revolutionary Workers Film and Photo League (WFPL) (1931–1936) and the ensuing Photo League (PL) (1936–1951), a less explicitly political concern, in relation to the adjacent historiographical contexts of street photography and documentary. I contest a historiographical tendency to invoke street photography as a recuperative model from the political basis of the groups, because such accounts tend to reduce WFPL’s work to ideologically motivated propaganda and obscure continuities between the two leagues. Using extensive primary sources, in particular the PL’s magazine Photo Notes, I propose that greater commonalities exist than the literature suggests. I argue that WFPL photographs are a specific form of street photography that engages with urban protest, and accordingly I examine the formal attributes of photographs by its principle photographer Leo Seltzer. Conversely, the PL’s ‘document’ projects, which examined areas such as Chelsea, the Lower East Side, and Harlem in depth, involved collaboration with community organizations that resulted in a form of neighborhood protest. I conclude that a museological framing of ‘street photography’ as the work of an individual artist does not satisfactorily encompass the radicalism of the PL’s complex documents about city neighborhoods.
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Sun, Zhen. "The role of digital personal photography: a theoretical exploration with Deleuze-Guattari approach." Lumina 14, no. 1 (April 30, 2020): 97–110. http://dx.doi.org/10.34019/1981-4070.2020.v14.30259.
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The innovations of digital photography are transforming people’s experiences of producing, manipulating, sharing, and using their personal photographic images. The essentialist and representational dualistic viewpoints of photography that were initially developed in the era of the Daguerreotype appear no longer tenable in the contemporary photography era. This study focuses on the ever-changing role of personal photographic images in the three typical photography events, i.e., the selfie production, the real-time beautified video sharing on the social media, and the production of deepfake AI face-swaps. The study is inspired by the Deleuze-Guattari’s conceptual framework that is mainly composed of the concepts of minor literature, assemblage, becoming, and de/re-territorialization, and defines personal photographic images as both an assemblage and a constitutive part of larger assemblages, i.e., personal photograph production and usage events. The tetravalent model of assemblages is used as a major analysis toolkit to achieve the research purpose. A thorough analysis and discussion shows the material and expressive components that compose different sizes of assemblages and the emergent capacities. It also discloses how digital photography apps play as a line of flight to de/re-territorialize the presumed representational association between individuals and their photographic images. The images have become one of the multiplicities or becoming of individuals, either interacting with individuals, acting on individuals, or extending individuals’ disembodied experiences. This study seeks to develop alternative theoretical lenses on the role of digital personal photography in everyday life and the rhizomatic experiences that it generates.
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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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Sudliankova, Volha. "Phototextuality as a Phenomenon of Present-Day British Prose." CLEaR 3, no. 2 (September 1, 2016): 9–15. http://dx.doi.org/10.1515/clear-2016-0009.
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Abstract Like many other world literatures, the English literature of the last few decades has been marked by an intensive search for new narrative techniques, for innovative ways and means of arranging a plot and portraying characters. The search has resulted, among other things, into merging literature with visual arts like painting, film and photography. This phenomenon got the name of ekphrasis and has become a popular field of literary research lately. Suffice it to cast a glance at several of the novels published around the year 2000 to see that incorporation of photographic images into fiction allows writers to use new means of organizing literary texts, to employ non-conventional devices of structuring a plot and delineating personages as well as to pose various problems of aesthetic, ethical, ideological nature. We suggest to look briefly at seven novels published in the last three decades to see the various roles assigned to photography by their authors: Out of this World (1988) by Graham Swift, Ulverton (1992) by Adam Thorpe, Master Georgie (1998) by Beryl Bainbridge, The Dark Room (2001) by Rachel Seiffert, The Photograph (2003) by Penelope Lively, Double Vision (2003) by Pat Barker and The Rain Before It Falls (2007) by Jonathan Coe. The scenes of the novels are set widely apart and have time spans of various duration. Ulverton and Master Georgie have a mid-19th century setting, The Dark Room is centered round WWII, Out of this World and The Rain before It Falls contain their heroes’ long life stories, while The Photograph and Double Vision are set at the end of the last century and their characters are our contemporaries. The novels also differ by the particular place photographs occur in the novels, by the roles they play there, as well as by the issues associated with them.
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Suga, Keijiro. "Looking Back at the Phenomenocene." boundary 2 46, no. 3 (August 1, 2019): 117–18. http://dx.doi.org/10.1215/01903659-7614171.
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This essay is conceived as a supplement to Masao Miyoshi’s only book of photography. Miyoshi was an avid traveler and photographer all his life. He called his practice “anti-photography” and left a book titled This Is Not Here (2009). His photographic images are interesting in many ways, surprisingly fresh and often beyond words. But what is essential about photography is the fact that photography is never controllable. Photography, by its nature, is anti-ethics and anti-aesthetics. My thoughts are about the world of phenomena, appearances, and bodiless ghosts. These come in a thousand layers around the surface of the globe to allow you to inhabit within this shapeless realm, or a realm with too many shapes. Just like geological upheaval, this regime of images offers a new era that might be called the phenomenocene. This is our commonplace, our common destiny.
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Goodrum, Sarah. "International Photography Networks and Walter Hahn’s Museum for Photography, Dresden." International Journal for History, Culture and Modernity 5, no. 1 (March 28, 2017): 130–68. http://dx.doi.org/10.18352/hcm.526.
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The Museum für Photographie, founded, developed and directed by Dr. Walter Hahn for only twelve years in the city of Dresden, has only recently emerged in scholarship on East German photographic culture. Although the museum definitely enjoyed a relationship with the East German cultural authorities within the Cultural League, or Kulturbund, it does not sit easily in the historiographical category of ‘official’ photography in the GDR. Hahn’s version of the history of photography was challenging to the socialist establishment, which hampered the further development of the museum and did not preserve the project after Hahn’s death. Hahn’s ambitions to expand his museum and gain membership in an international community of collectors and museum professionals drove him to contact a tremendous number of figures throughout the world and led to many fruitful exchanges on questions of the history of photography and the state of collections internationally. This article will address the degree to which Hahn’s networking through publications and correspondence and attempts at cultural diplomacy tied him more closely to the international community of photography collectors and photography museums – particularly in the West – than his Cultural League colleagues could ultimately sanction. It argues that Hahn and his museum represent a historical and historiographical anomaly that complicates the accepted narratives of East Germany history. Hahn’s interactions within the international museum community represent a significant instance of the international circuit of photographic images and literature during the Cold War.
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Nestayko, Markiyan. "Photos of Julian Dorosh on the pages of Lviv periodicals on the example of a magazine “Literature and Art”." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 14(30) (December 2022): 346–59. http://dx.doi.org/10.37222/2524-0315-2022-14(30)-14.
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The article reveals to the peculiarities of photography as an artistic direction and a component of a periodical publication, highlights the characteristic features of photographs that are used as illustrations for journalistic texts. Special attention is focused on the development of photography in the first half of the last century. Illustrative photos of Julian Dorosh on the pages of Lviv periodicals, using the example of the “Literature and Art” publication, were analyzed on specific examples. On the basis of the analysis, the methods and forms of the transmission of color pictures with the help of black-and-white photographs are distinguished. Keywords: photography, Julian Dorosh, periodicals, visual art.
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Putra, Sandy Dwi, and Kankan Kasmana. "Interior Photograph Experiment of The House Tour Hotel Bandung." ARTic 3, no. 1 (December 15, 2020): 259–76. http://dx.doi.org/10.34010/artic.v3i2.3696.
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The rapid advancement of information and communication technology influences the growth of creative industries such as firms in the fields of architecture, real estate and interior. The firm uses the advantages of information and communication technology, namely the internet and social media to conduct marketing. The use of social media as a marketing strategy of real estate and interior firms today is increasingly used as a promotional medium. The use of photos especially for interior promotion requires good photography techniques, has the power to stir consumer perception of interior services. This research aims to conduct photography experiments on the interior of The House Tour Hotel, designed by an architecture firm called Be Good Design Architect, this experiment was conducted to find out the techniques of photography in photographing the interior. The method used is photography experimentation using photography techniques based on literature and photographic methods from interviews with professional photographer Mario Wibowo. The result of this experiment is interior photo taken from the bedroom room of The House Tour Hotel.
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Brown, Terry M. "Transcending the colonial gaze: Empathy, agency and community in the South Pacific photography of John Watt Beattie1." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 151–70. http://dx.doi.org/10.1386/nzps_00035_1.
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For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a variety of publications, with or without attribution. I shall examine some of these photographs in the context of the ethos of the Melanesian Mission, British colonialism in the Solomon Islands, and Beattie’s previous photographic experience. I shall argue that Beattie first exhibited a colonial gaze of objectifying his dehumanized exotic subjects (e.g. as ‘savages’ and ‘cannibals’) but with increased familiarity with them, became empathetic and admiring. In this change of attitude, I argue that he effectively transcended his colonial gaze to produce photographs of great empathy, beauty and longevity. At the same time, he became more critical of the colonial enterprise in the Pacific, whether government, commercial or church.
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Jenkins, Paul. "The Earliest Generation of Missionary Photographers in West Africa and the Portrayal of Indigenous People and Culture." History in Africa 20 (1993): 89–118. http://dx.doi.org/10.2307/3171967.
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That photographs have been neglected in the study of African history has become, in recent years, a well-established truism. To take one point of entry into the literature which has set out to correct this deficiency: a Seminar held in SOAS in 1988 on “Photographs as Sources for African History” amply confirmed this point (Roberts 1988). The papers and discussions indicated the scope—and the problems—of some of the well-known and less well-known, holdings in this field. They also showed, however, that a number of scholars had already devoted considerable thought to the implications of historic photographic holdings for the pursuit of historical and anthropological studies not only in colonial history but also in African historyper se. A similar point of entry for the German-speaking world is provided by the literature accompanying an important exhibition which toured a number of West German museums in 1989. “Der geraubte Schatten” concerned itself with the history of photography in the whole non-European world (Theye 1989; Ueber die Wichtigkeit 1990; see especially the essays by Wagner and Corbey for reflections on missionary photography).
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Muço, Edmond. "Pietro Marubi - Founder of The First Photography Studio in Albania." Pannoniana 7, no. 1 (December 15, 2023): 187–95. http://dx.doi.org/10.32903/p.7.1.9.
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This article aims to highlight the art of photography in Albania, which began at the end of the 1850s and is associated with the name Pietro Marubi (1834-1903). It deals with the origin of Pietro Marubi, who was Italian from Piacenza. For political reasons, he left Italy, sought refuge in Albania, and settled in the city of Shkodra. The scope is on his extraordinary work, including the founding of the first photography studio in Albania around 1855, which was a bold step at that time. Among his earliest photographs are those of Hamzë Kazazi (1858) and Leonardo de Martino (1859). He became a popular figure in Shkodër, photographing important events with the latest technique, immortalizing historical events such as the connection of Prizren (1878-1881), the uprising of Mirdita that was published in the international press as in the pages of the well-known magazines “La Guerra d'Oriente”, “The illustrated London news”. Pietro Marubi also took the first photograph in Montenegro. In the collection of Sultan Abdul Hamit II, there are photographs with a view of Shkodra or people in folk clothes, as photographed by Pietro Marubi. This proves the great fame that Marubi's photography studio gained in the Ottoman Empire. Pietro Marubi, therefore, brought Shkodra on the level with the first European cities representing the art of photography. The results give an original picture of the role and importance of the photography studio. Marubi and his vision are shown in passing on the profession to his sons. With the act of inheritance of his studio to Kel Kodheli, Marubi would lay the foundations for the continuation of the activity. With Kel Kodheli, the “Marubi Dynasty” was consolidated, where the next generations of photographers were formed, who today make up the collection of the Photo Gallery of the "Marubi" National Museum of Photography. The opening of the national museum “Marubi” in Shkodër, in addition to its extraordinary cultural and historical values, is also at the service of cultural tourism, which is visited by many local and foreign tourists. The article is based on research of the literature and sources published by the Marubi National Museum of Photography and the Library of the Academy of Sciences, as well as international publications and meetings with historians and other researchers. The conclusions provide another important aspect of this work, especially for the generation of young artists educated today who look up to Marubi as a model of inspiration, but also for the general public.
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Socolovsky, Maya. "The Homelessness of Immigrant American Ghosts: Hauntings and Photographic Narrative in Oscar Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien." PMLA/Publications of the Modern Language Association of America 117, no. 2 (March 2002): 252–64. http://dx.doi.org/10.1632/003081202x61980.
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Cuban American literature and Oscar Hijuelos's texts in particular have generally been approached through a consideration of their material, multicultural aspects. This essay analyzes Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien, on which there is little critical work, by combining the novel's descriptions of photography and immigrant experiences with theories of photography. My reading considers the placing of ghosts and memory in the narrative and problematizes the undialectical presence of death in it. Referring to Hijuelos's text as an “imagetext” (photographs exist in it only through descriptions, never appearing visually), I read it through Roland Barthes's Camera Lucida and his development of the wounding punctum of a photograph, which produces a melancholy lingering trace of the past in the present moment. In this reading, the immigration experience in Hijuelos's novel exceeds narrativization and is unrepresentable by it.
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Durczak, Jerzy. "Between Pictures and Words: Sally Mann’s Hold Still." Polish Journal for American Studies, no. 11 (Spring 2017) (2023): 147–62. http://dx.doi.org/10.7311/pjas.11/1/2017.11.
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Sally Mann’s autobiography Hold Still is a rare book which examines from the point of view of a photographer the way literature and photography complement each other in creating complex artistic visions. At the same time, it is not merely a famous artist’s autobiography, but an artful literary creation in its own right. The paper examines the nature of relations between literature and Sally Mann’s photography.
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Rodrigues da Silva, Gislene, and Célia Da Consolação Dias. "How understanding the factors of visual perception proposed by Bloomer can contribute to the representation of photographs." Documentación de las Ciencias de la Información 47 (June 25, 2024): 123–31. http://dx.doi.org/10.5209/dcin.94247.
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Visual perception is a field of knowledge belonging to Cognitive Psychology. It was realized that such knowledge could contribute to the indexing of photographs based on the understanding of human cognition processes to identify how the individual interprets and their visual perception of a photograph. This understanding helps to establish criteria for selecting keywords for indexing photographs. This research presents Bloomer's (1990) visual perception factors and reflects on the literature review of how such studies can contribute to indexing photographs. As a result, two points stand out: visual perception can contribute to organizing more efficient and intuitive online photography catalogues, providing users with a better experience and ease in retrieving visual content, and finally, it can help information professionals select terms relevant to users.
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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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Trehan, Samir, Schneider Rancy, Parker Johnsen, Howard Hillstrom, Steve Lee, and Scott Wolfe. "At Home Photography-Based Method for Measuring Wrist Range of Motion." Journal of Wrist Surgery 06, no. 04 (March 14, 2017): 280–84. http://dx.doi.org/10.1055/s-0037-1599830.
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Purpose To determine the reliability of wrist range of motion (WROM) measurements based on digital photographs taken by patients at home compared with traditional measurements done in the office with a goniometer. Methods Sixty-nine postoperative patients were enrolled in this study at least 3 months postoperatively. Active and passive wrist flexion/extension and radial/ulnar deviation were recorded by one of the two attending surgeons with a 1-degree resolution goniometer at the last postoperative office visit. Patients were provided an illustrated instruction sheet detailing how to take digital photographic images at home in six wrist positions (active and passive flexion/extension, and radial/ulnar deviation). Wrist position was measured from digital images by both the attending surgeons in a randomized, blinded fashion on two separate occasions greater than 2 weeks apart using the same goniometer. Reliability analysis was performed using the intraclass correlation coefficient to assess agreement between clinical and photography-based goniometry, as well as intra- and interobserver agreement. Results Out of 69 enrolled patients, 30 (43%) patients sent digital images. Of the 180 digital photographs, only 9 (5%) were missing or deemed inadequate for WROM measurements. Agreement between clinical and photography-based measurements was “almost perfect” for passive wrist flexion/extension and “substantial” for active wrist flexion/extension and radial/ulnar deviation. Inter- and intraobserver agreement for the attending surgeons was “almost perfect” for all measurements. Discussion This study validates a photography-based goniometry protocol allowing accurate and reliable WROM measurements without direct physician contact. Passive WROM was more accurately measured from photographs than active WROM. This study builds on previous photography-based goniometry literature by validating a protocol in which patients or their families take and submit their own photographs. Clinical Relevance Patient-performed photography-based goniometry represents an alternative to traditional clinical goniometry that could enable longer-term follow-up, overcome travel-related impediments to office visits, improve convenience, and reduce costs for patients.
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Pfautsch, Anne. "Documentary Photography from the German Democratic Republic as a Substitute Public." Humanities 7, no. 3 (September 10, 2018): 88. http://dx.doi.org/10.3390/h7030088.
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This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photography, despite having had a different status to literature in the GDR, adopted similar traits and also functioned as part of a substitute public sphere. These photographers aimed to expose the existing gap between the propagandised and actual life under socialism. They embedded a moral and critical position in their photographs to comment on society and to incite debate. However, it was necessary for these debates to occur in the private sphere, so that artists and their audience would avoid state persecution. In this paper, I review Harald Hauswald’s series Everyday Life (1976–1990) to demonstrate how photographs enabled substitute discourses in visual ways. Hauswald is a representative of artistic documentary photography and although he was never published in the official GDR media, he was the first East German photographer to publish in renowned West German and European media outlets, such as GEO magazine and ZEITmagazin, before the reunification. In 1990, he founded the ‘Ostkreuz–Agency of Photographers’ with six other East German documentary photographers.
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Alarcón, David, and Patricia Méndez. "Persistent Conventions in 20th Century Architecture Photography." Materia Arquitectura, no. 19 (April 30, 2021): 108. http://dx.doi.org/10.56255/ma.v0i19.430.
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Photography and architecture maintain a unique and constant relationship with each other. The invention and technology of one proved to be the optimal mechanisms for the dissemination of the latter, transforming it into an ideal model in front of a camera. However, these evidences, embodied in paper, also reveal the installation of a disciplinary field that tied the visual and aesthetic canons of both disciplines. This text proposes therefore to investigate this binomial based on the invariants that circumscribed the architecture photography of the 20th Century. The methodology applied resorted to texts that delve into visual culture, together with theoretical literature about photography and classic examples of architecture. In the attempt to analyze, partially, the visual communication of the architecture – from a contemporary perspective, overvalued by image consumerism – it is concluded that it is evident that the photographer officiates as the translator of architectural conventions, while the architect does it as an organizer of his images. Both establish visual codes that last over time and, in each photographic act, confirm and deepen their disciplinary artistic discourses.
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Widhiyanti, Ni Wayan Widhi, and I. Made Saryana. "Aji Susanto Anom's Black and White Photographic Works: A Study of Visual Psychology." Journal of Aesthetics, Creativity and Art Management 3, no. 1 (April 1, 2024): 69–75. http://dx.doi.org/10.59997/jacam.v3i1.3704.
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This study aims to map the aesthetics and emotional content implied in black and white photographic works by Aji Susanto Anom, a leading photographer from Indonesia. This research uses a visual arts approach and literature study to analyze various aspects which include techniques, compositions, themes, and messages conveyed in the works of Aji Susanto Anom. The research method used is a qualitative analysis of a number of black and white photographic works of Aji Susanto Anom that have been carefully selected. By paying attention to every visual and narrative detail, this study will identify the unique aesthetic characteristics and emotional content implicit in each work. It will also involve an understanding of the context of these works, including cultural influences, traditional values, and Aji Susanto Anom's career journey as a photographer. The results of this study are expected to provide a deeper understanding of how aesthetics and emotional content in black and white photography can be expressed through the works of Aji Susanto Anom. The findings of this study are also expected to contribute to the development of our understanding of black and white photography as a powerful artistic medium in conveying profound and inspiring messages.
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Edwards, Elizabeth. "Photography: a reflexive overview from anthropology." African Research & Documentation 68 (1995): 18–35. http://dx.doi.org/10.1017/s0305862x00021658.
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Photography which has traditionally been classified as “ethnographic” or “anthropological” has received considerable attention in recent years and some of the major contributions to the field have been on African images, presenting analytical histories of photographic production and use, for instance Geary's analysis of photographs of Bamum in the Cameroon Grassfields (1988). I am not going to review this literature or the particular issues raised by it as there have been various such useful exercises, for instance Geary (1991) and Roberts (1988); nor am I going to consider the merits of specific collections because this would merely regurgitate much of what was said on the subject, and subsequently published (Roberts 1989a), during a two day seminar convened by Andrew Roberts which took place at S.O.A.S. London in 1988.
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Edwards, Elizabeth. "Photography: a reflexive overview from anthropology." African Research & Documentation 68 (1995): 18–35. http://dx.doi.org/10.1017/s0305862x00021658.
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Photography which has traditionally been classified as “ethnographic” or “anthropological” has received considerable attention in recent years and some of the major contributions to the field have been on African images, presenting analytical histories of photographic production and use, for instance Geary's analysis of photographs of Bamum in the Cameroon Grassfields (1988). I am not going to review this literature or the particular issues raised by it as there have been various such useful exercises, for instance Geary (1991) and Roberts (1988); nor am I going to consider the merits of specific collections because this would merely regurgitate much of what was said on the subject, and subsequently published (Roberts 1989a), during a two day seminar convened by Andrew Roberts which took place at S.O.A.S. London in 1988.
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Magalhães Naves, Ludmila, and Ilsa do Carmo Vieira Goulart. "PHOTOGRAPHY: THE POTENTIAL OF IMAGE AS ILLUSTRATION TOOL IN CHILDREN'S LITERATURE BOOKS." Revista Interdisciplinar Internacional de Artes Visuais 9, no. 1 (June 28, 2022): 19–33. http://dx.doi.org/10.33871/23580437.2022.9.1.19-33.
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From the conception of photographic art as a visual text, which narrates, informs and promotes interactions, this article aims to reflect on the potential of photography as an illustrative tool. Thus, it is understood that a literary work illustrated from photographic images allows the expansion of interpretative and dialogical limits between the reader and the work. Adele Enersen's work When my baby dreams was chosen for the investigation, a narrative composed of scenarios created manually using homemade artifacts and captured through the photographic record. Under a qualitative approach, the bibliographic research methodology was chosen, which took place through an interpretative analysis that allowed us to observe the means and instruments used in the composition of the work. As a theoretical basis, it relies on the studies of Santaella (2012), Flusser (2000) and Manguel (2001) on materiality, photography and literature as well as other authors that contemplate the themes. In this perspective, we seek to expand the principles of photographic materiality and identify the potential of its use as a literary illustration. It is concluded that storytelling combined with photographic illustrations contributes significantly to the reading comprehension and involvement of the reader, highlighting the materiality of the photographic image as an important characteristic of the literary illustration technique.
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Jordan, Shirley. "Not Yet Fallen: Memory, Trace and Time in Stéphane Couturier's City Photography." Nottingham French Studies 53, no. 2 (July 2014): 169–85. http://dx.doi.org/10.3366/nfs.2014.0084.
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Harnessing concepts related to memory, trace, time and the archive, this article examines in detail the highly distinctive city photography of French photographer Stéphane Couturier. It focuses on the ways in which two of Couturier's major series, Archéologie urbaine (1994–2010) and Melting Point (2005–13), investigate the fabric of urban environments in Europe and beyond, concentrating in the first case on heritage layers and pockets of demolition or reconstruction, and in the second on the pervasive modular architecture of urban and peri-urban blocks. The article analyses the tension in Couturier between the photograph as documentary and as art, and situates the photographer – an architect by training – with regard to key nineteenth- and early-twentieth-century predecessors whose studies of the city in photography and in painting appear to resurface in his work and whose engagement with urban change and technological evolution he shares and updates for our time.
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Gatti, Luciano. "Duas fotografias em Austerlitz, de W. G. Sebald | Two photographs in Austerlitz, by W. G. Sebald." Revista PHILIA | Filosofia, Literatura & Arte 3, no. 2 (December 8, 2021): 101–16. http://dx.doi.org/10.22456/2596-0911.118700.
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O presente trabalho discute as relações entre literatura e fotografia em Austerlitz, de W. G. Sebald. Para fazer isso, como ponto de partida, observa-se a suposta oposição entre documento e ficção no emprego de material fotográfico feito por Sebald. Segundo a hipótese deste artigo, a função das fotografias deve ser compreendida a partir do mecanismo literário desenvolvido por Sebald para apresentar a investigação de seu protagonista a respeito de elementos de sua vida passada desconhecida. A pesquisa caracteriza tal procedimento como um “encadeamento de narradores” e, feito isso, debate sobre a função exercida pelas fotografias nas relações entre memória, narração e experiência.Palavras-chave: W. G. Sebald. Fotografia. Memória. Experiência. AbstractThis article discusses the relationship between literature and photography in Austerlitz, by WG Sebald. In order to do that, as a starting point, we observe the supposed opposition between document and fiction in Sebald's use of photographic material. This study proposes that we may understand the role played by photographs in the book by means of the literary mechanism developed by Sebald to present the search of his protagonist for elements of his unknown past. The present article characterizes this procedure as a “chain of narrators” and, after that, discusses the role played by photographs in the relationships between memory, narration and experience.Keywords: W. G. Sebald. Photography. Memory. Experience. ORCIDhttp://orcid.org/0000-0003-3960-3610
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Hickman, Ellen J., Colin J. Yates, and Stephen D. Hopper. "Botanical illustration and photography: a southern hemisphere perspective." Australian Systematic Botany 30, no. 4 (2017): 291. http://dx.doi.org/10.1071/sb16059.
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To examine claims that the role of botanical art in systematic botany is diminishing because of advances in photography, this review considers relevant literature and includes a quantitative analysis of trends in modern journals, monographs and floras. Our focus is on southern hemisphere systematic botany because, relative to the northern hemisphere, this is poorly represented in modern reviews of botanical art and photography. An analysis of all digitally available papers in Nuytsia, the Journal of the Adelaide Botanic Garden, Muelleria, Telopea, Austrobaileya and Systematic Botany established that, although photographic illustrations have increased since 2000, botanical illustrations have not always diminished. The cause of these trends is unknown, but it is likely to be due to several factors, including sourcing funding for production of botanical illustration, editorial preference for the use of illustrations or photographs, author preference for either illustrations or photographs, and moving to online publication, with no charges for colour reproduction. Moreover, the inclusion of botanical artists as co-authors in some scientific publications signals an ongoing and important role. Botanical illustration brings sharp focus and meticulous attention to detail regarding form and structure of plants. Photography is useful at the macro-scale for habitat and whole-plant traits, as well as at the micro-scale for anatomical textures and ultrastructure. These complementary approaches can be important components of taxonomic discovery, with the potential for a new role in modern trait analysis in molecular phylogenies.
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Fawns, Tim. "Blended memory: A framework for understanding distributed autobiographical remembering with photography." Memory Studies 13, no. 6 (February 13, 2019): 901–16. http://dx.doi.org/10.1177/1750698019829891.
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This article offers a framework for understanding how different kinds of memory work together in interaction with people, photographs and other resources. Drawing on evidence from two qualitative studies of photography and memory, as well as literature from cognitive psychology, distributed cognition and media studies, I highlight complexities that have seldom been taken into account in cognitive psychology research. I then develop a ‘blended memory’ framework in which memory and photography can be interdependent, blending together as part of a wider activity of distributed remembering that is structured by interaction and phenomenology. In contrast to studies of cued recall, which commonly feature isolated categories or single instances of recall, this framework takes account of people’s histories of photographic practices and beliefs to explain the long-term convergence of episodic, semantic and inferential memory. Finally, I discuss implications for understanding and designing future memory research.
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Gallus-Price, Sibyl. "Why Photography Mattered (1847) As Art More Than Ever Before." Praktyka Teoretyczna, no. 4(50) (March 28, 2024): 51–74. http://dx.doi.org/10.19195/prt.2023.4.3.
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In the late 20th-century, landscape photographs that were never meant as art come to play a central role in the critique of one notion of what art is. Rosalind Krauss begins her attack on Modernism by mobilizing the indexical qualities of the photograph, holding up Timothy O’Sullivan’s 19th-century landscape photographs as the exemplar. This essay considers Krauss’s model in relation to César Aira’s contemporary revival of the 19th century landscape painter Johann Moritz Rugendas who is conceived, I argue, under the sign of the photograph. Conceptually recasting the landscape— the locus classicus for the crisis of Modernist art— through Rugendas, Aira transforms the painterly genre into an alternative neuro-aesthetically charged “procedure.” Aira’ s landscape painter turned photographer serves, I contend, both as an emblem for Aira’s own relation to writing and as an artifact of Krauss’s post-Art world.
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Eliezer, Jonathan Jami'an. "Design and Website Design for Vivree Photography." VCD 8, no. 1 (June 27, 2023): 42–51. http://dx.doi.org/10.37715/vcd.v8i1.2834.
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Vivree Photography is a wedding photography service domiciled in Surabaya with a target market of millennials aged 22 - 30 years. Vivree Photography has been established since 2019 and has been running a photography business that focuses on wedding photography and has met many consumers. After evaluating this professional impression, the website is felt to be very important because it is an image and also to be trusted in the field of business that is involved by looking at other competitors. The website as a professional image also enables competitors to create marketing to increase customer engagement. This research uses a literature study in the form of a literature review using national and international journals and books that discuss websites for business, UI / UX on websites and customer engagement. In addition, the literature review method is also carried out using quantitative methods with expert users who are competent in technology and photography, extreme users who have used the services of Vivree Photography, and a discussion group forum by 15 people aged 22-30 years to review the results of websites that have been published. create and provide further suggestions for the Vivree Photograph website. Therefore, from the results of the research, it can be concluded that website design and UI / UX design which has a monochrome minimalist design style and has a warm tone and emphasis on writing and features on the website are very important for a business website, especially a service business in order to improve marketing and also customers. engagement Vivree Photography.
Keywords: Professional, Design, Website, Promotional Media, Consumer