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Journal articles on the topic 'Press photographer'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Side, Katherine. "Grimaldi’s iconic photograph: Bloody Sunday, Derry 1972." Irish Journal of Sociology 26, no. 1 (2017): 71–93. http://dx.doi.org/10.1177/0791603517741072.

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This article examines the concept of photographic iconicity in relation to Italian press photographer, Fulvio Grimaldi’s photograph of the evacuation of Derry-born marcher, John [Jackie] Francis Duddy, at Bloody Sunday, 1972. This historical photograph continues to instigate remembering and forgetting among nationalists and unionists in the context of Northern Ireland. Its uses, in state-led government inquiries, among nationalist communities and in the form of artistic intersessions, are demonstrated to be consistent with the hallmarks of iconicity, particularly the ability to situate viewers

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Darian-Smith, Kate. "The ‘girls’: women press photographers and the representation of women in Australian newspapers." Media International Australia 161, no. 1 (2016): 48–58. http://dx.doi.org/10.1177/1329878x16665002.

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In 1975, Fairfax News commemorated International Women’s Year by appointing Lorrie Graham as its first female cadet photographer. Women only joined the photographic staff of newspapers in significant numbers from the 1980s and were more likely to be employed on regional newspapers than the metropolitan dailies. This article draws on interviews with male and female press photographers collected for the National Library of Australia’s oral history programme. It provides an overview of the history of women press photographers in Australia, situating their working lives within an overtly masculine

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Jakab, Tibor. "A tények megjelenítése a fotográfia médiuma segítségével – megrendezett és manipulált képek." Symbolon 22, no. 2 (2021): 79–87. http://dx.doi.org/10.46522/s.2021.02.07.

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"In the history of photography, we come across many staged and manipulated photographs. Most of these are press photos that would be intended to show as accurately as possible the recording of an event, for those who could not be there and only learn about everything that happened based on the image. The most important requirement of press ethics forums for press photos is to be as objective as possible in presenting the event. The photographer may not use any intentional image modification or manipulation to take the image. After it became clear that many of the images, we were dealing with a

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Nestayko, Markiyan. "Photos of Levko Yanushevych on the pages of Ukrainian magazines." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 362–75. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-26.

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The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures

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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.

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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic pr

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Lins, Alene, Madalena Oliveira, and Luís António Santos. "Figurations of the body in the snapshot of digital photojournalism: the non-pose and disfiguration." Comunicação e Sociedade 32 (December 29, 2017): 419–38. http://dx.doi.org/10.17231/comsoc.32(2017).2770.

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This article analyses the technological changes that have modified the snapshot in photojournalism. Formerly, snapshot was a result of the technique and expertise of the photographer. Today, due to a kind of “agility” of the cameras, it has become a possible practice for any photo-reporter. Sequential photographs turn the portrayed subject’s body into a pliant element of the editorial process. In figurations that privilege unfulfilled gestures and disfigurements, some images published by the press symbolically alter the social representation of the person portrayed. The study described within

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Pristiwanto. "Autoregressive Integrated Moving Average (Arima) Dalam Memprediksi Jumlah Penjualan Frame." Jurnal Multimedia dan Teknologi Informasi (Jatilima) 2, no. 1 (2022): 36–45. http://dx.doi.org/10.54209/jatilima.v2i1.142.

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Ektaco Sumber Foto is a company engaged in photo printing and is one of the largest photo labs in, which serves and facilitates photography needs for photographers. Ektaco Sumber Foto serves every day and facilitates the needs of photographers such as photo printing, frames, exclusive albums and press albums. The world of photographers is experiencing very rapid development from the film era to the digital era, which makes consumers changing modernize photographer prints with certain and sizes and combine them with photo frames. Forecasting is forecasting something that hasn't happened yet. Th

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Cocker, Alan. "Malcolm Ross, journalist and photographer: The perfect war correspondent?" Pacific Journalism Review 22, no. 1 (2016): 152. http://dx.doi.org/10.24135/pjr.v22i1.39.

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Malcolm Ross was New Zealand’s first official war correspondentand from 1915 until the end of the First World War he provided copy to theNew Zealand press. His journalism has been the subject of recent academicinvestigation, but Ross had another string to his bow—he was an enthusiasticphotographer with the skill to develop his own film ‘in the field’. Itmight therefore be expected that Ross was the ideal war correspondent, anindividual who could not only write the stories, but also potentially illustratethem with photography from the battlefields. Yet by the end of the conflicthis body of phot

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Anderson, Fay. "‘Photographing Lindy’: Australian press photography and the Chamberlain case, 1980–2012." Media International Australia 162, no. 1 (2016): 7–18. http://dx.doi.org/10.1177/1329878x16665495.

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This article analyses the news photography surrounding a high-profile case of alleged matricide in Australia: the disappearance of 9-month-old Azaria Chamberlain, and the subsequent murder trial and eventual acquittal of her mother, Lindy. While the scholarship on the media’s conduct during Chamberlain’s ordeal has been exhaustive, the press photographers’ role has not been considered. Drawing on oral history interviews with newspaper photographers, this article explores the ways that the photographers’ workplace culture, gender, relationships and practices informed their approach. It argues t

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Bettel, Carrie. "The success of Adi Nes’s "ctional photographic portraits: "gures of alterity and the utilization of memories in visual self-portraiture." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 25, no. 34 (2019): 45–55. http://dx.doi.org/10.14746/i.2019.34.03.

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Abstract. Bettel Carrie, The success of Adi Nes’s fictional photographic portraits: figures of alterity and the utilization of memories in visual self-portraiture. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 45–55. ISSN 1731-450X. DOI 10.14746/i.2019.34.03. This paper demonstrates the way an autobiographer shapes his/her identity in the creation of his/her narrative. The autobiographer’s struggle in his/her understanding of the self is sometimes evident in the work. This project focuses specifically on the work of Adi Nes, an Israeli photographer. His ph

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Blazquez, Alicia. "Trascender el Impacto del Dolor Ajeno: Más Allá del World Press Photo." Barcelona Investigación Arte Creación 5, no. 2 (2017): 189. http://dx.doi.org/10.17583/brac.2016.2031.

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The World Press Photo exhibition brings together, every year during the last eleven, the more representative set of photojournalism of the previous year. The collection of the winners in each edition represents, if one so wishes, an opportunity to reflect on the impact of the images in the public observer, beyond the aesthetic judgment in a particular time and space. This article aims to leave an open window to reflection. An approach on how snapshots shown are supported by three points: the photographer, the spectator and the surrounding social context. A triangle that inevitably possesses a

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Gorrara, Claire. "Fashion and the femmes tondues: Lee Miller, Vogue and representing Liberation France." French Cultural Studies 29, no. 4 (2018): 330–44. http://dx.doi.org/10.1177/0957155818791889.

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This article will examine representations of the Liberation of France in the war reports of Lee Miller, an accredited photographer and correspondent for American and British Vogue during the Second World War. Miller’s frontline reports framed Liberation France in idealised images of feminine beauty and elegance, making use of fashion as a primary conduit for understanding the war and occupation for readers on the home front. As this article will argue, examining Miller’s choices and perspective as a female photographer sheds new light on the intersection of fashion, war photography and the fem

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Dickie, John. "Falcone and Borsellino: the story of an iconic photo." Modern Italy 17, no. 2 (2012): 251–55. http://dx.doi.org/10.1080/13532944.2012.665285.

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Tony Gentile is a professional press photographer. The shot he took of Giovanni Falcone and Paolo Borsellino shortly before they were murdered by the mafia in 1992 has become one of the most widespread vehicles of public memory of the two heroic magistrates. Here he is interviewed by John Dickie about how he came to take the picture, and how it became so famous.

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Stubbs, Jean. "An Island Called Cuba." New West Indian Guide / Nieuwe West-Indische Gids 85, no. 1-2 (2011): 79–84. http://dx.doi.org/10.1163/13822373-90002437.

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Review of:An Island Called Home: Returning to Jewish Cuba. Ruth Behar, photographs by Humberto Mayol. New Brunswick NJ: Rutgers University Press, 2007. xiii + 297 pp. (Cloth US$ 29.95)Fidel Castro: My Life: A Spoken Autobiography. Fidel Castro & Ignacio Ramonet. New York: Scribner/Simon & Schuster, 2008. vii + 724 pp. (Paper US$ 22.00, e-book US$ 14.99)Cuba: What Everyone Needs to Know. Julia E. Sweig. New York: Oxford University Press, 2009. xiv + 279 pp. (Paper US$ 16.95)[First paragraph]These three ostensibly very different books tell a compelling story of each author’s approach, as

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Anderson, Fay. "Chasing the Pictures: Press and Magazine Photography." Media International Australia 150, no. 1 (2014): 47–55. http://dx.doi.org/10.1177/1329878x1415000112.

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For over a century, press and magazine photography has influenced how Australians have viewed society, and played a critical role in Australia's evolving national identity. Despite its importance and longevity, the historiography of Australian news photography is surprising limited. This article examines the history of press and magazine photography and considers its genesis, the transformative technological innovations, debates about images of violence, the industrial attitudes towards photographers and their treatment, the use of photographs and the seismic recent changes. The article argues

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Abcede, Del. "REVIEW: Noted: Jungle hostage to photojournalist." Pacific Journalism Review : Te Koakoa 24, no. 1 (2018): 246–47. http://dx.doi.org/10.24135/pjr.v24i1.432.

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Françoise Huguier: 100 Photos for Press Freedom, edited by Perribe Daubas. Paris: Reporters Without Borders (RSF). 2018. 134 pages. ISBN 978-2-36220-050-9. THIS is yet another extraordinary ‘100 Photos for Press Freedom’ album from Reporters Sans Frontières (RSF), this time with a focus on the ‘indignation of women against male predation and domination’ (p. 139), as essayist Aude Bassonville notes in one of the accompanying articles. The collection of photos mostly feature the work of French photographer Françoise Huguier, who is described by the editors as chareacteristic of the best at

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Zakharova, Oleksandra. ""PHOTOTELLING" AS THE INNOVATION OF PHOTOJOURNAL "6 MOIS" BY CONNECTING PRESS AND BOOK MARKETS." Bulletin of Taras Shevchenko National University of Kyiv. Sociology 8 (2017): 29–33. http://dx.doi.org/10.17721/2413-7979/8.5.

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he author analyses the French journal «6 MOIS», which was created in Paris in 2011, from the point of view of visual sociology. The notions of documentary photography (350 pages of journalistic photography) that represent social life in the 21st century are investigated. The goal of this article is to demonstrate that the journal is a unique and significant source for social science. The research connects the views of the editorial team with photographers from around the world by analysing and comparing interviews conducted in collaboration with the editorial team and photographers from China,

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Yıldız, Murat C. "‘What is a Beautiful Body?’." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 192–214. http://dx.doi.org/10.1163/18739865-00802004.

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This article examines the emergence and spread of the ‘sportsman’ genre of Ottoman photography in late-nineteenth and early-twentieth-century Istanbul. The ‘sportsman photograph’ depicted young men posing shirtless or wearing tight-fitting athletic attire, flexing their muscles and exhibiting their bodies. These images were embedded in a wider set of athletic and leisure activities and constituted novel social and photographic practices. By tracing the deployment of ‘sportsman’ photographs in sports clubs and the press, I argue that they cemented homosocial bonds, normalized and popularized ne

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Kusrini, Kusrini. "REPRESENTASI PHOTO OF THE YEAR WORLD PRESS PHOTO (WPP) 2005-2016." spectā: Journal of Photography, Arts, and Media 2, no. 1 (2019): 35–46. http://dx.doi.org/10.24821/specta.v2i1.2466.

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Abstrak Photo of the Year dari kontes foto World Press Photo (WPP) merupakan penghargaan tahunan yang diberikan Yayasan World Press Photo. Penghargaan tersebut untuk menghormati kreativitas fotografer dalam karya visual dan ketrampilan membuat gambar yang menangkap dan mewakili suatu peristiwa, yang di dalamnya terdapat isu besar atau penting bagi foto jurnalistik. Kajian foto ini dilakukan untuk mengetahui bagaimana representasi peristiwa yang terdapat pada foto pemenang Photo of the Year World Press Photo 2005-2016. Data-data dikumpulkan dengan metode dokumen dan arsip serta literatur. Foto-

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Bacon, Wendy. "EDITORIAL: Journalism with integrity." Pacific Journalism Review 20, no. 1 (2014): 7. http://dx.doi.org/10.24135/pjr.v20i1.184.

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This is the third issue Pacific Journalism Review has published on the theme of investigative journalism in recent years. Our first issue (PJR, 2011) followed the first regional Investigative Journalism conference held at the Pacific Media Centre at Auckland University of Technology in December 2010. In that issue, we argued that universities and academic journalists have an important role to play in building a culture of investigative reporting in the region. This issue follows up on that suggestion by focusing particularly on investigative journalism produced in an academic context. The seco

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Struk, I. О., M. M. Kalinichenko, and Yu S. Harabuga. "EXPERIENCE OF NORTH AMERICAN SPECIALISTS ON RESEARCHES OF PHOTOGRAPHIC PRODUCTS AS OBJECTS OF THE COPYRIGHT." Theory and Practice of Forensic Science and Criminalistics 17 (November 29, 2017): 373–81. http://dx.doi.org/10.32353/khrife.2017.48.

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In the modern epoch of digital techniques the photographic works gained considerable popularity and widespread use through the Internet. Because of easy access to the high- quality digital copies of photographs, unfair individuals in their business activities often use copyrighted photographic works without a license from the authors or copyright holders. Taking into account the actuality of this problem for the Ukrainian authors and national legal system, considering the prospect of establishing the High Specialized Court for Intellectual Property, and also in view of the urgent need of creat

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Holzberger, Helena. "National in Front of the Camera, Soviet Behind It: Central Asia in Press Photography, 1925–1937." Journal of Modern European History 16, no. 4 (2018): 487–508. http://dx.doi.org/10.17104/1611-8944-2018-4-487.

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National in front of the Camera, Soviet behind it: Central Asia in Press Photography, 1925–1937 While photography in early Soviet Union is a well-researched field, researchers addressed hitherto mostly Soviet Russia. The history of photography in the Central Asian Soviet Republics, though, lacks research. This article focuses on the means of production and distribution of photographs taken in Uzbekistan 1926–1937. With Roland Barthes theory of «connotation», it interprets the visual invention of the Soviet Orient. Photographs by Georgij Zel'ma and Maks Penson of Uzbekistan that were published

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Veneti, Anastasia. "Aesthetics of protest: an examination of the photojournalistic approach to protest imagery." Visual Communication 16, no. 3 (2017): 279–98. http://dx.doi.org/10.1177/1470357217701591.

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Images of protests and demonstrations are crucial to both social movements and protesters who wish to communicate their identity and their messages to wider audiences. However, the photographing of such political events by press photographers is a complex process. The current analysis focuses on questions of aesthetics surrounding issues of visuality regarding protests and demonstrations. Based on empirical data from 17 semi-structured in-depth interviews with Greek photojournalists, this article examines what is photographed during a protest and how this is affected by the photojournalists’ a

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Sokol, David M. "Rescuing Eden: Preserving America's Historic Gardens CarolineSeebohm (author) and Curtice Taylor (photographer). Monacelli Press, 2015." Journal of American Culture 40, no. 1 (2017): 100–101. http://dx.doi.org/10.1111/jacc.12701.

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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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Hill, Jason. "Weegee, Standing By." Arts 8, no. 3 (2019): 108. http://dx.doi.org/10.3390/arts8030108.

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Informed by an interesting recent infrastructuralist turn in media studies and by an expanding sense among historians and theorists of photography of what might properly delimit the photographer’s toolkit, this essay considers aspects of the photography of Weegee, as these can be observed to issue from that photographer’s deep professional embeddedness in specific media-infrastructural conditions of the place and time he most productively inhabited: New York City in the early 1940s. This essay prompts questions (and hazards some answers) concerning the stakes of Weegee’s press-photographic eng

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Millar, Pat. "Frederick A. Cook: the role of photography in the making of his polar explorer-hero image." Polar Record 51, no. 4 (2014): 432–43. http://dx.doi.org/10.1017/s0032247414000424.

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ABSTRACTThis paper aims to show how the photography of Frederick A. Cook (1865–1940) played an important role in the making of his polar explorer-hero image. It considers portraits and Arctic and Antarctic photographs that Cook used in his own publications and illustrated lectures, and which he provided for press articles. The paper is underpinned by discourse analysis and the concept of the photograph as a representation of reality filtered through various lenses. The visual impact and discursive messages of the photographs were aimed at situating readers and audiences in responsive attitudes

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Marini Putri, Ni Made Dwi. "PERLINDUNGAN KARYA CIPTA FOTO CITIZEN JOURNALIST YANG DIPUBLIKASIKAN DI INSTAGRAM." Jurnal Magister Hukum Udayana (Udayana Master Law Journal) 6, no. 2 (2017): 224. http://dx.doi.org/10.24843/jmhu.2017.v06.i02.p07.

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The development of the current paradigm demonstrate initiative of the citizens to share information in their possession to the public. Citizen who was only a reader, now turned into a citizen journalist, who sends the picture to the press on Instagram account on an event that attracts attention. In this research, there are two issues to be discussed namely 1) How is the protection of moral rights and economic rights over the photos produced by citizen journalist on Instagram? 2) How can the efforts of a citizen journalist to protect the copyrighted works uploaded on Instagram? This research is

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Roberts, Jessica. "From the street to public service: ‘Humans of New York’ photographer’s journey to journalism." Journalism 20, no. 11 (2017): 1480–96. http://dx.doi.org/10.1177/1464884917698171.

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The ‘Humans of New York’ social media feed, featuring photographs of people in New York City – and in recent years also Iran, Syria, and other locations – has amassed nearly 18 million Facebook followers, spawned multiple books, and inspired various copy-cat projects. Over the 6 years since its creation, the feed has evolved from an assortment of photos of individuals in New York to an intentional, morally conscious portrait of the perspectives and lived experiences of the inhabitants of New York and other places, and has resulted in real-life consequences for the subjects, ranging from donati

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FEIN, SETH. "John Mraz, Nacho López: Mexican Photographer (Minneapolis, MN: University of Minnesota Press, 2003), pp. xv+249, $68.95, $24.95 pb." Journal of Latin American Studies 37, no. 3 (2005): 653–55. http://dx.doi.org/10.1017/s0022216x05439735.

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Hölzl, Ingrid. "The Photographic Now: David Claerbout’s Vietnam." reproduire, no. 17 (September 8, 2011): 131–45. http://dx.doi.org/10.7202/1005753ar.

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David Claerbout’s video installation, Vietnam, 1967, near Duc Pho, reconstruction after Hiromichi Mine (2000), questions the “photographic now,” the present state of photography and its new relation to the present. The piece reproduces, or more exactly recomposes, a press photograph of an American airplane shot down by friendly fire. The Belgian artist travelled to the site of the accident and took a series of photos of the landscape. He then assembled these stills into a video animation onto which he superimposed the still image of the exploding plane. The result is an image whose temporality

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Szőke, Dávid. "Szirtes, George. 2019. The Photographer at Sixteen - The Death and Life of a Fighter. Quercus, London: Maclehose Press. 205 pp." Hungarian Cultural Studies 13 (July 30, 2020): 257–59. http://dx.doi.org/10.5195/ahea.2020.412.

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Green-lewis, Jennifer. "Louis Kaplan . The Strange Case of William Mumler, Spirit Photographer. Minneapolis : University of Minnesota Press . 2008 . Pp. xxi, 264. $24.95." American Historical Review 114, no. 5 (2009): 1463–64. http://dx.doi.org/10.1086/ahr.114.5.1463.

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GRANTMYRE, LAURA. "Conflicting visions of renewal in Pittsburgh’s Hill District, 1950–1968." Urban History 43, no. 4 (2016): 639. http://dx.doi.org/10.1017/s0963926815000899.

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ABSTRACT:Visual representations of the Lower Hill District created by Pittsburgh's redevelopment coalition and by neighbourhood insiders reveal the conflicting ways redevelopers and residents understood older neighbourhoods and their redevelopment. Redevelopers’ maps and photographs of the Lower Hill documented the neighbourhood's densely built-up blocks and intermixture of land uses as definitive examples of blight that threatened downtown's economic health. Models and architectural sketches of the Civic Arena – the jewel of the Lower Hill's redevelopment plan – promised to wipe away blight a

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Desai, Krupa. "The Master as a Transnational Figure: Jawaharlal Nehru in The Soviet Union." Master, Vol. 5, no. 2 (2020): 78–87. http://dx.doi.org/10.47659/m9.078.art.

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India’s Independence from the colonial rule saw the nation’s first Prime Minister Jawaharlal Nehru emerge as a powerful visual presence. At the peak of his popularity, in June 1955, he made a highly publicised 16-day visit to the USSR. This visit, made in the backdrop of the Cold War and the impending Big Four Conference, was covered in detail by the Indian and foreign press, as well as both government’s official photographers and camerapersons. Paper addresses an official album made after this iconic visit to investigate the role of photography within India-Soviet diplomatic networks. Casting

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Kanicki, Witold. "Wundercamera Obscura." Cabinet, Vol. 2, no. 2 (2017): 70–73. http://dx.doi.org/10.47659/m3.070.art.

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Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in m

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Palmer, Daniel. "Icons of colonial injustice: From photographs to public art." Art & the Public Sphere 8, no. 2 (2019): 201–15. http://dx.doi.org/10.1386/aps_00021_1.

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In the archive of Australian photography, few images point to the gross injustices experienced by Indigenous Australians more forcefully than a 1906 photograph depicting a group of Aboriginal people in neck chains. More recently, few images point to Indigenous self-empowerment more powerfully than a 1993 press photograph of footballer Nicky Winmar lifting his jumper to point proudly to his dark skin. This article explores the extraordinary legacy of these two images and specifically their translation into prominent contemporary public artworks ‐ respectively, a street mural in inner Melbourne

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Stamenković, Miloš. "Sports photography and its artistic dimensionality." Fizicko vaspitanje i sport kroz vekove 8, no. 2 (2021): 119–33. http://dx.doi.org/10.5937/spes2102119s.

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Sports photography is a powerful visual tool that can be used to promote sports, athletes and recreational physical activities. Her main role is to present sport as an art. In that respect, good sports photography also implies the recorded moment of the athlete in a specific movement position, which is unusual and which cannot be seen on television. When it comes to the promotion of professional sports, sports photography occupies a significant place in the sports press and sports magazines. On the other hand, sports photography also promotes recreational sports, which is intended for all thos

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La, Kristie. "“Enlightenment, Advertising, Education, Etc.”: Herbert Bayer the Museum of Modern Art's Road to Victory." October 150 (October 2014): 63–86. http://dx.doi.org/10.1162/octo_a_00201.

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“In the beginning was virgin land and America was promises.”2 So began the text panel located in the opening panorama of the photo exhibition Road to Victory: A Procession of Photographs of the Nation at War that the Museum of Modern Art organized in 1942 and circulated between 1943 and 1945. Years before Edward Steichen became curator of photography at MoMA and organized the global blockbuster exhibition The Family of Man, he combed government, press, and corporate archives to select the photographs for Road to Victory, his first curatorial project at the museum. Encircling the opening text w

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Soedjono, Soeprapto. "BOOK REVIEW, PHOTOGRAPHY IN SOUTHEAST ASIA – A Survey." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (2017): 13. http://dx.doi.org/10.24821/rekam.v13i1.1706.

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Judul : PHOTOGRAPHY IN SOUTHEAST ASIA – A SurveyPenulis : Zhuang WubinPenerbit : NUS PRESS, Singapore (National University of Singapore)Tahun : 2016ISBN : 978-981-4722-12-4 (case)Halaman : 522 termasuk Index, Gambar/Photographs, Notes dan Bibliography

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Fairbank, John King. "Travels of a Photographer in China. By Hedda Morrison. [Hong Kong, Oxford and New York: Oxford University Press, 1987. 246 pp. £14·95.]." China Quarterly 115 (September 1988): 493. http://dx.doi.org/10.1017/s0305741000027739.

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Zeller, S. "RUBY L. GOUGH. Robert Edwards Holloway: Newfoundland Educator, Scientist, Photographer, 1874-1904. Ithaca, N.Y.: McGill-Queen's University Press. 2005. Pp. xvii, 274. $49.95." American Historical Review 111, no. 5 (2006): 1497. http://dx.doi.org/10.1086/ahr.111.5.1497.

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Wilson, Veronica A. "'I chose the values I regarded as American': sexuality, ethnicity, and FBI informant Angela Calomiris." Twentieth Century Communism 20, no. 20 (2021): 109–35. http://dx.doi.org/10.3898/175864321832926391.

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For personal or political reasons undocumented and controversial to this day, Greenwich Village lesbian photographer Angela Calomiris joined forces with the Federal Bureau of Investigation (FBI) during the Second World War to infiltrate the Communist Party of the United States (CPUSA). As Calomiris rose through CPUSA ranks in New York City, espionage efforts resulted in the Attorney General's office declaring the avant-garde Film and Photo League to be a subversive communist organisation in 1947, and the conviction of communist leaders during the Smith Act trial two years later. Interestingly,

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Diamond, Hanna. "The Return of the Republic." French Politics, Culture & Society 37, no. 1 (2019): 90–116. http://dx.doi.org/10.3167/fpcs.2019.370106.

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During the Liberation of Toulouse, crowd photography dominated the local press rather than the scenes of combat and barricades that marked coverage in Paris and elsewhere. This article shows how crowd photography contributed to a common construction of republicanism across the Toulouse press and exhibitions. It argues that the circulation of these images not only communicated the message that the “people” were once again sovereign, but also implied that these populations had been instrumental in their liberation, thereby contributing to the mythology of “la France résistante.” Editors mobilize

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Young, John A. "The Changing World of Mongolia's Nomads, photography and text by Melvyn C. Goldstein and Cynthia M Beall. University of California Press, Berkeley, 1994." Journal of Political Ecology 2, no. 1 (1995): 1. http://dx.doi.org/10.2458/v2i1.20176.

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The Changing World of Mongolia's Nomads, photography and text by Melvyn C. Goldstein and Cynthia M Beall. University of California Press, Berkeley (1994) pp. 1-176. Photographs, tables, figures, index. Reviewed by John A Young, Professor and Chair, Anthropology Department, Oregon State University.

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Moran, Leslie J. "A previously unexplored encounter: the English judiciary, carte de visite and photography as a form of mass media." International Journal of Law in Context 14, no. 4 (2018): 539–58. http://dx.doi.org/10.1017/s174455231800023x.

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AbstractStudies exploring the link between the representation of judges, photography and mass media tend to focus on the appearance of cameras in courtrooms and the reproduction of the resulting photographs in the press at the beginning of the twentieth century. But more than fifty years separate these developments from the birth of photography in the late 1830s. This study examines a previously unexplored encounter between the English judiciary and photography that began in the 1860s. The pictures where known as ‘carte de visite’. They were the first type of photographic image capable of bein

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Tejada, Roberto. "Nacho López: Mexican Photographer. By John Mraz. Minneapolis: University of Minnesota Press, 2003. Pp. xvii, 249. Illustrations. Notes. Bibliography. Index. $68.95 cloth; paper $24.95." Americas 63, no. 3 (2007): 460–62. http://dx.doi.org/10.1017/s0003161500063896.

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Robie, David. "Frontline: The Rainbow Warrior, secrecy and state terrorism: A Pacific journalism case study." Pacific Journalism Review 22, no. 1 (2016): 187. http://dx.doi.org/10.24135/pjr.v22i1.19.

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France detonated 193 of a total of 210 nuclear tests in the South Pacific, at Moruroa and Fangataufa atolls, before halting them in 1996 in the face of Pacific-wide protests. On 10 July 1985, French secret agents bombed the Greenpeace flagship Rainbow Warrior in Auckland Harbour, killing photographer Fernando Pereira, in a futile bid to stop a protest flotilla going to Moruroa. The author was on board the Rainbow Warrior for more than 10 weeks of her last voyage. He was awarded the 1985 New Zealand Media Peace Prize for reportage and investigations into the ‘Rainbow Warrior and Rongelap Evacua

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Garin, Manuel, and Daniel Pérez-Pamies. "Power and satire in the front-page images of Mariano Rajoy: visual motifs as political humour." European Journal of Humour Research 9, no. 3 (2021): 65–91. http://dx.doi.org/10.7592/ejhr2021.9.3.534.

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This article explores the use of photography and visual motifs as forms of political humour in contemporary media. By studying the representation of former Prime Minister of Spain Mariano Rajoy in the front pages of three Spanish newspapers (El Mundo, El País and La Vanguardia) between 2011 and 2017, the paper identifies and questions the liaisons between power and satire present in the so-called “serious” press, focusing on how different photographic traits concerning layout, composition and gestures reflect ideological choices. This photographic satire developed by printed media is then fram

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Roberts, Beryl. "Lyall Ford, Below These Mountains: The Adventures of John Henry Mills — Pioneer Photographer and Gold Miner (Freshwater, Qld: Taipan Press, 2001). 235 + xiv pp. $34.95." Queensland Review 9, no. 1 (2002): 99–100. http://dx.doi.org/10.1017/s1321816600002804.

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