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Journal articles on the topic 'Photography / Photo Essays'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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1

Nugroho, Oki Cahyo, and Deny Wahyu Tricana. "REYOG OBYOGAN IN PHOTO ESSAY." Capture : Jurnal Seni Media Rekam 11, no. 1 (2019): 1–16. http://dx.doi.org/10.33153/capture.v11i1.2247.

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Reyog is one of the traditional arts that shows a richness of Indonesian culture. This art is unique and interesting to be realized in the form of visual works and meaningful, especially the art of photography. Photography has an important role as a medium for delivering information in the form of images, moreover images are a universal language. This research uses the method of creation with stages, namely observation, exploration, selection, and correction as well as analysis and presentation of data in order to uncover the phenomena that occur in Reyog Ponorogo. The results of this study in
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Cabañes, Jason Vincent A. "Telling migrant stories in collaborative photography research: Photographic practices and the mediation of migrant voices." International Journal of Cultural Studies 21, no. 6 (2017): 643–60. http://dx.doi.org/10.1177/1367877917733542.

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This article examines how photographic practices in collaborative research might mediate migrant voices. It looks at the case of Shutter Stories, a collaborative photography project featuring images by Indian and Korean migrants in Manila, the Philippines. Drawing on life-story interviews and participant observation data, I identify two ways that the photographic selection practices in the project mediated the migrants’ photo essays. One is how subject selection practices led the participants to use both strategic and ‘medium’ essentialism in choosing their topics. The second is how technique
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Crowder, Jerome W., and Elizabeth Cartwright. "Thinking through the Photo Essay: Observations for Medical Anthropology." Medicine Anthropology Theory 8, no. 1 (2021): 1–13. http://dx.doi.org/10.17157/mat.8.1.5110.

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As photography becomes more prevalent in ethnographic research, scholars should more seriously consider the photo essay as a medium for sharing their work. In this Position Piece, we present guidelines for the creation of ethnographic photo essays for medical anthropology that do not simply combine image and text, but create a balance that allows words to provide context for the image(s) and images to reinforce or challenge the text. We feel there are three basic elements every photo essay must consider that are informed by the theory and practice of visual anthropology. While a solid backgrou
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Sett, Alisha. "Photo Circle: A Short History of the Nepal Picture Library." Cabinet, Vol. 2, no. 2 (2017): 56–69. http://dx.doi.org/10.47659/m3.056.art.

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This is a short history of the Nepal Picture Library (NPL), Nepal’s first large-scale digital photo archive encompassing over 50,000 photographs collected in less than a decade. It is a rare institution; a catalogued visual resource open to the public with scores of intimate family collections, the historic and the mundane captured over decades by photojournalists, and portraits made in photo studios across the country. The essay provides insight into the strength, scope and potential of this community-created archive. Founded and managed by Photo Circle, a platform for photography in Kathmand
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Snyder, Robert E. "Margaret Bourke-White and the Communist Witch Hunt." Journal of American Studies 19, no. 1 (1985): 5–25. http://dx.doi.org/10.1017/s0021875800020028.

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Margaret Bourke-White (1904–1971) has been called “the most famous woman photographer” and “the finest woman photographer of our times.” Indeed, in a photographic career that spanned nearly five decades, Bourke-White demonstrated great professional versatility, registered many photographic firsts, and in a male-dominated field set standards by which others were measured. During the 1920s, Bourke-White carved out her first reputation in architectural and industrial photography. Her pictures of steel mills, shipyards, packing houses, logging camps, quarries, auto plants, skyscrapers, banks, and
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Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, no. 5 (2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.

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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two
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Carville, Justin. "‘This postcard album will tell my name, when I am quite forgotten’: Cultural Memory and First World War Soldier Photograph Albums." Modernist Cultures 13, no. 3 (2018): 417–44. http://dx.doi.org/10.3366/mod.2018.0220.

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Since the Crimean and American Civil Wars in the nineteenth century, photography has allowed societies to experience war through the collective understanding of photographic representation as an inscription or mnemonic cue for recollections of past events. However, the First World War ushered in new vernacular cultural practices of photography which radically altered how both war was represented and experienced through photography. This shift, in turn, engendered new private and domestic forms of post-war remembrance through the photographic image. Kodak's marketing of the Vest Pocket Autograp
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Tanyushina, Alexandra Alexandrovna. "German Dada photomontage as art of the “real”: on the path towards “new realism”." Культура и искусство, no. 6 (June 2020): 47–59. http://dx.doi.org/10.7256/2454-0625.2020.6.31742.

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The subject of this research is such artistic practiced of German Dadaism as photography and photomontage. Relevance of this topic is associated not just with the growing interest of art historians, cultural critics and writers to the culture of Weimar Germany, but also active study by modern scholars of the peculiarities of functioning of the various visual practices, which emergence is substantiated by constant shift and mutual integration of different artistic mediums, among which special place belongs to photography and related photo techniques. Research methodology is of complex nature an
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Gonzales-Day, Ken. "Analytical Photography: Portraiture, from the Index to the Epidermis." Leonardo 35, no. 1 (2002): 23–30. http://dx.doi.org/10.1162/002409402753689272.

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The current abundance of scholarship concerning the technological development of photography has coexisted with a proportionate absence of recent critical analysis of photographic images. Given photography's long-standing embrace of technological advances, even predating the portable camera or roll film, this article revisits some early uses of scientific photography in order to clarify the impact of digital technology on contempo-rary photographic practice. The author uses scientific photogra-phy and photographic archives as the groundwork for photo-graphic experiments into what might be call
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Kobylińska-Bunsch, Weronika. "Opowieść ze „Stolicą” w tle. Odkrywanie fotograficznego obrazu powojennej Warszawy." Załącznik Kulturoznawczy, no. 8 (2021): 573–86. http://dx.doi.org/10.21697/zk.2021.8.29.

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This photo essay is based on a poetic narrative about Polish post-war photography, which was published in 1946 in the Stolica [The Capital] magazine. The text presents in a detailed way authentic, archival photographs presented originally in this journal. Therefore, the article displays a varied range of photographic compositions created both by famous and unknown photographers. The specific structure of this photo essay was inspired by one of the short novels written by Julio Cortázar, where narrative escaped temporal linearity.
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Mazur, Adam. "Zadanie fotografa. Problemtyka Reprodukcji dzieła sztuki na przykładzie dwóch książek fotograficz`nych Eustachego Kossakowskiego August Zamoyski oraz Lumières de Chartres." Artium Quaestiones, no. 33 (December 30, 2022): 107–34. http://dx.doi.org/10.14746/aq.2022.33.5.

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Using the example of two books by Eustachy Kossakowski (1925–2001) – August Zamoyski (1974) and Lumières de Chartres (1989) – the text addresses the issue of reproducing works of art in the form of a photo album (photobook). The work of the photographer who makes reproductions of works of art is compared to the task of the translator, a reference to Walter Benjamin’s essay. The text is divided into two parts corresponding to albums. A detailed analysis allows us to see the differences between the books, as well as the change in Kossakowski’s approach to reproduced works of art. The first album
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Shah, Chinar. "The Execution of Bin Laden in Images." Cabinet, Vol. 2, no. 2 (2017): 98–101. http://dx.doi.org/10.47659/m3.098.art.

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The photo essay illustrates the politics of missing visuals from the public domain and analysis of the artist’s book Bin Laden Situation Room. The book is a reaction to the photograph issued on 2 May 2011 by the American government at the time of Bin Laden’s execution. The image taken by the official White House photographer Pete Souza, depicts president Barack Obama and his national security team witnessing the execution of Osama Bin Laden, the leader of the Islamic militant organization, al-Qaeda. Apart from this the American government did not issue any other visual evidence of the event. T
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Foster, Michael Dylan, and Minoru Ogano. "Secret Eroticism and Lived Religion." Journal of Religion in Japan 9, no. 1-3 (2020): 277–300. http://dx.doi.org/10.1163/22118349-00901007.

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Abstract Through interviews and personal observation, this essay introduces the photographer Ogano Minoru, exploring his particular take on the practice of matsuri photography. In his photos, Ogano tries to visually capture the affective aspects of matsuri as experienced by participants. He suggests that even when matsuri are not organized through religious institutions, they emerge from deeply held beliefs and everyday life concerns in the local community. The concluding part of the article is a brief photo essay about mushi-okuri and related matsuri in the Tsugaru region (Aomori Prefecture).
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Wikan, Daniar. "City of Madness: Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 3, no. 01 (2017): 59–68. http://dx.doi.org/10.33633/andharupa.v3i01.1315.

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AbstrakCity Of Madness: Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan adalah sebuah upaya dalam memotret kehidupan ODMK khususnya yang terlantar di jalanan. Fotografi potret dalam City of Madness mencoba memberi penggambaran ikonik secara detail dari ODMK yang terlantar, gambaran tersebut mulai dari mimik wajah, bentuk tubuh, cara berpakaiaan, serta ciri-ciri fisik lainnya. Dalam rangkaian karya fotografi City of Madness, fotografer memotret orang gila yang ditemui di jalan-jalan kota Semarang –Yogyakarta secara tidak terduga. Foto orang gila atau lebih tepatnya iko
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Ulmer, Jasmine. "Refocusing the Anthropocenic Gaze: A Photo Essay." Journal of Posthumanism 1, no. 2 (2021): 235–43. http://dx.doi.org/10.33182/jp.v1i2.1727.

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In the process of bringing about the Anthropocene, humanity has become accustomed to taking up a considerable amount of space. This tendency can spill over into how we as humans take up space within our own photographs, too (such as selfies that fill the entirety of the image frame). As contrast, this minimalist photo essay offers alternative visual perspectives through posthuman photography. Alongside earth-tone photographs from the author in Belgium and the Netherlands, captions illustrate how we can refocus, rescale, and reframe everyday photographs that position (post)humanity within the c
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Eshaghi, Peyman. "To Capture a Cherished Past." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 282–306. http://dx.doi.org/10.1163/18739865-00802007.

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This essay focuses on the genre of pilgrimage photography as it developed over the course of the twentieth century in the holy city of Mashhad, Iran. Photographs made during pilgrimages to the shrine of Imam Riza count among the most popular vernacular genres of Iranian photography. Pilgrimage photographs should be understood as sacred photo-objects, at once signifiers and carriers of piety. Once framed and taken home by pilgrims, they not only capture and memorialize the sacred encounter, but also carry the aura of the divine into the mundane space and time of the everyday. I focus on the par
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Allen, Joseph R. "Picturing Gentlemen: Japanese Portrait Photography in Colonial Taiwan." Journal of Asian Studies 73, no. 4 (2014): 1009–42. http://dx.doi.org/10.1017/s0021911814000990.

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This essay investigates the conditions of portrait photography in Taiwan during Japanese colonization. After a brief introduction to the theoretical issues concerning the indexical nature of the photograph, I consider the Japanese colonial photographic industry and its products (portraits) in three contexts: the state of photographic technology in the world at that time, the ideological machinery of colonization in Taiwan, and the wider phenomenon of colonial mimicry. In this consideration, I offer a diachronic analysis of photo albums and commercial directories that contain formal portraits o
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DARDA, JOSEPH. "The Exceptionalist Optics of 9/11 Photography." Journal of American Studies 50, no. 1 (2014): 185–204. http://dx.doi.org/10.1017/s0021875814001881.

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During and after the 2001 attacks on New York City and Washington, thousands of photographs were taken. None, however, would become as iconic as Thomas Franklin's photo of three firefighters raising an American flag above the rubble of the World Trade Center. Franklin's photo, I argue in this essay, casts 9/11 in the familiar myth of American exceptionalism, screening out but still gesturing to the heterogeneous memories left unsettled and animate in amateur photographs, missing-person posters, bodies in pain, and performance. In considering the struggle over the visual memory of the attacks,
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Luvaas, Brent. "Post No Bill: The Transience of New York City Street Style." Fashion Studies 1, no. 1 (2018): 1–20. http://dx.doi.org/10.38055/fs010101.

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The sidewalks outside New York Fashion Week are lined with makeshift plywood walls. They are designed to keep pedestrians out of construction zones, but they have become the backdrops of innumerable “street style” photographs, portraits taken on city streets of self-appointed fashion “influencers” and other stylish “regular” people. Photographers, working to build a reputation within the fashion industry, take photos of editors, bloggers, club kids, and models, looking to do the same thing. The makeshift walls have become a site for the staging and performance of urban style. This photo essay
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Rawson, K. J., and Nicole Tantum. "Marie Høeg’s worldmaking photography: a photo essay." Journal of Visual Culture 19, no. 2 (2020): 184–96. http://dx.doi.org/10.1177/1470412920941899.

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Marie Høeg, who lived from 1866–1949, was a Norwegian photographer and activist for women’s rights. In this photo essay, the authors feature six photographs depicting Marie Høeg in gender transgressive scenes. These photographs are a few of more than 30 that were recovered in the 1980s from a property where Høeg once lived with her female partner, Bolette Berg. Standing out from the traditional landscapes and portraits that were common for the professional studio of Berg & Høeg, these photographs provide a glimpse into Høeg’s playful self-expression at the onset of the 20th century. This p
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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.

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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that cha
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Szczypiorska-Chrzanowska, Magdalena. "„Wszyscy wyszliśmy z wody”." Załącznik Kulturoznawczy, no. 6 (2019): 409–26. http://dx.doi.org/10.21697/zk.2019.6.21.

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This essay is an attempt of meditation over the phenomenon of photography, its philosophy and practice. Questions are put forward about the ontological status of the subject captured on the picture, about what is – and what might be – time in photography, what is a photographic moment, what is a photographic ‘reality’ and ‘fiction’. The starting point and the photo-literary background of the essay is a juxtaposition of a daguerreotype from the literary fiction (from One Hundred Years of Solitude by Gabriel Garcia Marquez) and a daguerreotype from the real photography (Boulevard du Temple by Ja
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Alizadeh. "‘Daring, Unusual Things’: Bertolt Brecht’s Photo-Epigrams as Poetic Inventions." Humanities 8, no. 2 (2019): 73. http://dx.doi.org/10.3390/h8020073.

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This essay explores the aesthetics of Bertolt Brecht’s compositions of poetry with photography in the so-called photo-epigrams of his 1955 book War Primer. The photo-epigrams have mostly been viewed and appreciated as interventions in photography; but in this essay I aim to show their novelty and efficacy as poetic inventions. To do so, I draw on Karl Marx’s and Walter Benjamin’s views apropos the decline of poetry under modern, industrial capitalism to argue that Brecht, in his photo-epigrams, is responding to—and attempting to counter—a specific problem at the heart of modern poetry: the cri
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Olaguez, Reyna. "Children of the Drought." Boom 4, no. 4 (2014): 16–25. http://dx.doi.org/10.1525/boom.2014.4.4.16.

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New America Media asked young reporters in the Central Valley to capture how the drought has affected their communities in this powerful photo essay. Six photographs are presented here, each paired with thoughts from its subject or photographer.
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Magilow, Daniel H. "Cute Jews: Modernist Photographic Forms and Minor Aesthetic Categories in ‘Jüdische Kinder in Erez Israel. Ein Fotobuch’." Leo Baeck Institute Year Book 64, no. 1 (2019): 47–71. http://dx.doi.org/10.1093/leobaeck/ybz005.

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Abstract Jüdische Kinder in Erez Israel was the last overtly Jewish-themed photobook published in Germany before the Holocaust. Although it consists only of a six-page introduction by the scholar-activist Bertha Badt-Strauß, one page of captions, and twenty-one photographs by photographer Nachum ‘Tim’ Gidal of adorable young children in Mandatory Palestine, its propaganda mission transcends its diminutive size and surface superficiality. This article interprets this photobook as an example of the photo essay, a modernist form that emerged from Weimar Germany’s unique media environment, in whic
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Cassidy, Laurie. "Picturing Suffering: The Moral Dilemmas in Gazing at Photographs of Human Anguish." Horizons 37, no. 2 (2010): 195–223. http://dx.doi.org/10.1017/s0360966900007258.

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ABSTRACTPhotographs of human suffering inundate everyday life in the United States. The camera lens brings the human gaze into the intimate anguish of state sponsored torture and “natural disaster.” This essay argues that photographs of suffering in contemporary culture present a nexus of ethical and moral issues. These issues arise from how photographs represent suffering “others” and how these images inform collective response to human anguish. This essay interrogates this intersection through the lens of Christian ethics' root metaphor ofimago Dei. First, the essay explores the power and pr
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Zervigón, Andrés Mario. "The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room." October 150 (October 2014): 27–48. http://dx.doi.org/10.1162/octo_a_00199.

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The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the history of photography, or more specifically the history of its practical use. Displayed on sleek scaffolds that efficiently expanded the available exhi
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Cronin, Anne M. "Researching Urban Space, Reflecting on Advertising." Space and Culture 14, no. 4 (2011): 356–66. http://dx.doi.org/10.1177/1206331211412278.

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This photo essay places into dialogue practices of photographing urban space and the market research practices of the U.K. outdoor advertising industry. It explores photography as a method for accessing understandings of cities, and it examines ways of analyzing the interplay between photographic practices and data gathered through ethnography. Through personal reflections on the research process, the essay considers the spatial practices of the outdoor advertising industry and how its billboards and panels act to space out cities and city imaginaries.
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Aguilar, Laura. "Human Nature." Boom 5, no. 2 (2015): 22–27. http://dx.doi.org/10.1525/boom.2015.5.2.22.

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Laura Aguilar’s Nature Self Portraits treat the human body as another feature in landscapes. In the series, Aguilar positions herself in the center of her photographs, nude, often with her back to the camera. The curve of her back echoes the rocks, her black hair in the wind recalls the thin fingers of desert trees. The photographs are at once playful and beautiful, peaceful and provocative. This photo essay includes work from Aguilar’s series, plus a similar work by California photographer Judy Dater, which influenced Aguilar.
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Grossmann, Rebekka. "Image Transfer and Visual Friction: Staging Palestine in the National Socialist Spectacle." Leo Baeck Institute Year Book 64, no. 1 (2019): 19–45. http://dx.doi.org/10.1093/leobaeck/yby022.

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Abstract This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of th
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Edwards, Steve. "Apocalyptic Sublime: On the Brighton Photo-Biennial." Historical Materialism 17, no. 2 (2009): 84–102. http://dx.doi.org/10.1163/156920609x436135.

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AbstractBased on an account of the Brighton Photo-Biennial Memory of Fire: The War of Images and Images of War, curated by Julian Stallabrass in late 2008, this essay considers the photographic coverage of the recent imperialist interventions in the Middle East. Taking its cue from Stallabrass's event, it reflects on the decline of documentary and photojournalism since the Vietnam War and the current attenuated politics of the media. It argues that the problem of the sublime extends beyond the current genre of 'aftermath'-photography and asks what might constitute a more cognitively adequate p
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Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe, and Jeannine Tang. "Residues of a Dream World." Theory, Culture & Society 28, no. 7-8 (2011): 358–89. http://dx.doi.org/10.1177/0263276411425834.

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The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines the public and public sphere of the High Line. H
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Hernandez, Kortney. "Can the subaltern be seen? Photographic colonialism in service learning." Qualitative Research Journal 18, no. 2 (2018): 190–97. http://dx.doi.org/10.1108/qrj-d-17-00051.

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Purpose The purpose of this paper is to examine the unaddressed phenomenon of photographic colonialism using service learning to illustrate the way in which photos and visual imagery are allowed to go unchallenged within educational media and qualitative research. Design/methodology/approach This essay draws on Gayatri Chakravorty Spivak’s seminal essay to ask: “Can the subaltern be seen?” By so doing, it explores the manner in which photography produced from a Eurocentric gaze re-presents and speaks for the subaltern, particularly within the context of qualitative research and educational pho
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Gough, Maria. "Portrait Under Construction: Lotte Jacobi in Soviet Russia and Central Asia." October 173 (September 2020): 65–117. http://dx.doi.org/10.1162/octo_a_00404.

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Traveling in Russia and Central Asia in 1932–33, the German-Jewish portrait photographer Lotte Jacobi produced an extraordinary archive of several thousand photographs documenting Soviet industrialization, collectivization, modernization, and, most profoundly, the revolution's human face. Yet she never assembled a photo book or other reflection about her experience. Based on a study of the archive in its entirety, this essay tells the story of Jacobi's journey through the lens of her photographs, building a portrait of the worlds in which she moved under the auspices of the Soviet photo agency
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Zhuk, Krystsina. "Pandemic Isolation in Belarus through the Perspective of Photographs." Lidé města 24, no. 2 (2022): 325–53. http://dx.doi.org/10.14712/12128112.2405.

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This photo essay examines the process of isolation during the first period of the COVID-19 pandemic based on the quarantine photos of a family from Belarus. It illustrates how the content and form of the collected images visualized the invisible markers of the pandemic and reflected various stages of isolation, transformations of the notion of home, and changes in family dynamics and routines. To collect the photographs, a weeklong remote participatory project was conducted. The findings of this project thus pointed to a direct correlation between photographs and changes in the social world an
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McNew, D. "Photo Essay: Lookin' for Love Photograph." IEEE Spectrum 42, no. 8 (2005): 22–23. http://dx.doi.org/10.1109/mspec.2005.1491222.

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Schaber, Bennet. "Fabrics of Dislocation." Feminist Media Histories 3, no. 1 (2017): 103–39. http://dx.doi.org/10.1525/fmh.2017.3.1.103.

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This photo essay is an attempt to register the complex political valences of certain shared formal preoccupations in the cinematic, photographic, videographic, and new media works/interventions of Shirin Neshat, Lalla Essaydi, Mona Hatoum, Ana Lily Amirpour, Amina Sboui, and Nadia El Fani. What is contested here is the so-called readability of images, especially those by Middle Eastern women, as these coalesced during the late colonial and postcolonial periods and as they continue today. The “photo-grams” that constitute the essay function neither as illustrations nor as counter-readings, but
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Caraffa, Costanza. "The photo archive as laboratory. Art history, photography, and materiality." Art Libraries Journal 44, no. 1 (2019): 37–46. http://dx.doi.org/10.1017/alj.2018.39.

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Librarians, archivists, and curators today meet unique challenges when facing huge numbers of photographs accumulated in their institutions. Coming to terms with these masses in a responsible way means to reflect on cataloguing and digitization standards able to record their (material) complexity. It also means to constantly justify a series of investments: in cataloguing and digitization projects, but also in storage space, restoration, archival and conservation materials, not to speak of human resources. It means, ultimately, to reflect on the systems of value that one decides to apply while
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Farhi Neto, Leon. "FOTOGRAFIA E PÓS-FOTOGRAFIA: do controle ao descontrole." Revista Observatório 4, no. 1 (2018): 220. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p220.

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Entre as funções originárias da fotografia está a documental. A foto dá testemunho da verdade. Barthes, em 1980, chegou a encontrar na essência da fotografia o “isso-foi”. Na foto se manifestaria necessariamente a verdade de uma realidade do passado. Ora, o dito popular – uma imagem vale mais que mil palavras! – até há pouco parecia incontestável (hoje desconfiamos mais de uma foto do que há 30 anos atrás). Fotografia documental, medical, policial, foto de identidade, identificação, controle, de tal maneira que aquele dito popular se inscreve em uma série que nos leva a outra frase de nosso co
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Okereke, Emeka, and Mathangi Krishnamurthy. "An Afropolitan in South Asia." Radical History Review 2022, no. 144 (2022): 218–27. http://dx.doi.org/10.1215/01636545-9847900.

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Abstract In this photo essay, the authors gather a set of photographs of only partially visible subjects to speak about the tense and unpredictable encounters between different postcolonial histories. Staged as a conversation between an anthropologist and a photographer, the essay touches on the necessary modalities of such encounters, be it surprise, friendship, location and dislocation, or sometimes even invisibility. Central to the essay are conversations about encounters between the authors themselves, mediated by the sights, sounds, and serendipities of the postcolonial city. Using the In
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Zeng, Burong. "Non-Taster: A Photo Essay About a Loss of Taste and Breakfast." Excursions Journal 11, no. 1 (2021): 147–53. http://dx.doi.org/10.20919/exs.11.2021.268.

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Non-taster is a photo essay exploring the elusive connections between the change of taste and the immigrant experience based on my story of losing taste at the beginning of the Covid-19 pandemic outbreak. The world, which used to be dirty, viscous, and alive has rapidly become hygienic, distanced, and virtual. I documented the packaging and food sauce for breakfast via a series of scanned images and photographs during the second and third lockdown in London. The photos of spicy sauce and food packaging reveal the desire to reconnect with the senses. Alongside apathy, nostalgia, and homesicknes
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ZAHAR, IWAN. "A BRIEF CONCEPT IN LANDSCAPE PHOTOGRAPHY." International Journal of Creative Future and Heritage (TENIAT) 4, no. 1 (2016): 63–84. http://dx.doi.org/10.47252/teniat.v4i1.335.

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AbstrakDi Malaysia, tidak terdapat banyak perbincangan tentang landskap fotografi dan tidak ramai juru gambaryang berkemahiran dalam bidang ini. Penyelidikan ini menggunakan analisis kandungan dan analisis fotodaripada sumber yang berlainan termasuk monograf, buku, dan jurnal. Esei pendek ini menerangkanpengaruh seni Zen terhadap landskap foto, dan perkembangannya di Barat. Ia juga menerangkansecara ringkas tentang sejarah landskap fotografi di Malaysia. Selain daripada itu, esei ini tidak berhasratuntuk menerangkan semua teknik dan konsep landskap fotogafi, tetapi saya cuba menghubungkaitkanp
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Vium, Christian. "Spectres of Undocumented Migration in Paris." African Diaspora 11, no. 1-2 (2019): 101–22. http://dx.doi.org/10.1163/18725465-01101011.

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Abstract Based on recurrent ethnographic fieldwork with West African undocumented (im)migrants in Paris (France) since 2006, this photo-essay describes one particular housing complex inhabited by a vast West African diaspora. In addition to a descriptive analysis of my work with photography in the context of anthropological research in this particular setting, the article explores the notion of sacrifice as experienced and recounted by men who have undertaken the long and perilous journey to Europe to find means to support their families back home. Finally, I argue in favour of an approach to
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Goodstein, Gerry. "Past, Present, Future Photography: An Essay and Photo Portfolio." Theater 18, no. 2 (1987): 22–33. http://dx.doi.org/10.1215/01610775-18-2-22.

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Hahn, Peter. "Die regionale Waldentwicklung mithilfe von Fotografien dokumentieren (Essay)." Schweizerische Zeitschrift fur Forstwesen 167, no. 2 (2016): 59–63. http://dx.doi.org/10.3188/szf.2016.0059.

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Documenting regional forest developments through photographs (essay) By lucky chance, there exists in Entlebuch, in the canton of Lucerne, a rich collection of photographs valuable for forest history. Modern photos are presented opposite the historical images to show the development of forests over the last 100 years. Intensive study of these photos has led the author to interesting discoveries. For this reason, he encourages today's practising foresters to document their own experiences in connection with the forest, for example through photographs.
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Stephens, Robert D. "Mumbai North: Contemporary Aerial Photographs of Mumbai’s Suburbs." Urbanisation 3, no. 2 (2018): 131–38. http://dx.doi.org/10.1177/2455747118825423.

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‘Mumbai North’ features black-and-white aerial photographs of the city’s suburban ecologies—social and natural. Spanning from Sanjay Gandhi National Park to Gorai Creek, and from Bhiwandi’s Waral Lake to Powai, the series visually engages with the ecosystems of Mumbai. Juxtaposed against each photograph are excerpts from archival publications, such as the 1964 Report on the Development Plan for Greater Bombay and the 1965 Marg publication, Bombay, Planning and Dreaming. Together, these two art forms are interwoven into a photo-literary tapestry spanning decades, providing historical insight as
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Marn, Ricardo, and Joaqun Roldn. "Photo essays and photographs in visual arts-based educational research." International Journal of Education Through Art 6, no. 1 (2010): 7–23. http://dx.doi.org/10.1386/eta.6.1.7_1.

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Wei, Louisa, and Phil M. F. Shek. "An Encounter in Hong Kong Streets, 60 Years Apart." Cubic Journal 5, no. 5 (2022): 110–23. http://dx.doi.org/10.31182/cubic.2022.5.54.

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Hong Kong has a history punctuated by waves of immigrants and influxes of expats, especially during years of wars, famine, and drastic social changes. The wide wealth gap among different classes contributes to the diverse cityscapes within walking distance of one another. Street photography in the international and multicultural metropolis has continued to fascinate photographers – some sojourning and others rooting. With two sets of photos – from British traveller Nick Howard and Hong Kong native Phil M.F. Shek – laid side by side, this essay questions the meanings generated through the juxta
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Sheng, Jeff T. "Ethnographic Uncovering: Hidden Communities." Contexts 19, no. 2 (2020): 46–53. http://dx.doi.org/10.1177/1536504220920196.

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Macnab, Andrew John, Ronald Mukisa, and Lynn Stothers. "The Use of Photo-Essay to Report Advances in Applied Science and Health." GHMJ (Global Health Management Journal) 2, no. 2 (2018): 44. http://dx.doi.org/10.35898/ghmj-22199.

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Background: In the applied health and science disciples there is an expectation that project work is reported through a publication. The conventional papers written to do this follow a structure that includes sections providing background, methods, results and a discussion or conclusion, supported by figures and tables. Sometimes photographs are included, and with more on-line publications the opportunities have increased for these to be available in full color. Borrowing from the field of photojournalism photo-essays are now a publication option where a series of images are used to tell the s
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