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Journal articles on the topic 'Photography (Visual Studies)'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

M.M.Tan, Ellyana. "An Overview: Visual Communication in Photography as Healing Therapy." Silpa Bhirasri (Journal of fine arts) 8, no. 1-2 (2020): 302–16. https://doi.org/10.69598/sbjfa240919.

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The study explores the use of visual communication interpretation in visual studies focused mainly on photography images as persuasion on Therapeutic Photography. The context of the study involves examining the photograph as a factor that contributes to the sustainability of visual communication in photography practice. The discussion examines the visual significance and understanding of image data using visuals and analysing the value of photographic images for self-healing therapy. The study discusses; firstly, the value of visual communication, secondly, on visual studies in photo-imagery p

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Yusuf, Tan Sri Zulfikar, and Dea Rifia Bella. "Menangkap Photographic Moments di Pelelangan Ikan Muara Baru melalui Pendekatan Komposisi dan Etnografi Fotografi." JURNALISTIK DAN MEDIA 2, no. 2 (2024): 40–55. http://dx.doi.org/10.32722/jjm.v2i2.7141.

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In photography studies, composition is essential in capturing images to arrange visual elements within the photo frame. These compositions are important for communicating the message the photographer wants to convey to the audience, thus creating a dialogic communication effort. This paper uses traders at the Fish Auction in Muara Baru, Jakarta, as the subject of photography, and the resulting photos become photographic moments in photographic ethnography. By capturing photographic moments through the correct composition, this paper demonstrates that photographs can produce meaning from the mo

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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 (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 explore

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Vellanki, Vivek. "Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research." Cultural Studies ↔ Critical Methodologies 22, no. 2 (2021): 132–42. http://dx.doi.org/10.1177/15327086211045976.

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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual researc

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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.

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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in whi

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Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.

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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evo

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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.

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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generat

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Rissanen, Mari-Jatta. "Entangled photographers: Agents and actants in preschoolers’ photography talk." International Journal of Education Through Art 16, no. 2 (2020): 271–86. http://dx.doi.org/10.1386/eta_00031_1.

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Photographs taken by young children have engendered a growing amount of research across diverse academic disciplines. Photographs have been used as visual data for analysing for example children’s social relations and well-being. However, only a few studies have addressed the photographic practices of young children as means for them to explore, imagine and coexist with the surrounding world. In this article, I introduce a case study that draws on research from art education and sociology of childhood. The data were gathered in a photography workshop in a Finnish early childhood education and

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Aji, Daru Tunggul. "Literasi Visual sebagai Pendekatan dalam Pembelajaran Fotografi." Rekam 17, no. 2 (2021): 123–34. http://dx.doi.org/10.24821/rekam.v17i2.5660.

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Visual Literacy As an Approach To Learning Photography. This article is an overview of the current photographic phenomena. Visual literacy as an approach becomes an offer in the development of photography learning science. As a of discipline, photography has the complexity of learning, just like other scientific disciplines. In photography learning, visual literacy is a significant capital. Visual literacy can be understood as a person's ability to respond to phenomena. It's not just the ability to switch media (design); from the oral to the visual, from the textual to the visual, from the aud

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Ray, Larry. "Social Theory, Photography and the Visual Aesthetic of Cultural Modernity." Cultural Sociology 14, no. 2 (2020): 139–59. http://dx.doi.org/10.1177/1749975520910589.

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Social theory and photographic aesthetics both engage with issues of representation, realism and validity, having crossed paths in theoretical and methodological controversies. This discussion begins with reflections on the realism debate in photography, arguing that beyond the polar positions of realism and constructivism the photographic image is essentially ambivalent, reflecting the ways in which it is situated within cultural modernity. The discussion draws critically on Simmel’s sociology of the visual to elucidate these issues and compares his concept of social forms and their developme

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Prasetyo, Martinus Eko, and Ika Resmika. "MEASURING THE AESTHETICS OF PHOTOGRAPHIC COMPOSITION USING CARTESIAN COORDINATE APPROACH TO PROVE VISUAL BALANCE." specta 8, no. 1 (2024): 1–14. http://dx.doi.org/10.24821/specta.v8i1.12360.

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Photography is used for creative and reflective purposes, much like in fine art photography. The main goal of photographic aesthetics is to produce works that are not only technically sound but also have high artistic value. The research method used is qualitative descriptive. This study aims to measure the aesthetics of composition in photography with a focus on proving visual balance. Composition aesthetics are studied through the analysis of elements such as the golden ratio, symmetry, and tonal distribution. The research method involves collecting and analyzing data from sample photos with

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Akhtari, Nazli. "Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet." Camera Obscura: Feminism, Culture, and Media Studies 37, no. 3 (2022): 1–29. http://dx.doi.org/10.1215/02705346-10013590.

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Abstract This article reveals how engagements with the photographic archives of premodern Iran and the Persian carpet break open transtemporal, affective, and queer interplays in diaspora. Examining a digital remix of a photograph of a Qajar princess, ‘Ismat al-Dowlah, from the archives of nineteenth-century Iran, the article argues that the digital (mis)use of archives exposes what forms such as the Persian carpet and photography erase: each medium's close ties with power, labor, gender, and sexuality. It develops a relational approach to understandings of photography that highlights the perf

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De Leon, Adrian. "Frank Mancao's “Pinoy Image”: Photography, Masculinity, and Respectability in Depression-Era California." Journal of American Ethnic History 41, no. 2 (2022): 58–94. http://dx.doi.org/10.5406/19364695.41.2.03.

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Abstract This article examines the construction of respectability politics and ethnic identity in the visual archives of Frank Mancao, a Filipino labor contractor and photographer in California. By investigating Mancao's relationship with the male Filipino farmworkers he managed and photographed, it argues that ethnic photographers and migrant workers as photographic subjects turned to the camera as a means of constructing a respectability politics to refashion a denigrated masculine Filipino identity in the American West. It begins with an investigation of Mancao's photographic practice and m

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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: v

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Dunlop, Sarah, and Peter Ward. "Narrated Photography." Fieldwork in Religion 9, no. 1 (2015): 30–52. http://dx.doi.org/10.1558/fiel.v9i1.30.

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This article describes how a recently refined visual ethnographic research method, “narrated photography,” contributes to the study of religion. We argue that this qualitative research method is particularly useful for studies of lived religion and demonstrate this through examples drawn from a study the sacred among young Polish migrants to England. Narrated photography, which entails asking people to photograph what is personally significant to them and then to narrate the image, generates visual and textual material that mediates the subjective. Through using this method we discovered that

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Alwi, Natasha Awra, Nadzri Mohd Sharif, and Shamzani Affendy Mohd Din. "Image Analysis in Visual Anthropology Photography: The Biddy’s Photo." International Journal of Art and Design 6, no. 2/SI (2022): 35–48. http://dx.doi.org/10.24191/ijad.v6i2/si.1128.

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Visual anthropology is the study of humans such as through photographs. Although when appreciating how culture is represented visually and when understanding visual concepts, it is not uncommon but rarely used to recognize culture. The primary purpose of this research is to empirically analyse the concept of visual anthropology in culture employing photography as a medium. This study utilises photography as a cultural signal to explore the significance of visual preservation in culture. In addition, this study’s theoretical framework is based on Terry Barrett’s theory of interpreting photograp

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Morris-Reich, Amos. "Science and “Race” In Solomon Yudovin’s Photographic Documentation of Russian Jewry, 1912–1914." Images 6, no. 1 (2012): 52–78. http://dx.doi.org/10.1163/18718000-12340004.

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Abstract From the perspective of Central European developments in scientific photography, this article studies the photographs taken by Solomon Yudovin as part of S. An-sky’s ethnographic expedition to the Pale of Settlement between 1912 and 1914. The first part of the article argues that the scientific goals of the expedition demanded the introduction of photography less out of an inherent interest in the medium than out of the desire to employ advanced scientific techniques. The second part identifies various strains of scientific photography in Yudovin’s photographic practice. It shows that

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Blasing, Molly Thomasy. "Through the Lens of Loss: Marina Tsvetaeva's Elegiac Photo-Poetics." Slavic Review 73, no. 01 (2014): 1–35. http://dx.doi.org/10.5612/slavicreview.73.1.0001.

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Marina Tsvetaeva is often described as a poet of keen aural sensibilities, while the visual world has been thought to be of secondary importance to her. This study of the influence of photography on Tsvetaeva's poetic writing contributes new evidence of the role of visual culture in her creative world. In detailing Tsvetaeva's experiences with the material and metaphysical properties of photographic imagery, Molly Thomasy Blasing argues that photography played a significant role in shaping the poet's elegiac writings on death, loss, and separation. The article makes available a number of previ

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Tomassini, Luigi. "Una "dialettica ferma"? Storici e fotografia in Italia fra linguistic turn e visual studies." MEMORIA E RICERCA, no. 40 (September 2012): 93–110. http://dx.doi.org/10.3280/mer2012-040007.

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How the visual studies have influenced the work of historians? To answer this question the paper addresses some methodological problems that have characterized the historians' growing attention for images over the last decades. Particularly, we examine the photograph as an image that is simultaneously trace and representation of the reality. The second part offers a survey of the works that have used photography as a historical source in Italy, identifying the Italian specificity in a strong presence of historical-political essays using the photographic sources.

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Fackler, Katharina. "Of Stereoscopes and Instagram: Materiality, Affect, and the Senses from Analog to Digital Photography." Open Cultural Studies 3, no. 1 (2019): 519–30. http://dx.doi.org/10.1515/culture-2019-0045.

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Abstract This article addresses popular claims that photography has been “dematerialized” in the digital era. It engages a wide range of critical writings about photography from the early 19th to the 21st century to demonstrate that different versions of these claims have always formed an important part of photography criticism. However, rather than doing justice to photographs’ materiality or their complex entanglements with what has been considered material and immaterial, human and nonhuman, they have tended to somewhat limit our understanding of the medium’s material, sensory, and affectiv

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Steele, Gabriel. "Man-made man: The role of the fashion photograph in the development of masculinity." Critical Studies in Men’s Fashion 7, no. 1-2 (2020): 5–20. http://dx.doi.org/10.1386/csmf_00014_1.

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As a former male model and fashion photographer, I am fascinated by the visual representation of masculinity. Currently, this representation is in the midst of a shift away from traditional, singular notions of masculinity towards a more diverse and inclusive representation. This article looks to analyse the role of fashion photography in the changing landscape of masculinity in male fashion photographs. I will be examining the historic creation of singular hegemonic masculine ideals and comparing them to current representations in male fashion photography, which have become more complex and i

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Tahalea, Silviana Amanda Aurelia, Erliana Novianti, Siti Febrina Rahmadani, and Leonardus Aryo Gitoprakoso. "The Relation of Photography, Public Policy, and the Transformation of Public Spaces in Jakarta." Gondang: Jurnal Seni dan Budaya 8, no. 2 (2024): 306. https://doi.org/10.24114/gondang.v8i2.62036.

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Photography is a powerful tool for capturing and conveying stories, emotions, and experiences, and it holds significant potential to influence public awareness and policy. This research investigates the impact of photography on public space infrastructure in Jakarta. It aims to explore how photography shapes public space infrastructure, affects public perception, and raises awareness of policy issues, while also evaluating its role in mobilizing support for policy changes. The study contributes to understanding the relationship between photography and public policy, integrating visual theory,

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Papstein, Robert. "Creating and Using Photographs as Historical Evidence." History in Africa 17 (January 1990): 247–65. http://dx.doi.org/10.2307/3171815.

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The use of photographs as research data is becoming of increasing interest to historians of Africa. The School of Oriental and African Studies' Workshop on “Photographs as sources for African history” is only the most recent example of this emerging concern. This paper is designed to discuss some of the conceptual problems one might meet when attempting to understand photographs as data. It also discusses making photographs as a systematic part of field research. Lastly, it provides a brief primer on the type of photographic equipment best suited for fieldwork.Historians of Africa are used to

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Waldroup, Heather. "Photographs as layered objects in Oceania." Journal of New Zealand & Pacific Studies 12, no. 1 (2024): 7–19. http://dx.doi.org/10.1386/nzps_00183_1.

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Historical photographs from the Pacific were often produced by white photographers, but they nevertheless serve as records of historical and cultural significance to Indigenous communities today. Although scholarship on photography from the Pacific has increased since the 1990s, the field has not entirely kept up with broader critical discussions in visual studies and Pacific Islands studies. This article takes a material approach to photographs, arguing for them (in spite of their flatness) as layered objects, much in the way taonga, or precious heirlooms, might be conserved and displayed thr

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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 nove

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Naldi, Chiara. "Florence’s schools photographic heritages: themes and method of a work in progress research." Rivista di Storia dell’Educazione 9, no. 2 (2022): 63–74. http://dx.doi.org/10.36253/rse-13259.

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This contribution intends to define aims and methodologies of a research project on Florence’s school photographic heritages between Nineteenth and Twentieth century. The research is part of relevant national interest project on school memory and proposes a first and partial reconstruction of the significant role of photography in visual school memories. The research methodology intertwine History of Education with History of Photography and starts from the photographic objects found in the single schools to investigate the historical and pedagogical contests in relationship with their photogr

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Priyambodo, Dhimo Kukuh. "MODEST FASHION ITANG YUNASZ DALAM FOTOGRAFI KOMERSIAL." spectā : Journal of Photography, Arts, and Media 4, no. 1 (2020): 51–62. http://dx.doi.org/10.24821/specta.v4i1.3956.

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The creation of the photographic work modest fashion Itang Yunasz in commercial photography will discuss how modest fashion Itang Yunasz is displayed in a visual that attracts consumers by highlighting the characteristics of clothing according to the target market. The object in the creation of this photographic work is a fashion label that is under the auspices of Itang Yunasz namely "Kamilla by Itang Yunasz", "Allea by Itang Yunasz", and "Itang Yunasz Ready To Wear". The results of the creation of this work of art, it was found that fashion photography requires a high budget, both in terms o

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Harrison, Barbara. "Photographic visions and narrative inquiry." Narrative Inquiry 12, no. 1 (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 pho

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Giubilaro, Chiara. "Regarding the shipwreck of others: for a critical visual topography of Mediterranean migration." cultural geographies 27, no. 3 (2019): 351–66. http://dx.doi.org/10.1177/1474474019884928.

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This article reflects on the relationship between photography and migration from a cultural geography perspective, with particular reference to the visual construction of the Mediterranean border regime. The contemporary aesthetics of Mediterranean migration is one of the domains in which visual and social norms are most closely intertwined. My main purpose is to unveil these processes of mutual (re)production by analysing how photographs forge our everyday perceptions of migration and affect our very ability to produce ethical and political responses to the events they portray. Drawing on a r

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Chmil, Hanna, and Oleksandra Sydorenko. "Representation of the Sacredness Phenomenon of Khortytsia Island and Cossack Culture by Means of Cinema and Photography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 7, no. 1 (2024): 143–54. http://dx.doi.org/10.31866/2617-2674.7.1.2024.302776.

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The purpose of the article is to analyse the means of cinema and photography used to represent the sacredness of Khortytsia Island and Cossack culture. To investigate the impact of audiovisual art on the perception and interpretation of the sacred aspects of Cossack culture and the history of Khortytsia Island as a sacred place through cinema and photography. The research methodology is to apply the following methods: theoretical (to analyse the source base of the study, collect information about the sacredness of Khortytsia Island and Cossack culture, review historical material, articles and

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Chmil, Hanna, and Oleksandra Sydorenko. "Representation of the Sacredness Phenomenon of Khortytsia Island and Cossack Culture by Means of Cinema and Photography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 7, no. 1 (2024): 143–54. https://doi.org/10.31866/2617-2674.7.1.2024.302776.

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<strong>The purpose of the article </strong>is to analyse the means of cinema and photography used to represent the sacredness of Khortytsia Island and Cossack culture. To investigate the impact of audiovisual art on the perception and interpretation of the sacred aspects of Cossack culture and the history of Khortytsia Island as a sacred place through cinema and photography. <strong>The research methodology </strong>is to apply the following methods: theoretical (to analyse the source base of the study, collect information about the sacredness of Khortytsia Island and Cossack c

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Humm, Maggie. "Virginia Woolf and photography." Comunicação e Sociedade 32 (December 29, 2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.

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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.

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Troyer, Robert A., and Tamás Péter Szabó. "Representation and videography in linguistic landscape studies." Linguistic Landscape. An international journal 3, no. 1 (2017): 56–77. http://dx.doi.org/10.1075/ll.3.1.03tro.

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Abstract Much Linguistic Landscape scholarship relies on visual data collection, primarily the use of still photography; however, the field has yet to address the theoretical underpinning of such visual and spatial representation. Furthermore, digital video is currently as easy to capture and share as digital photographs were when Linguistic Landscape studies first became prominent in the early 2000s. With these two points in mind, this article first grounds the documentation and analysis of the Linguistic Landscape in a theory of visual representation; it then provides a framework for videogr

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Gal, Nissim. "The Language of the Poor: Bible Stories as a Critical Narrative of the Present." IMAGES 4, no. 1 (2010): 82–108. http://dx.doi.org/10.1163/187180010x547657.

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AbstractThe series of photographs called Bible Stories (2003-2006), made by the photographer Adi Nes, offers a visual interpretation of the biblical narrative as a source for a critical reflection on contemporary culture. The Bible Stories series uncovers the aesthetic, ethical and social codes of the current visual culture. Nes processes the biblical text and rereads it via photography. The renewed appearance of the bible stories connects contemporary photorealism with the tradition of biblical illustration. The contemporary appearance and interpretative recomposition of the biblical episodes

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İsmail, Erim Gülaçtı. "Echoes of Black and White in the City: Digital Photography and the Visual Construction of Urban Memory." SOCIAL SCIENCES STUDIES JOURNAL 11, no. 2 (2025): 222–39. https://doi.org/10.5281/zenodo.14937737.

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This article examines the role of black-and-white photography in the visual construction of urban memory, aesthetics, and socio-spatial transformations, with a particular focus on contemporary digital interventions. The study situates black-and-white photography within an interdisciplinary framework, drawing from theories in sociology, urban studies, and visual culture. Key theoretical perspectives, including Henri Cartier-Bresson’s <em>decisive moment</em>, Walter Benjamin’s <em>aura</em>, and Roland Barthes’ <em>punctum</em>, provide critical lenses for analyzing photograph

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Ellenbogen, Josh, and Adam Jolles. "Visual Literacy and 1960s Photography." Critical Inquiry 47, no. 3 (2021): 565–91. http://dx.doi.org/10.1086/713549.

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Gardner, Nathanial. "Photographing Mexico’s Ultra-Wealthy: Daniela Rossell’s Ricas y Famosas." Revista Canadiense de Estudios Hispánicos 45, no. 2 (2023): 349–73. http://dx.doi.org/10.18192/rceh.v45i2.6688.

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This paper engages with the visual strategies the photographer Daniela Rossell employed in her groundbreaking book on Mexico’s ultra-wealthy: Ricas y Famosas. This essay applies photography theory in new directions to suggest explanations for the strong public backlash that this documentary narrative provoked when it was released. To that end, an analysis of the visual narrative reveals the symbols and themes within the photo essay. It also identifies a specific narrative strategy that foregrounds a strong critique of the subject matter and important considerations connected to photography’s t

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O’Sullivan, Lucy. "Martyrdom in the Age of Mechanical Reproduction." Latin American and Latinx Visual Culture 6, no. 1 (2024): 1–19. http://dx.doi.org/10.1525/lavc.2024.6.1.1.

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A tradition of martyr photography flourished during Mexico’s religiously motivated Cristero War (1926–29). Graphic photographic prints and postcards depicting executed Catholic activists and priests circulated widely during the conflict as a form of antigovernment propaganda, justifying comparisons of the Cristeros to the earliest persecuted Christians. Taking into account the iconographic and material features of these photographs as well as the medium’s particular ontological qualities, I explore how Cristero martyr images fulfilled comparable functions to early martyr narratives and relics

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Mnyaka, Phindezwa. "Elizabeth Edwards - Photographs and the Practice of History: A Short Primer." Kronos 47, no. 1 (2021): 1–4. http://dx.doi.org/10.17159/2309-9585/2021/v47a12.

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Elizabeth Edwards, Photographs and the Practice of History: A Short Primer (London, New York, Dublin: Bloomsbury, 2021), 176 pp., ISBN 9781350120658. Upon receipt of your copy of Photographs and the Practice of History, I encourage you to first read the bibliographic afterword and peruse through the section titled 'Selected Reading' of the book before delving into its substantive chapters. This is because while Elizabeth Edwards refers to her publication as a short a primer, scholars of photography, visual history and visual culture will recognise it as a culmination of not only her oeuvre at

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Saburova, Tatiana. "Geographical Imagination, Anthropology, and Political Exiles." Sibirica 19, no. 1 (2020): 57–84. http://dx.doi.org/10.3167/sib.2020.190105.

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This article is focused on several themes connected with the history of photography, political exile in Imperial Russia, exploration and representations of Siberia in the late 19th–early 20th centuries. Photography became an essential tool in numerous geographic, topographic and ethnographic expeditions to Siberia in the late 19th century; well-known scientists started to master photography or were accompanied by professional photographers in their expeditions, including ones organized by the Russian Imperial Geographic Society, which resulted in the photographic records, reports, publications

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Mains, Susan P. "Unruly Landscapes and the City of London." Transfers 12, no. 1 (2022): 33–50. http://dx.doi.org/10.3167/trans.2022.120105.

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Photography narrates places through space and time. It is a storytelling method and format that not only reflects the landscapes viewed, but can also act as a catalyst for reflection and critical engagement with hidden mobilities that are in plain sight. In this article I illustrate the ways in which photography offers a unique opportunity to humanize and critique economic crises and unequal experiences of urban landscapes. Drawing on research in mobility studies, media studies, and cultural geography, this study interweaves interdisciplinary approaches to representation and urbanization to hi

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Bohm-Duchen, Monica. "Chasing Shadows." European Judaism 56, no. 1 (2023): 22–39. http://dx.doi.org/10.3167/ej.2023.560103.

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Abstract Drawing on the influential concept of postmemory first mooted by Marianne Hirsch, and on the links between photography and mortality first explored by Susan Sontag and Roland Barthes, this article analyses the work of ten largely UK-based visual artists who, as members of the so-called second generation (namely, the descendants of Holocaust survivors and refugees), make use of the photographic medium to engage creatively and conceptually – and often in a conspicuously gendered way – with the legacy of their families’ traumatic histories. Some of the artists (Halter, Tucker) base their

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Vissers, Nathalie, Pieter Moors, Dominique Genin, and Johan Wagemans. "Exploring the Role of Complexity, Content and Individual Differences in Aesthetic Reactions to Semi-Abstract Art Photographs." Art and Perception 8, no. 1 (2020): 89–119. http://dx.doi.org/10.1163/22134913-20191139.

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Artistic photography is an interesting, but often overlooked, medium within the field of empirical aesthetics. Grounded in an art–science collaboration with art photographer Dominique Genin, this project focused on the relationship between the complexity of a photograph and its aesthetic appeal (beauty, pleasantness, interest). An artistic series of 24 semi-abstract photographs that play with multiple layers, recognisability vs unrecognizability and complexity was specifically created and selected for the project. A large-scale online study with a broad range of individuals (n = 453, varying i

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Britsch, Susan. "Exploring science visually: Science and photography with pre-kindergarten children." Journal of Early Childhood Literacy 19, no. 1 (2017): 55–81. http://dx.doi.org/10.1177/1468798417700704.

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This paper presents initial findings from a project that explored the use of digital cameras by preschool children in classroom science investigations. Children’s science experience was viewed through a multimodal, social semiotic lens. A qualitative approach to data analysis was used to track and codify the visual choices made by the child photographers. This paper characterizes the precise visual choice-making in which the children engaged to compose their photographs. Focusing on one investigation of mixture and separation, the paper contrasts case studies of two of the focal children, argu

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Peck, Julia. "Vibrant Photography: Photographs, actants and political ecology." Photographies 9, no. 1 (2016): 71–89. http://dx.doi.org/10.1080/17540763.2016.1138996.

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Murdock, Graham, and Sarah Pink. "Ethnography Bytes Back: Digitalising Visual Anthropology." Media International Australia 116, no. 1 (2005): 10–23. http://dx.doi.org/10.1177/1329878x0511600104.

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The last decade has seen a sustained debate about the limits and biases of traditional fieldwork practice. The same period has also seen the launch and adoption of a range of new digital information and communications technologies (ICTs), including CD-ROMs, the internet, digital photography and film, and multi-function mobile phones. Investigating how these emerging media are encountered and worked with in a range of everyday settings has opened up a range of new areas and questions for anthropological research, while underlining the central challenges currently facing ethnographic practice. V

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Blair, Sara. "Visions of the tenement: Jews, photography, and modernity on the lower east side." IMAGES 4, no. 1 (2010): 57–81. http://dx.doi.org/10.1163/187180010x547648.

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AbstractScholars have recently begun to focus on the problem of explaining a signal phenomenon: the preponderance of Jews (the so-called “people of the book”) in the development of modern photography. Against identitarian readings, this essay stresses the embeddedness of photography’s developing interests in a specific site in which both Jewishness and modernity were being made and remade: the variably iconic Lower East Side. Long imagined as a world apart, that space embodied the most profound and urgent paradoxes of historicity; it became a proving-ground for the powers of the camera to docu

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Guesdon, Céline. "Toward a New Kind of Image: Photosynthegraphy." Leonardo 39, no. 3 (2006): 193–97. http://dx.doi.org/10.1162/leon.2006.39.3.193.

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The author presents a new way of creating images that taps into new interrogations of images. The link between art and technology lies at the heart of her research. She uses a prototype camera that makes it possible to generate a 3D mesh starting from a single photograph. She presents various photographic creations begun during earlier studies in order to explain how her work leads to the perception of photography as volume-images.

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Favero, Paolo S. H. "It Begins and Ends with an Image." Anthropological Journal of European Cultures 31, no. 1 (2022): 72–87. http://dx.doi.org/10.3167/ajec.2022.310106.

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A three-act session of storytelling, this visual essay explores the connection between photographs (and images at large) and death. A piece of authobiography, it follows the intimate journey of the author accompanying his father’s departure first and his own grief later. The article positions photographs as objects that are more than mere representations. They are living things that accompany us during our lives. And photography, the author suggests by looking at photographs taken by himself, is a way for opening up time and acknowledging the present. Photographs are capable of bridging the ga

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Morris-Reich, Amos. "Two Modes of Political Engagement in Contemporary Israeli Art Photography." IMAGES 11, no. 1 (2018): 85–108. http://dx.doi.org/10.1163/18718000-12340085.

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AbstractRanging from photojournalism to landscape photography from the late 1980s to the present, this article studies the ways in which Israeli still art photography has engaged politically with the Israeli-Palestinian conflict. Following historical contextualization of the emergence of critical engagement in the late 1980s and the iconography of the conflict during the first Intifada, and after introducing notions from the sociology of critique, the article uses distinctions made by art photographers in classifying themselves and their peers and identifies two contrasting poles that mark the

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