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Journal articles on the topic 'Photography Photojournalism Documentary photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

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 politics of the image.

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López Sanz, Hasan Germán. "Poder y agencia icónica. El negro africano como víctima en la cultura visual hegemónica Power and iconic agency. The black African as a victim in the hegemonic visual culture." Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 142. http://dx.doi.org/10.7203/laocoonte.0.5.12181.

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El objetivo de este artículo es abordar el problema filosófico y antropológico de los sistemas hegemónicos de representación fotográfica del África subsahariana. Concretamente, se analiza la imagen del negro africano como víctima y cómo con ella se refuerza lo que Okwui Enwezor ha llamado el afropesimismo. Sin embargo, a diferencia de Enwezor, que pone el acento en la fotografía documental y periodística, mi intención es mostrar que la estrategia que consiste en poner el acento en la víctima también se utiliza en otras prácticas fotográficas más alineadas con el arte, y que sus consecuencias epistemológicas no son muy diferentes a las de la fotografía documental. The aim of this article is to address the philosophical and anthropological problem of the hegemonic systems of photographic representation of sub-Saharan Africa. Specifically, it examines the image of the black African as a victim and how it reinforces what Okwui Enwezor has called afropessimism. However, unlike Enwezor, who puts the emphasis on documentary photography and photojournalism, my purpose is to show that the strategy of putting the accent on the victim is also used in other photographic practices more aligned with art, and that the epistemological consequences are not very different from those of documentary photography.

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Colner, Miha. "Bojan Salaj, photographer: The Ambivalent Eclecticism of Contemporary Photography." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 14–19. http://dx.doi.org/10.47659/m1.014.rev.

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The article that aims to analyse the artistic production of photographer Bojan Salaj is based on conversations and reviews of his archive. Among Slovenian photographers, Salaj is the one who has been seen as an embodiment of the decisive shift in perception of the photographic medium that occurred in the late 1980s and early 1990s. He has never worked as documentary photographer or photojournalist; his authorial practice has always been primarily focused on the context of exhibition and against unconventional solutions. Salaj is one of those photographers who are characterized by the deep reflection of the meaning and perception of image from different, mainly philosophical, viewpoints, while at the same time following the objectivistic principles of photography. At a glance, his practice is extremely eclectic and post-modern, which is due to the fact that he is not looking to find an individual and recognizable artistic voice; he dedicates his focus to individual projects, bringing into his work various different references and themes. Nevertheless, a central motive can still be perceived throughout his output. In the past 25 years, Salaj has mostly been attracted to the here and now; this includes the fundamental problems of representation of photography in mass media, iconography of power structures, models of construction of history, and ways of establishing national and cultural identities.

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Becker, Howard S. "Visual sociology, documentary photography, and photojournalism: It's (almost) all a matter of context." Visual Sociology 10, no. 1-2 (January 1995): 5–14. http://dx.doi.org/10.1080/14725869508583745.

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Fondevila Gascón, Joan Francesc, Carlos Cardona Pérez, Eva Santana López, Josep Rom Rodríguez, Javier López Crespo, and Pedro Mir Bernal. "Imagen y comunicación: el peso de la fotografía en el periodismo digital internacional / Image and Communication: the Weight of Photography in International Digital Journalism." Revista Internacional de Cultura Visual 3, no. 1 (April 4, 2016): 9–17. http://dx.doi.org/10.37467/gka-revvisual.v3.489.

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ABSTRACTPhotography is one of the singular indicators of digital journalism. Among its exponents (text, photography, video, sound or graphics), photography metamorphoses into the virtual environment. Through an empirical analysis, we compare the reference newspapers from four countries of global relevance: Germany, USA, Japan and the UK. The reference digital versions of the most read newspapers in these countries are Spiegel Online, The New York Times, The Japan Times, and The Times. The items analyzed in this work are all the text units published at the home page, including the number of existing photographs in total content units and the number of different types of pictures, classified in ten different parameters: photo-news, illustrative, new, resource, black and white, color, large format, small format, edited, unedited. This work confirms that photojournalism is losing its relevance at the multimedia area and that photography gives way to the purely illustrative side; photography is an element in relation to the present; black and white photography remains for documentary reasons only; the large format photography is the only with great power in news media; and editing is not as usual activity in journalism as everybody think about.RESUMENLa fotografía es uno de los indicadores singulares del periodismo digital. Entre sus exponentes (texto, fotografía, vídeo, sonido o infografía), el fotográfico se metamorfosea en en el entorno virtual. Se presenta un análisis empírico compa-rativo entre los diarios de cuatro países de relevancia a escala global: Alemania, Estados Unidos, Japón y Reino Unido, a través de las versiones digitales de referencia de los diarios más leídos en estos países: Spiegel Online, The New York Times, The Japan Times y The Times. Los ítems analizados son las unidades texto publicadas en la home page, el número de foto-grafías existentes en el total de las unidades del contenido y el número de los diferentes tipos de fotografías, clasificadas según diez parámetros diferentes: foto-noticias, ilustrativas, nuevas, de recurso, blanco y negro, en color, gran formato, pequeño formato, editadas y sin editar. Se concluye que el fotoperiodismo tiene cada vez menos relevancia en el ámbito multimedia y deja paso a la fotografía puramente ilustrativa.

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Carrabine, Eamonn. "Traces of violence: Representing the atrocities of war." Criminology & Criminal Justice 18, no. 5 (July 25, 2018): 631–46. http://dx.doi.org/10.1177/1748895818789448.

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This article explores the relationships between war and representation through the use of visual images, and takes a cue from the French cultural theorist Paul Virilio, who has written extensively on the militarization of vision in ways that have yet to be fully recognized in criminology. It then outlines some of the disputes surrounding documentary photography, not least since one of the main factors driving the development of the medium was the desire to record warfare, before turning to recent efforts to reconfigure the violence of representation by focusing on what has been termed ‘aftermath photography’, where practitioners deliberately adopt an anti-reportage position, slowing down the image-making process and arriving well after the decisive moment. This more contemplative strategy challenges the oversimplification of much photojournalism and the article concludes by reflecting on how military-turned-consumer technologies are structuring our everyday lives in more and more pervasive ways.

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Saayman Hattingh, Heidi M., and Rolf J. Gaede. "Photographer autonomy and images of resistance: the case of South Africa during the 1980s." Visual Communication 10, no. 4 (October 14, 2011): 499–525. http://dx.doi.org/10.1177/1470357211415780.

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This article examines the praxis of prominent photographers who were professionally active during the 1980s in South Africa, based on 26 personal interviews. The authors look at issues concerning practitioner autonomy, or the photographer’s freedom to make independent communication-related choices while working within social documentary or photojournalism genres. The data suggest that the majority of photographers operated on the level of strategic social actions with low levels of practitioner autonomy, using photography in the first instance as a ‘weapon’ in the fight against apartheid, actively forming collectives to assist with the distribution of resistance images internationally. In contrast, those photographers who opted to operate primarily as independent social commentators remained in the minority.

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Ramos, Júlia Capovilla Luz. "O RETORNO DA AUTORIA E UMA NOVA CONSCIÊNCIA DOCUMENTAL NO FOTOJORNALISMO CONTEMPORÂNEO." Revista Observatório 4, no. 1 (January 1, 2018): 349. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p349.

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Os fotojornalistas têm vivenciado mudanças na prática e na produção fotográfica desde a adesão das tecnologias digitais pelas empresas jornalísticas. O que para muitos profissionais da imagem representou uma crise sem precedentes, para outros se configura como a possibilidade de explorar temáticas e estéticas não comumente usadas nas coberturas diárias dos impressos. Neste sentido, os blogs de fotografia dos jornais de maior circulação do Brasil aparecem como lugares outros para publicação e circulação desse material imagético originalmente produzido para atender as demandas da produção noticiosa diária. Ao romperem com a suposta objetividade da fotografia, os fotojornalistas que contribuem com estes blogs apontam para a necessidade de incluir a poética em suas produções, provocando um movimento de “retorno da autoria” (FOUCAULT, 2001) e uma “nova consciência documental” (FONTCUBERTA, 2007). PALAVRAS-CHAVE: Blog de fotografia; Fotojornalismo; Autoria. ABSTRACT Photojournalists have experienced changes in the practice and photographic production since the adhesion of digital technologies by journalistic companies. What for many professionals of the image represented an unprecedented crisis, for others it is configured as the possibility to explore thematic and aesthetics not commonly used in the daily coverages of the printed matter. In this sense, blogs of photography of the newspapers of greater circulation of Brazil appear like other places for publication and circulation of imagery material originally produced to meet the demands of the daily news production. Photojournalists who contribute to these blogs point to the need to include poetics in their productions, provoking a "return of authorship" movement (FOUCAULT, 2001) and a "new documentary awareness" (FONTCUBERTA, 2007). KEYWORDS: Photography blog; photojournalism; authorship. RESUMEN Los reporteros gráficos han experimentado cambios en la práctica y la producción fotográfica desde la llegada de las tecnologías digitales por las compañías de periódicos. Lo que para muchos profesionales de la imagen ha representado una crisis sin precedentes para el otro está configurado como una oportunidad de explorar temática y estética no se utiliza comúnmente en la cobertura diaria de impresión. En este sentido, los blogs de fotos de los principales periódicos de Brasil aparecen como otros lugares para la publicación y difusión de estas imágenes producidas originalmente para satisfacer las demandas de producción de noticias al día. Para romper con la supuesta objetividad de la fotografía, los reporteros gráficos que contribuyen con estos blogs apuntan a la necesidad de incluir la poética en su producción, provocando un movimiento de "regreso de la autoría" (FOUCAULT, 2001) y una "nueva conciencia documental" (FONTCUBERTA, 2007). PALABRAS CLAVE: Blog de fotografía; fotoperiodismo; autoría.

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Frolova, Ekaterina, and Irina Rutsinskaya. "Russian Orthodoxy in documentary projects of the Russian and English photographers." Культура и искусство, no. 7 (July 2021): 27–54. http://dx.doi.org/10.7256/2454-0625.2021.7.34125.

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This article is dedicated to the analysis of distinctive features of the image of Russian Orthodoxy in the works of the contemporary Russian and English photographers. The authors review various aspects of photography as a research tool. They determine the focus of attention of the English and Russian photographers with regards to Orthodoxy, which aspect of religiosity prevail in their works, and which artistic means of photography are used by the photojournalists to express their position. In the course of research of the existing photo projects, the question is raised of whether they seek to capture negative or rather positive aspects of the Russian religiosity. Analysis is also conducted on the degree of the influence of stereotypes upon photo images. Research methodology employs comparative analysis of the documentary photo projects of the Russian and English photographers. The photographers were selected by regional, professional, and objective-subjective criteria. This article is first to refer to the documentary photo projects for analyzing the perception of Russian Orthodoxy by the Russians and foreigners, which defines the scientific novelty and uniqueness of this research. The conducted analysis reveals the similarities and differences in the approaches of the Russian and English photographers. The conclusion is made that the object of research of the English and Russian photographers differ in themes and aspects they pay attention to. The English photographers are interested in religion as a part of the everyday practices of a modern Russian, while the Russian photographers attempt to demonstrate a profound connection of people with the spiritual world. At the same time, both English and Russians photographers capture Orthodoxy in a positive context, at times even romanticizing the image of Orthodox temples and rituals.

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Jermakowa, Inna. "Wizualizacja jako narzędzie manipulacji współczesnej wojny informacyjno-hybrydowej. Historia jednej fotografii — „Rozejm w Szyrokinem”." Oblicza Komunikacji 9 (October 30, 2018): 167–74. http://dx.doi.org/10.19195/2083-5345.9.10.

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Visualization as a tool for manipulating the modern information-hybrid war. History of one photo — “The truism in Szyrokine”Documentary nature of photography convinces the viewer that the image is exactly the same as reality. A photo causes trust and this property of photos is repeatedly used in manipulating public opinion. In the report perception means of the image are analyzed. Special attention is paid to the fact how photojournalism becomes the powerful tool in terms of information war against a backdrop of military conflicts. Especially in today’s conditions, when, according to Oksana Zabuzhko: “Era of »bombed cities« passed — the era of »bombed brains« began…”. History of photodocumentary and history in general can argue that wars and disasters always attracted the attention of the news. A photo neutralized the distance between the viewer and the event. But at the same time, in terms of Russian aggression against Ukraine, it became a popular and effective weapon in the “information” or “psychological war”. The meaning and the true scale of this war are often underestimated. It is perceived like a sort of supplement to “main”, “hot” armed phase of the war. But in reality the meaning is reversed: the information war is total. Moreover, the visual aspect of it is paid the main attention. Photos and their variations are successfully used as a technology of hybrid war. The consequences of this are so powerfully felt by Ukrainian media space. To the most used means we include misrepresentations, information provokes, fakes, manipulations, photo collages, false testimonies of witness, fake experts and witnesses and others. These technologies are analyzed in the report as manipulative tools of modern information and hybrid war.

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Becker, Howard S. "Sociologie visuelle, photographie documentaire et photojournalisme." Communications 71, no. 1 (2001): 333–51. http://dx.doi.org/10.3406/comm.2001.2091.

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Bollendorff, Samuel. "Du photojournalisme à la photographie documentaire." Cahier Louis-Lumière 7, no. 1 (2010): 48–52. http://dx.doi.org/10.3406/cllum.2010.930.

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Langendorf, Richard. "Documentary photography." Computers, Environment and Urban Systems 15, no. 1-2 (January 1991): 74. http://dx.doi.org/10.1016/0198-9715(91)90058-l.

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Huang, Edgar Shaohua. "Readers' Perception of Digital Alteration in Photojournalism." Journalism & Communication Monographs 3, no. 3 (September 2001): 147–82. http://dx.doi.org/10.1177/152263790100300302.

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At the beginning of the millennium, almost all of the images that we see in our daily newspapers and news magazines are digitized. However, no scholars have asked readers what they think about the appropriateness of digitally altering images. The purpose of this study is to examine how much readers trust digital images used in documentary contexts and to provide an empirical base for newsroom guidelines and principles regarding the uses of digitally altered photographs.

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Kuo, Li-Hsin. "Politicising Documentary Photography." Javnost - The Public 14, no. 3 (January 2007): 49–64. http://dx.doi.org/10.1080/13183222.2007.11008946.

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Radiontseva, E. S. "Photojournalism and fine-art photography magazines: typological features." Science of the Person: Humanitarian Researches 14, no. 4 (2020): 69–74. http://dx.doi.org/10.17238/issn1998-5320.2020.14.4.8.

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Maksymovych, Myroslav. "NEWS PHOTOGRAPHY IN MODERN PHOTOJOURNALISM: TYPES AND FEATURES." Bulletin of Lviv Polytechnic National University: journalism 1, no. 1 (2021): 7–14. http://dx.doi.org/10.23939/sjs2021.01.007.

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The article is about the fact that in modern mass-media photos more and more often become not only a visual background to informative, analytical or journalistic text, but as headlines attract attention of audience. Such kind of approach increases quality requirements of illustrative material in modern periodicals because popularity of texts which are published in newspapers and magazines depends on that. Some separate photos might become a kind of visual factage which does not need any verbal explanation. A lot of attention is paid to the role, purpose and features of photos for news as a genre of modern photojournalism. A short review of sources of research issues is made in the article. The author has considered the main definitions and features of news photography as one of the main informative genres of modern pictural journalism. It is accented on the fact that modern photojournalists have to orientate not only in genres of photojournalism but also to be able to use them in everyday practice. Here you can find views of photojournalism theorists on the condition of news photography. In the article are given recommendations of photojournalists practitioners and workers of information agencies on the main requirements of producing photos in this genre. In the article process of producing news photos and their use in modern periodical publications are considered. The author emphasizes on the quality of such pictures and their place in visual accompaniment of informative text. In the summary are given recommendations on preparation of photojournalists who are going to work in the genre of news photography.

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Mitropoulos, Maria. "Demonic Curiosity and Documentary Photography." Alethia 5, no. 1 (July 15, 2002): 65–69. http://dx.doi.org/10.1558/aleth.v5i1.65.

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Biarincová, Patricia. "Documentary photography in art education." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 10 (2015): 87–98. http://dx.doi.org/10.16926/ep.2015.10.06.

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Hunt, William Blaine. "Documentary photography and applied anthropology." Visual Anthropology 10, no. 1 (October 1997): 67–73. http://dx.doi.org/10.1080/08949468.1997.9966720.

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Young, Stephanie L. "Social Documentary Photography: An Appreciation." Review of Communication 8, no. 3 (July 2008): 254–56. http://dx.doi.org/10.1080/15358590701851657.

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Zhou, Dengyan. "REFRAMING DOCUMENTARY PHOTOGRAPHY IN CHINA." photographies 11, no. 2-3 (July 19, 2018): 339–52. http://dx.doi.org/10.1080/17540763.2018.1445012.

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Brown, Elspeth H. "Welfare Capitalism and Documentary Photography:." History of Photography 32, no. 2 (April 18, 2008): 137–51. http://dx.doi.org/10.1080/03087290801895738.

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., Zahrawani, Drs Hardiman, M. Si ., and I. Gusti Made Budiarta, S. Pd ,. M. Pd . "KAJIAN ESTETIKA FOTOGRAFI DJAJA TJANDRA KIRANA." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 1 (March 26, 2017): 42. http://dx.doi.org/10.23887/jjpsp.v7i1.11355.

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Penelitian ini bertujuan (1) untuk mendeskripsikan jenis-jenis fotografi Djaja Tjandra Kirana. (2) untuk mendeskripsikan nilai estetika dalam karya fotografi Djaja Tjandra Kirana. Penelitian ini merupakan penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan adalah teknik dokumentasi, kepustakaan dan triangulasi. Hasil penelitian menunjukkan bahwa: (1) Jenis-jenis fotografi Djaja Tjandra Kirana yang terdapat dalam buku “Jiwa Cahaya” adalah: fotografi kehidupan manusia (human interest), fotografi jurnalistik (photojournalism), fotografi pemandangan (landscape photography), fotografi model (photography modelling), fotografi jalanan (street photography), dan fotografi potret (portrait photography) dan (2) Nilai estetika fotografi Djaja Tjandra Kirana yang terdapat dalam buku “Jiwa Cahaya” adalah: unsur-unsur rupa (unsur desain) dibagi menjadi enam unsur yaitu, garis, shape (bangun), tekstur, warna, intensity/chroma, ruang dan waktu. Dasar-dasar penyusunan (prinsip desain) dibagi menjadi empat unsur yaitu, paduan harmoni, paduan kontras, paduan irama, dan paduan gradasi dan hukum penyusunan (azas desain) dibagi menjadi empat unsur yaitu, asas kesatuan, keseimbangan, simplicity (kesederhanaan), emphasis (aksentuasi), dan proporsi. Kata Kunci : Estetika, Fotografi, Djaja Tjandra Kirana. This study aimed (1) to describe the types of Djaja Tjandra Kirana’s photography and (2) to describe the aesthetic values conveyed in Djaja Tjandra Kirana’s photographical work. This was a descriptive qualitative study. The data were collected with documentation, library research, and triangulation techniques. The result showed that (1) the types of Djaja Tjandra Kirana’s photography found in the book “Jiwa Cahaya” were: the photography of human interest, photojournalism, landscape photography, photography modelling, street photography, and portrait photography. The result also showed that (2) the aesthetical values conveyed in Djaja Tjandra Kirana’s photography found in the book “Jiwa Cahaya” were: the design element, which was divided into six elements, namely line, shape, texture, color, intensity/chroma, space and time, and also the design principle, which was divided into four composite elements, namely the composite of harmony, contrast, rhythm, and gradation. Another value found was also the design basis, which was divided into four principles, namely the principle of unity, balance, simplicity, emphasis, and proportion.keyword : Aesthetic, Photography, Djaja Tjandra Kirana

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Kim, Gyewon. "Reframing ‘Hokkaido Photography’: Style, Politics, and Documentary Photography in 1960s Japan." History of Photography 39, no. 4 (October 2, 2015): 348–65. http://dx.doi.org/10.1080/03087298.2015.1112532.

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SHUKRAN, Qasem Abdel Karim. "Photojournalism and Press Photography as a Reassurance of Reality." Anadolu Üniversitesi Sanat & Tasarım Dergisi 6, no. 11 (February 10, 2017): 36. http://dx.doi.org/10.20488/www-std-anadolu-edu-tr.292690.

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Rook, Penelope. "Fashion Photography and Photojournalism: Posing the Body in Vu." Fashion Theory 21, no. 2 (December 8, 2016): 131–56. http://dx.doi.org/10.1080/1362704x.2017.1256965.

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Alper, Meryl. "War on Instagram: Framing conflict photojournalism with mobile photography apps." New Media & Society 16, no. 8 (September 18, 2013): 1233–48. http://dx.doi.org/10.1177/1461444813504265.

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Rafael, Vicente L. "Photography and the Biopolitics of Fear." positions: asia critique 28, no. 4 (November 1, 2020): 905–33. http://dx.doi.org/10.1215/10679847-8606621.

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President Rodrigo Duterte’s drug war in the Philippines has exacted an enormous toll in human lives and suffering. This essay looks into one of the earliest and most graphic responses to this war: the work of photojournalists and the plurality of responses to their images. How does photojournalism become a kind of witnessing linked to the work of mourning? How are trauma and grieving braided together in the experience of photographers covering war? What is the role of the camera, and what are the ambivalent effects of the technical and aesthetic imaging of the dead and their survivors? How has the drug war, by instilling a biopolitics of fear, transformed the latter’s ways of seeing and being? What becomes of justice amid images of injustice? For example, how do returning spirits of the dead that appear in dreams of their families stimulate phantasms of revenge? How is revenge imagined as a form of justice that reinforces rather than detracts from the brutal logic of the drug war?

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Foote, Kenneth E. "DOCUMENTARY PHOTOGRAPHY AND QUESTIONS OF URBAN CHANGE." Urban Geography 7, no. 5 (September 1986): 462–68. http://dx.doi.org/10.2747/0272-3638.7.5.462.

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김민정 and Joonsung Yoon. "Sebastião Salgado's Iconography and Documentary Photography Humanism." Korean Journal of Art and Media 14, no. 3 (August 2015): 77–102. http://dx.doi.org/10.36726/cammp.2015.14.3.77.

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Santana, Maria Cristina. "Traditional or Digital Photojournalism Education? A Survey of Four-Year Photo Programs and Small Dailies' Photo Needs." Journal of Educational Technology Systems 25, no. 4 (June 1997): 351–61. http://dx.doi.org/10.2190/1746-t2pm-9b1t-tma2.

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This article is based on a national survey of schools with a four-year, photography program under a Communication Department, and of national daily newspapers with a circulation under 50,000. The researcher was interested in defining the knowledge needed by a graduate from a photo program to find employment at a small daily newspaper. Department chairs or sequence heads of each college program were asked to fill out the same survey given to the photo editors of the dailies selected. The questions ranged from photo equipment to instruction in digital and word processing software. The results showed both colleges and newspapers are embracing the new technology of computer enhanced instruction. Dailies rated the use of negative or slide scanners as most important, while colleges rated the use of computer software for photography most important. Another result of the survey is that both groups place little significance on medium and large format photography and photography assignments such as food or fashion illustration. Educators rated having a journalism background ninth in importance. This result is interesting when one considers that more than 85 percent of photography programs belong to Journalism Departments. This article explores possible curriculum changes to a Photojournalism/Visual Communication program.

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ALLBESON, TOM. "PHOTOGRAPHIC DIPLOMACY IN THE POSTWAR WORLD: UNESCO AND THE CONCEPTION OF PHOTOGRAPHY AS A UNIVERSAL LANGUAGE, 1946–1956." Modern Intellectual History 12, no. 2 (January 26, 2015): 383–415. http://dx.doi.org/10.1017/s1479244314000316.

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In the postwar decade, UNESCO aimed to create an international public sphere to secure peace. The organization made extensive use of photographs to do so, including the photographic archive of works of art and photojournalism from the ruined cities of Europe. However, photography was not simply a transparent medium for communicating internationalist ideals; it was a formative influence in shaping UNESCO's effort to build “peace in the minds of men”. This essay analyses the conception of photography as a universal language articulated in UNESCO-sponsored forums, the use of photography in UNESCO publications concerning human rights and educational reconstruction, and the internationalist ideals of world culture and world citizenship relevant to UNESCO's early work. Analysis reveals that UNESCO's use of photography was less the valuable deployment of a universal language suited to an internationalist agenda than it was the universalizing of certain cultural values in pursuit of the organization's utopian vision.

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Purnomo, Aji Susanto Anom, Novan Jemmi Andrea, and Monica Revias Purwa Kusuma. "NARASI LIRIS FOTOGRAFI JURNALISTIK PADA MASA PANDEMI COVID-19: STUDI KASUS PROYEK FOTOGRAFI “STILL LIVES” OLEH THE NEW YORK TIMES." Jurnal Bahasa Rupa 4, no. 2 (April 21, 2021): 113–24. http://dx.doi.org/10.31598/bahasarupa.v4i2.714.

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2020 is the year when the world is faced with a health crisis, namely the Covid-19 pandemic or also known as the Corona Virus. All aspects of life are affected by this crisis, the joints of humanity are faced with limitations. The mass media are intensively reporting various incidents regarding the Covid-19 pandemic. The stories are often accompanied by journalistic photos. One of the functions of photojournalism is to strengthen the story of what the media wants to convey. Journalistic photos during this pandemic usually feature scenes from medical activities, government policies and large narratives that are cold on empathetic human relations. However, different from most photojournalism in most mass media, The New York Times publishes "Still Lives" photography projects that are done by its photographers. The project presents a different narrative from this time of the pandemic. The “Still Lives” photography project is important because it presents journalistic photos that tell a domestic narrative that is close to the sides of universal humanity, namely the stories of the photographers' homes and families. This study aims to describe and interpret the “Still Lives” photography project as an alternative in creating a different narrative from photojournalism during the pandemic. This study used a descriptive qualitative research method based on phenomenology with Roland Barthes' main theory of semiotics and supported by journalistic photography theory and representation theory. The research results obtained a complete explanation and meaning of the “Still Lives” Project from The New York Times. The project according to the theory of photo journalistic is photo story based on personal experiences. From the analysis through the theory of semiotics from Roland Barthes and representation theory successfully obtained a result that basically projects “Still Lives” can be understood as a representation of the universal experience and feeling by mankind. Project “Still Lives” provides the representation of covid-19 pandemic through the mass media journalistic that show an alternative offer to journalistic practice to use lyrical narratives and personal experience in the story and more empathy in the mass publication of pandemic covid-19.

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Andrea, Novan Jemmi. "ESTETIKA FOTOGRAFI JURNALISTIK DALAM KAITAN NILAI KEBAIKAN DAN KEBENARAN, OLAH RASA, DAN SINESTESIA." REKAM: Jurnal Fotografi, Televisi, dan Animasi 11, no. 2 (March 18, 2016): 93. http://dx.doi.org/10.24821/rekam.v11i2.1296.

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Fotografi jurnalistik menjadi salah satu cabang dari pengelompokan besar di bidang fotografi, selain fotografi seni dan fotografi komersial. Sebagai salah satu bidang seni, fotografi jurnalistik tentunya memiliki konsep estetika tersendiri, bahkan konsep estetikanya sangat berkaitan dengan “rasa”, sebuah konsep abstrak mengenai proses peresapan sesuatu dalam diri manusia yang bahkan tidak dapat sepenuhnya dideskripsikan. Pemahaman konsep estetika merupakan proses dialektis berkaitan dengan persoalan lain seperti filsafat, sosial, politik, budaya, dan ekonomi sehingga nilai-nilai kebaikan dan kebenaran sering muncul dalam ragam diskusi estetika. Perkembangan pendekatan konsep proses penciptaan yang melibatkan penonton dan berupaya menyajikan berbagai rangsangan bagi pancaindera menuntut kemampuan dalam olah rasa lainnya, yaitu mengoneksikan pancaindera. Konsep yang berkaitan dengan hal tersebut dikenal dengan istilah synaesthesia (sinestesia), sebuah konsep di mana pancaindera bekerja bersama sekaligus saat merespons sebuah rangsangan sehingga akan menimbulkan sensasi yang melebihi ungkapan satu pancaindera saja. Pemahaman estetika dengan berbagai pendekatan tersebut merupakan proses apresiasi aktif yang bertujuan untuk mengungkap kemungkinan-kemungkinan pewacanaan baru dalam perkembangan fotografi jurnalistik. Photojournalism Aesthetic in Regards to the Value of Goodness and Truth, Feeling , and Synaesthesia. Photojournalism becomes one of the branches of a large group in the field of photography in addition to art photography and commercial photography. Great photojournalism is a strange sort of art. Photojournalism allows people to get close to events on the ground, so that people may better understand them as they unfold. This is an abstract concept about the impregnation which cannot be fully described. Understanding the concept of aesthetics is a dialectical process associated with other problems such as philosophy, social, political, cultural, and economic so that the values of goodness and truth often comes in a variety of aesthetic discussion. Developments in the approach to the concept and creation process that involves the audience and trying to present a wide range of stimuli for the senses require proficiency in another sense though, that connected the all senses. Concepts related to the case known as synaesthesia, a neurological phenomenon in which one or more sensory modalities are linked. Aesthetic understanding of the various approaches is an active appreciation process that aims to uncover the possibilities of a new discourse on development of photojournalism.

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Silva Jr., José Afonso da, and Eduardo Queiroga. "Collaborative photojournalism in a time of convergence." Brazilian Journalism Research 6, no. 2 (December 30, 2010): 103–19. http://dx.doi.org/10.25200/bjr.v6n2.2010.6.

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This article addresses the emergence of contemporary collectivephotographic practice linked to photojournalism. As a theoreticalframework, intersections are made with the consolidation of a newimage system, recovering the previous history of photography andits interaction with journalism. In this sense, it aims to work initiallywith a set of characteristics and constraints which act together todefine the problem. In addition, it presents a case analysis, theCia. da Foto (Photo Company), and shows how it represents theconsolidation and/or the contradictions of the phenomenon.

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Hodson, Dermot. "The Politics of Documentary Photography: Three Theoretical Perspectives." Government and Opposition 56, no. 1 (March 21, 2019): 20–38. http://dx.doi.org/10.1017/gov.2019.3.

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AbstractPhotographers are often inspired by politics but can they influence it? Drawing on the study of public policy and the history of photography, this article considers three ways in which documentary photographers enter the policy process. It considers the photographer as: a bureaucrat working within government networks to achieve individual and institutional aims; an advocate working with like-minded actors to advance shared political beliefs; an expert working within an epistemic community driven by a shared policy enterprise. These roles highlight the institutional channels through which photographers seek and sometimes secure political change and the contradictions and constraints they face in so doing. These contrasting perspectives are discussed with reference to the work of canonical and contemporary photographers engaged in national and international politics from 1890 to today.

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Hazan, Noa. "The Racialisation of Jews in Israeli Documentary Photography." Journal of Intercultural Studies 31, no. 2 (April 2010): 161–82. http://dx.doi.org/10.1080/07256860903579079.

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Bergstein, Mary. "Lonely Aphrodites: On the Documentary Photography of Sculpture." Art Bulletin 74, no. 3 (September 1992): 475. http://dx.doi.org/10.2307/3045895.

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Vasudevan, Ravi S., Rosie Thomas, S. V. Srinivas, Lotte Hoek, and Debashree Mukherjee. "The Documentary Archive in Photography, Film, and Video." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): vii—xiv. http://dx.doi.org/10.1177/0974927617705931.

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Friday, J. "Demonic curiosity and the aesthetics of documentary photography." British Journal of Aesthetics 40, no. 3 (July 1, 2000): 356–75. http://dx.doi.org/10.1093/bjaesthetics/40.3.356.

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Blumenkrantz, David. "Street Photography: A Bridge Between Documentary and Art." Visual Communication Quarterly 16, no. 2 (May 13, 2009): 108–16. http://dx.doi.org/10.1080/15551390902803846.

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Selejan, Ileana L. "Pictures in Dispute: Documentary photography in Sandinista Nicaragua." photographies 10, no. 3 (August 10, 2017): 283–302. http://dx.doi.org/10.1080/17540763.2017.1342973.

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Ciputra, Alfian Rizal Andre, Pitri Ermawati, and Syaifudin Syaifudin. "Pecinan Tambak Bayan Surabaya Dalam Fotografi Dokumenter." spectā: Journal of Photography, Arts, and Media 3, no. 1 (August 5, 2019): 50–60. http://dx.doi.org/10.24821/specta.v3i1.2837.

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Documentary Photography of Chinatown in Tambak Bayan Surabaya. Chinese etchnic of Surabaya has been living in the settlement, called Tambak Bayan Surabaya, around Kalimas River. Most of the families living there are the third and fourth generation of the Chinese ethnic whom migrated to Surabaya several years ago. Those families occupied the buildings formerly were horse stables during colonial period. Their economic condition was classified as middle to lower class. Hence, they did not have other choices but those settlements. Documentary photography is a way to describe their everyday conditions in a 4x4 quadrangle house that is high. Chinese identities that surround their homes are each the size of each family inhabiting the house. The families residing in Chinatown Tambak Bayan Surabaya can be visualized into several documentary photographic works showing their condition and their dwelling places. Keywords: documentary photography, Chinatown’s Tambak Bayan Surabaya, Chinese New year

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Grosvenor, Ian, and Natasha Macnab. "Photography as an agent of transformation: education, community and documentary photography in post-war Britain." Paedagogica Historica 51, no. 1-2 (January 30, 2015): 117–35. http://dx.doi.org/10.1080/00309230.2014.997757.

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Hirsch, Shirin, and David Swanson. "Photojournalism and the Moss Side Riots of 1981: Narrowly Selective Transparency." History Workshop Journal 89 (2020): 221–45. http://dx.doi.org/10.1093/hwj/dbz055.

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Abstract In the summer of 1981 a series of riots broke out across England. Here we look at the contemporary photojournalism of the Moss Side, Manchester, riots in the local newspaper, the Manchester Evening News, in order to better understand the riots and media representation of riots more generally. We begin by exploring the contradictory nature of photography (and news photography in particular) – what Susan Sontag refers to as photography’s narrowly selective transparency. We then outline a brief history of the riots, before turning to examine photographs in the Manchester Evening News at the time. We analyse the images both collectively and individually on the basis of what has been selected to be shown and why, and what has been excluded. This perspective allows us then to see in the photographs themselves what was intended to be excluded, primarily the causes of the riots – poverty, racism and oppressive policing; and the humanity of those who took part.

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Mortensen, Tara M., and Peter J. Gade. "Does Photojournalism Matter? News Image Content and Presentation in the Middletown (NY) Times Herald-Record Before and After Layoffs of the Photojournalism Staff." Journalism & Mass Communication Quarterly 95, no. 4 (March 16, 2018): 990–1010. http://dx.doi.org/10.1177/1077699018760771.

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This study explored the photojournalism and news presentation of the Middletown (NY) Times Herald-Record before and after the newspaper laid off its entire photography staff. Differences between professional and non-professional photographs were compared. Following the layoff, the paper published fewer images, and presented less prominently. Professional images captured significantly more elements of photojournalism than non-professionals, including emotion, action, conflict, and graphic appeal. Professional images were presented larger and more prominently. Results of this case study provide evidence that—despite clear differences in image content—photojournalists are struggling to assert their professional legitimacy in the digital age.

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Chouliaraki, Lilie, and Tijana Stolić. "Photojournalism as political encounter: western news photography in the 2015 migration ‘crisis’." Visual Communication 18, no. 3 (May 23, 2019): 311–31. http://dx.doi.org/10.1177/1470357219846381.

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De Diego, Estrella. "Three Women in a Garden. Alice Austen’s Pictures and the Paradox of Documentary Photography." Anales de Historia del Arte 28 (September 25, 2018): 147–62. http://dx.doi.org/10.5209/anha.61609.

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That so very difficult question about “truth”, frequently posed in relation to both autobiographical artefacts and documentary photography, is no doubt the key query concerning Alice Austen’s whole oeuvre. Taking that question as a starting point for discussion, this article explores Austen’s autobiographical and documentary work as part of the same strategy, since Austen’s autobiographical photography “documents” the life of New Women and the class that she belonged to. But if her autobiographic production is documentary, why not consider her documentary work autobiographical? The article works on this hypothesis by engaging canonical autobiography texts and exploring how watching an event may mean becoming part of the event itself.

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Kelly, Marjorie, and Sara Essa Al-Ajmi. "From Invisible to Actualized: Imagery and Identity in Photos of Women in the Gulf." Hawwa 19, no. 1 (February 22, 2021): 51–75. http://dx.doi.org/10.1163/15692086-bja10017.

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Abstract After reviewing how Middle Eastern women have been photographed historically, the paper explores how contemporary Gulf women represent themselves, both behind and in front of the camera. Initially, women were invisible, then eroticized or exoticized in Orientalist photography, only to appear in early twentieth-century family portraits as both the repository of cultural values and as the new, modern woman. The reaction of contemporary Gulf female photographers to perceptions of themselves as jobless, nameless, faceless, and voiceless is presented in examples of art photography-cum-political commentary. The media coverage of Qatar’s Shaykha Mūza is analyzed in terms of her use of clothing as nonverbal communication and as a form of soft-power politics. It is followed by a discussion of the rules – formal and informal – for publishing photos of females. The paper concludes with a survey of Gulf females’ use of selfies. Thus, three aspects of photography – as art, as photojournalism, and as private communication – demonstrate how Gulf women visually represent their identities.

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