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Journal articles on the topic 'Street photography'
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1
Clark, Catherine E. "The Commercial Street Photographer: The Right to the Street and the Droit à l’Image in Post-1945 France." Journal of Visual Culture 16, no. 2 (August 2017): 225–52. http://dx.doi.org/10.1177/1470412917716482.
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This article examines the history of the commercial street photographer, or photofilmeur, in France from 1945 to 1955. Although itinerant photographers had long operated, they organized as a new profession after the Second World War in response to hostile reactions from other ‘sedentary’ photographers, conservative officials, lawmakers, and the police. Tracing the fight to regulate and even ban photofilmeurs in state and police archives, courtroom accounts, and union publications, this article reveals a struggle over the who, what, and where of photography: Who has the right to photograph whom? Can you take pictures of people without their consent? What is professional photography? Answers to these questions recast the history of street photography not as an aesthetic category, as most scholarship treats it, but in terms of the medium’s engagement with the law and issues of consent, intent, copyright, privacy, and dissemination that are at the heart of 20th and 21st-century photographic history.
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KUBIE, OENONE. "Reading Lewis Hine's Photography of Child Street Labour, 1906–1918." Journal of American Studies 50, no. 4 (April 29, 2016): 873–97. http://dx.doi.org/10.1017/s002187581600058x.
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Lewis Hine's child-labour photographs are among the best-known social-documentary photographs ever taken, yet historians have neglected his photography of children working on the streets of America's cities. This paper explores the disputed symbolism of Hine's street-labour photographs. Far from simply depicting another appalling form of child labour, Hine's child street labourers, and the newsboys he photographed in particular, represented a range of ideas from masculinity and entrepreneurial spirit to the dangers of the new urban life and the apparent ignorance of immigrant parents. The symbolic newsboy was often far removed from the reality of child street labour, but he became an important figure in discourse surrounding the nature of childhood and the organization of public space in the United States of the early twentieth century. In exploring these subjects, this article takes on a neglected part of American history, yet an important one. Studying child street labourers reveals much about children, their choices, and the urban environment in the United States during the Progressive Era.
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Haran, Barnaby. "‘We Cover New York’: Protest, Neighborhood, and Street Photography in the (Workers Film and) Photo League." Arts 8, no. 2 (May 10, 2019): 61. http://dx.doi.org/10.3390/arts8020061.
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This article considers photographs of New York by two American radical groups, the revolutionary Workers Film and Photo League (WFPL) (1931–1936) and the ensuing Photo League (PL) (1936–1951), a less explicitly political concern, in relation to the adjacent historiographical contexts of street photography and documentary. I contest a historiographical tendency to invoke street photography as a recuperative model from the political basis of the groups, because such accounts tend to reduce WFPL’s work to ideologically motivated propaganda and obscure continuities between the two leagues. Using extensive primary sources, in particular the PL’s magazine Photo Notes, I propose that greater commonalities exist than the literature suggests. I argue that WFPL photographs are a specific form of street photography that engages with urban protest, and accordingly I examine the formal attributes of photographs by its principle photographer Leo Seltzer. Conversely, the PL’s ‘document’ projects, which examined areas such as Chelsea, the Lower East Side, and Harlem in depth, involved collaboration with community organizations that resulted in a form of neighborhood protest. I conclude that a museological framing of ‘street photography’ as the work of an individual artist does not satisfactorily encompass the radicalism of the PL’s complex documents about city neighborhoods.
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Mountfort, Paul. "Dérives: Street photography as post-/Situationist practice." Australasian Journal of Popular Culture 10, no. 1 (December 1, 2021): 21–38. http://dx.doi.org/10.1386/ajpc_00036_1.
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Street photography has hardly lacked for popular cultural currency, as attested by those ubiquitous black framed prints and coffee table tomes. However, it has long been a relatively marginalized genre within photography that has seen relative critical neglect even compared to other demotic forms concerned with the everyday, such as the family portrait (Bourdieu) and snapshot (Barthes). This article seeks to sketch a series of potential intersections between street photography’s antecedent, formative and breakout phases on both sides of the Atlantic and the Situationist International’s (1957‐72) embodied practices surrounding the dérive, détournement and psychogeography more generally. Arguably, remediating street photographic practice and composition in relation to these disruptive strategies can provide a kind of corrective to the more formalistic conception of the former, as exemplified in the reification of Henri Cartier-Bresson’s famous dictum of the ‘decisive moment’. I will argue that Situationist discourse helps reframe these moments of the street as ‘situations’ in the Situationist sense, lines of flight that became explicit when the development of street photography in Europe is overlaid with that of the United States, Paris with New York. Such détournement arguably brings into view vectors between street photography and revolutionary art practices often neglected in discussions of these Dérives of the street, and gestures towards ‐ at least in potentia ‐ a kind of afterlife of post-/Situationist praxis in the practices of street photographers.
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Purbasari, Sophia, and Febrika Cahyadi Sambodo. "Design of Street Photography Promotion Media in Bandung City Case Study on Bandoeng Photostreet Shooter Community in Bandung City." ArtComm : Jurnal Komunikasi dan Desain 2, no. 1 (April 29, 2019): 71–88. http://dx.doi.org/10.37278/artcomm.v2i1.163.
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Street Photography merupakan salah satu aliran dari photography, yang lebih mengutamakan subject (point of interest) di ruang publik (tempat umum). Street Photography merupakan kegiatanpositif yang mampu memberikan sebuah wawasan dan pengetahuan yang digabungkan sehinggamenghasilkan sebuah photo ruang waktu yang berdampak pada masyarakat. Street photography dapatmenjadi alternative dalam mendokumentasikan perkembangan zaman dari dahulu hingga kedepannyasebagai evaluasi untuk berkembang menjadi yang lebih baik. Dalam perancangan media promosistreet photography di kota Bandung bertujuan untuk meningkatkan minat masyarakat khususnya anakmuda kota Bandung untuk lebih tertarik dengan street photography melalui komunitas bandoengphotostreet shooter. Media yang digunakan untuk mempromosikan Street photography adalah dengandi adakan nya sebuah event yang berjudul Nyetreet di Bandung, dengan media pendukung poster,katalog dan melakukan kegiatan nyetreet bersama atau melakukan hunting photo bersama denganacara utama launching buku. Dengan di adakannya event nyetreet di Bandung di harapkan akanbertambahnya minat dan ketertarikan para photographer muda untuk lebih mendalami streetphotography.
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Rodriguez, Richard T. "On the Subject of Gang Photography." Aztlán: A Journal of Chicano Studies 25, no. 1 (2000): 109–48. http://dx.doi.org/10.1525/azt.2000.25.1.109.
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This paper examines the figure of the Chicano gangster in “gang photography, ” which represents Chicanos affiliated with street gangs in the greater Los Angeles area. Gang photography encompasses documentary photography, self-produced gang photography, as well as police photography. Moving beyond the aesthetic and personal desires by which the practice of photography is typically framed, I insist that we must come to terms with the sociopolitical forces underscoring all representations of Chicano gangs. My title refers to overlapping meanings of the subject. The subject or topic of gang photography requires an understanding of the Chicano gangster as a social subject whose subjectivity is (re)figured within and outside the realm of the photograph. Moreover, my analysis of these particular photographic practices dialogues with ethnographic discourse analysis, media studies, and contemporary cultural studies of race and ethnicity. In conclusion, the paper unsettles any smooth comprehension of photographic representations.
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Даваасүрэн, Золбоо. "Гудамжны гэрэл зураг Монголын гэрэл зургийн гол төрөл болох нь." Монгол судлал 46, no. 1 (2022): 147–55. http://dx.doi.org/10.22353/ms20224617.
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Since the development of photography in Mongolia, street photography has developed simultaneously. Nowadays, street photography is emerging strongly among the types of photography. In this study, we considered the development of world and Mongolian street photography and the definition of street photography. In this way, it is crucial to clearly show the growth of street photography, bring Mongolian street photography into the research cycle, and increase the value of street photography.
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Schwartz, Stephanie. "Street Photography Reframed." Arts 10, no. 2 (April 28, 2021): 29. http://dx.doi.org/10.3390/arts10020029.
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Majewska, Martyna Ewa. "Composting the Monument: Pope.L, Police, and the Trouble With Representation." Visual Arts Research 48, no. 1 (June 1, 2022): 102–16. http://dx.doi.org/10.5406/21518009.48.1.09.
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Abstract The ways in which we view, process, and respond to photographs of racialized policing and police brutality are conditioned by existing imagery. Yet the images we are most likely to encounter, and the ones we are therefore most accustomed to viewing, fail to account for the totality of racial injustices, violence, and oppression. Photography's ability to occlude inconvenient truths and reproduce certain power dynamics as opposed to others has been identified in numerous analyses of images documenting civil rights activism. Corroborating such findings, photographs capturing the street performances Pope.L began staging in the 1970s, particularly his numerous crawls through New York City's streets and gutters, intervene in the rehearsed, customary interpretations of civil rights photography and contemporary images of racialized policing. By regarding Pope.L's performance photographs not as mere documentary records but as a preconceived photographic project, this paper demonstrates that Pope.L's images offer an incisive commentary on representations of the civil rights struggle and the photographic construction of its icons. Together with his sculptures and mixed-media installations, such works challenge the post-racial discourse of successful completion inscribed in monuments to the leaders of the Civil Rights Movement, a discourse that has resurfaced and has been repurposed throughout recent U.S. history, up to and including the present day.
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Kusrini, Kusrini. "Fotografi Jalanan: Membingkai Kota dalam Cerita." Journal of Urban Society's Arts 3, no. 2 (October 31, 2016): 102–9. http://dx.doi.org/10.24821/jousa.v3i2.1482.
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Fotografi jalanan (street photography) menjadi sarana bagi fotografer Erik Prasetya untuk menggambarkan kota Jakarta secara visual dalam buku foto Jakarta: Estetika Banal. Di dalamnya terdapat hasil kerja fotografi selama sekitar 20 tahun yang berisi cerita tentang Jakarta. Foto-foto tersebut dicermati secara keseluruhan untuk mengetahui gambaran umum tentang Jakarta yang diusung oleh fotografer. Fotofoto tersebut dipilih sesuai dengan deskripsi umum dan dibahas lebih lanjut untuk mendapatkan cerita tentang Jakarta pada 1990-2000’an. Dalam foto-foto tersebut, Jakarta merupakan kota dengan masyarakat yang dinamis. Jalanan tidak pernah sepi dan tidak tidur meskipun di waktu malam. Bangunan, transportasi, para pekerja, mobilitas yang tinggi, menjadi bagian dari visual Jakarta, yang sekaligus menceritakan masih adanya kesenjangan ekonomi dan sosial masyarakatnya. Di dalamnya ternyata masih juga terdapat tawa dan kegembiraan. Semangat bertahan hidup di ibukota menjadi bagian yang tidak terpisahkan dari cerita tentang Jakarta. Keindahan foto terlihat dari imaji yang ditampilkan mengeksplorasi teknik manual yang disesuaikan dengan kondisi dan situasi serta cerita yang hendak disampaikan. Keindahan lain dalam fotografi jalanan karya Erik Prasetya ini terdapat dari cerita visual yang tersaji. Fotografi jalanan tidak sekadar cerita tentang jalanan secara fisik, namun juga cerita tentang masyarakat di sepanjang jalan serta perjalanan kehidupan yang dilalui fotografer. Street Photography: Framing City in Stories. Erik Prasetya is photographer who uses street photography (fotografi jalanan) to narrate visually Jakarta in a photo book titled Jakarta: Estetika Banal. There are photos of his work for 20 years about Jakarta. The photos are examined as a whole to know the general idea of Jakarta carried by the photographer. They are selected to get the general description and finally are studied further to get stories about Jakarta in late 1990-2000. In these photos, Jakarta is a city with a dynamic society. The streets are never quiet and do not sleep at night though. Building, transportation, greater mobility of workers, become parts of Jakarta visually, which also tell the persistence of economic and social discrepancy in society. However, there are laughter and exhilaration that we can find. The spirit to survive in the capital becomes an integral part of the story of Jakarta. The beauty of the photos came from the images are displayed exploring manual techniques adapted to the conditions and situations, and stories that would be submitted. Another beauty of street photography works by Erik Prasetya is that there is a visual story presented. Street photography is not just a story about the streets physically, but also stories of people found along them as well as the journey of life experienced by the photographer.
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García Ranedo, Mar. "Entre la fotografía documental y la fotografía callejera: marginalidad y género." Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 181. http://dx.doi.org/10.7203/laocoonte.0.5.12406.
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Resumen
Con este artículo, propongo un acercamiento analítico a dos series de fotografías, Pulsaciones y Utterances, de la que soy autora, que cuestionan el estatus fotográfico de la imagen y que ayudan a definir las diferencias y paralelismos entre lo entendido por fotografía documental y fotografía callejera. Ambas series se establecen a partir de fotografías “robadas” que persiguen visibilizar a la mujer y sus modos de ocupar el espacio público desde prácticas ciudadanas que revelan problemáticas de equidad y diferencia en relación al género. Con esta aproximación conceptual, dichas series -articuladas como conjuntos diagramáticos de imágenes- enfatizan la conveniencia de una sintaxis visual, organizativa de la narración y el discurso. Se pretende apoyar, de este modo, un tipo de fotografía callejera, causal, instantánea y operante, que desde esa instantaneidad recupere autenticidad y promueva una dialéctica entre el compromiso sociopolítico y la realidad.
Palabras clave: Fotografía, documental, callejera, mujer, género, sociopolítico.
Abstract
With this article, I propose an analytical approach to two series of photographs, of which I am the author, that questions the photographic status of the image and helps to define the differences and parallelims between what is understood by documentary photography and street photography. Both series are based on "stolen" photographs that seek to make women visible and their ways of occupying the public space during citizen practices that reveal issues of equity and difference in relation to gender. With this conceptual approach, these series -articulated as diagrammatic sets of images- emphasize the convenience of a visual, organizational syntax of narration and discourse. The aim is to support, in this way, a type of street photography, causal, instantaneous and operative, that recovers authenticity from instantaneity and promote a dialectic between sociopolitical commitment and reality.
Key words: Photography, documnetary, street, woman, gender, sociopolitical.
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Luvaas, Brent. "Ethnography and Street Photography." Anthropology News 58, no. 2 (March 2017): e325-e332. http://dx.doi.org/10.1111/an.393.
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Wallhead, Emma. "Street photography 1930s–1950s." History Australia 16, no. 2 (April 3, 2019): 410–11. http://dx.doi.org/10.1080/14490854.2019.1591165.
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Bordeniuk, Serhii, Iryna Gavran, and Valeriia Hrymalska. "Features of Street Photography and Its Similarities with Cinematography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 278–85. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248772.
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The purpose of the study is to analyze the visual features of street cinema photography and techniques for its implementation; establish the role of light, colour, composition and historical features of the street genre of photography; to prove the importance of conscious departure from the established laws of photocomposition for the implementation of creative ideas. The research methodology consists in the application of the following methods: theoretical – for the study and analysis of scientific publications, articles and photo albums of street photography masters; empirical – to observe and compare visual elements between cinema and photography. Scientific novelty. The detailed analysis of the main compositional methods designed to simplify the composition and analysis of the main components of a spectacular visual image that enhance the visual impact of cinematic photography on the viewer were conducted. Conclusions. The article describes in detail the visual features of creating cinematic street photography. The elements of street photography, the affinity of style with cinematography are generalized, the components for creating a strong visual effect on the audience are identified.
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Kariuki, Udo, Etenesh Okafor, and Olalekan Abioye. "Impact of Street Photography on Social Awareness in Nairobi, Kenya." Art and Society 3, no. 2 (April 2024): 1–7. http://dx.doi.org/10.56397/as.2024.04.01.
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This research explores the multifaceted realm of street photography in the dynamic urban context of Nairobi, Kenya. Focusing on the potential of this visual medium for social change, the study delves into the ethical considerations, cultural sensitivities, and societal impact associated with street photography. It investigates the role of street photographers as storytellers and their influence on public discourse, aiming to shed light on pressing social issues and challenge ingrained perspectives. The guidelines proposed for responsible street photography offer a comprehensive framework, emphasizing informed consent, cultural sensitivity, collaboration, social impact assessment, and educational initiatives. Through these guidelines, the research envisions a future where street photography becomes a catalyst for positive societal transformation within Nairobi’s diverse and evolving landscape.
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Starrett, Marilyn. "Street Photography and the Flaneuse." Visual Communication Quarterly 27, no. 3 (July 2, 2020): 172–78. http://dx.doi.org/10.1080/15551393.2020.1798145.
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Luvaas, Brent. "Post No Bill: The Transience of New York City Street Style." Fashion Studies 1, no. 1 (2018): 1–20. http://dx.doi.org/10.38055/fs010101.
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The sidewalks outside New York Fashion Week are lined with makeshift plywood walls. They are designed to keep pedestrians out of construction zones, but they have become the backdrops of innumerable “street style” photographs, portraits taken on city streets of self-appointed fashion “influencers” and other stylish “regular” people. Photographers, working to build a reputation within the fashion industry, take photos of editors, bloggers, club kids, and models, looking to do the same thing. The makeshift walls have become a site for the staging and performance of urban style. This photo essay documents the production of style in urban space, a transient process made semi-permanent through photography.
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Ruchel-Stockmans, Katarzyna. "Community-Based Photographic Archives and “Potential” Histories of the Cold War in Eastern Europe." Život umjetnosti, no. 111 (July 2023): 48–61. http://dx.doi.org/10.31664/zu.2022.111.04.
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The article proposes to look at the recently emerged online photographic archives in Eastern Europe as a form of digital commons. The bulk of the collected photographs in these archives are vernacular, family or amateur photographs, the sort which obstinately resists being included in the histories of photography. The online archives under scrutiny here, Fortepan in Hungary and Karta/CAS in Poland, disregard the established divisions between the photographic genres, allowing the reconfiguring of the hierarchies and values perpetuated by other archives and museum collections. Most significantly, by being accessible and relying on the contributions of its users, the online archives also forge a new public. The aim of this article is to investigate the affordances of these archives in constructing new photographic histories of the Cold War. Looking at selected photographs showing collective manifestations and street protests, the article will demonstrate the realignment of the private and the public in these archives.
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Mountfort, Paul. "Defending the Candid Gaze: Theory, the Archive, and Depolicing Street Photography." Journal of Asia-Pacific Pop Culture 9, no. 1 (July 2024): 4–27. http://dx.doi.org/10.5325/jasiapacipopcult.9.1.0004.
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Abstract Since practically the dawn of photography, there have been concerns over street photography’s invasive and potentially exploitive nature, from late nineteenth-century tropes of pests and “sneaky characters” trailing women in public parks to more recent panics over “camera fiends” and even state security warnings of the need to be vigilant of photographers potentially casing infrastructure for terrorist attacks. This article argues, using potted history and critical theory, that such straw-man arguments distract from the real dangers that the policing and curtailment of public photography pose, characteristic, as they are, of authoritarian regimes where control over taking and circulating images is an integral part of oppressive state and corporate apparatuses. Street photography’s implicit role in the construction of an archive of aesthetic and documentary value can be understood as a type of resistance to such threatened microfascisms.
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Abilova, Ramina O., and Yana Yu Kirillova. "Photographic Heritage of the Kazan Pharmacist Arnold Brening: History and Composition of the Collection (1904–37)." Herald of an archivist, no. 3 (2023): 861–75. http://dx.doi.org/10.28995/2073-0101-2023-3-861-875.
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The article presents results of studying photographic heritage of the Kazan pharmacist Arnold Brening (1879–37). Its first part examines his biography drawing on documents from the State Archive of the Republic of Tatarstan and on private archive of his granddaughter Tatyana Brening. Close attention is paid to the professional development of A. Brening, from his apprenticeship at the Brening Heirs Pharmacy to obtaining a pharmacist's degree at the Imperial Kazan University, from tenant to owner of the pharmacy at the corner of Bolshaya Prolomnaya (Bauman street, since 1930) and Universitetskaya. In the same part, the history of formation and development of his photographic practices is revealed. Brening’s passion for photography began during his military service in Harbin in 1904–06. Having returned to Kazan, he continued taking photographs. He subscribed to photographic literature, experimented with retouching and technologies, bought new equipment. Brening regularly cultivated his skills during his walks with camera, “photographic excursions.” He took pictures of architecture, street scenes, town events. After his marriage, his photographic repertoire expanded to portraits of his wife. Brening not only showed his photographic results to a close circle of friends, he sent them to photographic journals and exhibitions in Moscow. After the Russian Revolution, his family lived in Siberia about three years. Upon his return, Brening continued to work in the field of pharmaceuticals and to take photographs of the city and its suburban area. In the 1930s, he worked at Osoaviakhim and later at the Institute of Chemical Technology. In 1937 he was arrested and shot. Among incriminating evidence was his photograph taken in 1917. The second part of the article presents the history of Brening’s photographic heritage. It establishes current location of its disparate parts: at the National Museum of the Republic of Tatarstan, the State Museum of Fine Arts of the Republic of Tatarstan, the Zelenodolsk Museum of Historical and Cultural Heritage, personal archives of citizens; and briefly demonstrates some items. Until late 1980s, Brening’s photographs remained forgotten. They were preserved thanks to the efforts of his wife, children, and granddaughter, and actualized in active work of local historians, journalists, museum specialists in the 1990s–2000s. This article is one of the first steps in scientific understanding of Brening’s photographic heritage.
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Harmash, Yurii, Alina Pasynok, and Dmytro Ivashkov. "Bachelor's photo project “Street Football”." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 97–112. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235096.
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The author’s message for this Bachelor’s photo project was to study the leading artistic and stylistic solutions of genre photography and reproduce them in a Street Football — photography series. The research covers all aspects of this topic and can be a staging ground for further topic study and consideration.
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Versey, H. Shellae. "Homeless on Main Street: Using Photovoice to Highlight Older Adults Among the Hidden Homeless." Innovation in Aging 4, Supplement_1 (December 1, 2020): 728. http://dx.doi.org/10.1093/geroni/igaa057.2583.
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Abstract Homelessness is a reality for a growing number of Americans living in small towns and rural areas. However, unlike in cities, housing instability may be less visible. Using a photo-elicitation method (i.e., Photovoice), this study explores the meaning of place and obscured visibility to currently and formerly homeless older adults living in a small town in central Connecticut. Participants (N = 27) were recruited from a local service agency, given cameras and asked to photograph areas around town that were meaningful to them. Photographs were developed and followed by in-person, semi-structured interviews with participants in which photos and experiences during the project were discussed. Primary themes included belonging, generativity, social isolation, and place-making as meaning-making. The study culminated in a community photography exhibition in which photographs from the project were displayed in public spaces around town. Implications for community-based interventions to reach homeless groups in rural areas are discussed. Part of a symposium sponsored by the Qualitative Research Interest Group.
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Rezvan, Efim A. "Istanbul by Alfred Eberling: Street Photography." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, no. 1 (June 2020): 59–65. http://dx.doi.org/10.31250/1238-5018-2020-26-1-59-65.
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Wikan, Daniar. "City of Madness: Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 3, no. 01 (February 28, 2017): 59–68. http://dx.doi.org/10.33633/andharupa.v3i01.1315.
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AbstrakCity Of Madness: Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan adalah sebuah upaya dalam memotret kehidupan ODMK khususnya yang terlantar di jalanan. Fotografi potret dalam City of Madness mencoba memberi penggambaran ikonik secara detail dari ODMK yang terlantar, gambaran tersebut mulai dari mimik wajah, bentuk tubuh, cara berpakaiaan, serta ciri-ciri fisik lainnya. Dalam rangkaian karya fotografi City of Madness, fotografer memotret orang gila yang ditemui di jalan-jalan kota Semarang –Yogyakarta secara tidak terduga. Foto orang gila atau lebih tepatnya ikon orang gila dihadirkan kembali dalam sebuah frame foto jurnalistik potraiture. Foto tersebut secara tersirat merekam secara detail ciri-ciri visual yang ada dalam diri mereka. Kata kunci : Fotografi Esai, Potret, Orang Gila Jalanan AbstractA Photographic Essay ODMK street is an effort in portraying the lives ODMK (People With Psychiatric Problems), particularly displaced in the streets. Portrait photography in the City of Madness try to give a detailed depiction of the iconic ODMK displaced, these images ranging from facial expressions, body shape, how to dress, as well as other physical characteristics. photographer portrays a madman who met in Semarang and Jogjakarta city streets. Photo madman or rather iconic madman reintroduced in a frame of photojournalism potraiture. The photos were implicitly recording visual icon of madmad. Keyword : Photographic Essay, Potraiture, Madman
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Witt, Andrew. "The Evicted." Arts 8, no. 3 (July 24, 2019): 95. http://dx.doi.org/10.3390/arts8030095.
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The following essay examines Anthony Hernandez’s photographic work from the early 1970s to the present. The essay addresses how Hernandez reimagines the genre of street photography in Los Angeles, countering the misconception that the genre, so dominant in the history of the medium, is nearly inexistent in California.
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Agbo, George Emeka. "The #EndSARS Protest in Nigeria and Political Force of Image Production and Circulation on Social Media." IKENGA Journal of Institute of African Studies 22, no. 2 (June 30, 2021): 1–29. http://dx.doi.org/10.53836/ijia/2021/22/2/002.
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For many years, the unit of the Nigerian Police Force, Special Anti-Robbery Squad (SARS) was accused of violent crimes and violation of human rights of citizens. One wondered if SARS had dual operational duties – to kill and dehumanise those it ought to protect. Between October and November 2020, multitude of Nigerian youths took to the street to demand for abolition of SARS, thus #EndSARS protest. Photography was at the heart of the social movement. Employing digital methods including compositional analysis and audience interpretation, this paper examines a selection of #EndSARS-related photographs and their accompanying comments retrieved from social media in relation to the impact on the street demonstration. I investigate the modes of creating the images and how they produce political effects. I argue that the use of images in the #EndSARS protest illuminates the rising conviction among Nigerians that photography can aid in the transformation of their precarious living conditions. These include the use of the camera in the conventional sense of framing the fleeting world. Others are digital editing of photographs, staged production and appropriation of images that may have no connection with the protest. Then, I analyse as political act the sense of obligation with which the images are produced and circulated. These lines of enquiry contribute to the emerging work on how photography and social media are converging to transform the political sphere.
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Suazo, Antonio. "A new method for using historical street photography collections as a primary source for cartographic production." Abstracts of the ICA 2 (October 8, 2020): 1–2. http://dx.doi.org/10.5194/ica-abs-2-24-2020.
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Abstract. The production of historical cartographies with the aid of digital tools has become in recent years a very active field of study, especially in urban heritage research. In this way, contributions from disciplines such as computer vision or remote sensing allow today to integrate data from various documentary records, enriching the available urban historiography, and enabling new readings on the relationship between historical cartography and contemporary sources of information. Despite this, little attention has been paid to the use of urban street photography, which continues to be used mostly to confirm or validate cartographic hypotheses, but not as a primary source of information. Among other causes, this is because there are no standardized procedures to extract the information directly from the photographs, nor with methods that allow addressing the divergences between captures from various locations and times.To overcome this situation, a new methodology is proposed to incorporate collections of historical photographs into a cartographic creation process, for the recovery and direct use of the information contained in them. Throughout a workflow, the proposal provides special support for two sub-processing steps: i) the possibility of comparatively studying the information from various photographs, and ii) the possibility of managing and taking into account the differences in dates between different shots. For this, the proposal transfers the recovered information from the photographs (in a 3D coordinate system) to a single cartographic representation (in a 2D coordinate system), to support that data management and decision making take place directly in the map view. This is intended to overcome the practice of using the map to ‘pass clean’ discoveries made with other means and to restore instead the notion of cartographic representation as a detection and direct investigation tool.The work considers the evaluation of the proposed method through the application in a case study. We worked with the restitution of the disappeared tram system of Santiago, Chile (1900–1945) through the cartographic representation of its extinct network of railway lines, of which only some isolated fragments remain. The visual documentation was provided by the Chilectra photographic archive (1921–27) – currently managed by the Photographic Archive of the National Library of Chile – which documented the extent of the tracks layout and its installation process (Figure 1a). Thus, around 200 scanned historical photographs were reviewed and processed with the proposed method, and their information made available to a cartographic production and management process (Figure 1b), based on the historical cartography of Santiago from Hidalgo et al (2011) and Salas (2012). Finally, the obtained data is evaluated (Figure 2), identifying scopes on the recovered information and on the characteristics that the photographs must meet in the first instance to be processed.The satisfactory results obtained show that the proposed approach and method allow historical photography to be used directly within a cartographic process, as a primary source of information. This reinforces the idea of the place that corresponds to these records within the spectrum of historiographic sources, along with textual, planimetric, and other descriptions of urban interest. Likewise, the work reflects on the approach that should prevail to use the map as a research tool, and on the possibilities that such a process opens, significantly improving the use of historical photography for the study of urban heritage with cartographic representations.
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Brooke, Stephen. "Revisiting Southam Street: Class, Generation, Gender, and Race in the Photography of Roger Mayne." Journal of British Studies 53, no. 2 (April 2014): 453–96. http://dx.doi.org/10.1017/jbr.2014.10.
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AbstractThis article examines pictures taken by the British photographer Roger Mayne of Southam Street, London, in the 1950s and 1960s. It explores these photographs as a way of thinking about the representation of urban, working-class life in Britain after the Second World War. The article uses this focused perspective as a line of sight on a broader landscape: the relationship among class, identity, and social change in the English city after the Second World War. Mayne's photographs of Southam Street afford an examination of the representation of economic and social change in the postwar city and, not least, the intersections among class, race, generation, and gender that reshaped that city.
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Barcellos, Jefferson Alves de. "Fotografia móvel e na rua, uma experiência pós-fotográfica: a prática em uma nova ecologia dos meios midiáticos na rua (street photography)." Transições 1, no. 2 (December 14, 2020): 179–94. http://dx.doi.org/10.56344/2675-4398.v1n2a20209.
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Durante mais de um século a fotografia de base argêntica sustentou toda o pensamento contemporâneo e também o campo das teorias que abordaram tanto essa linguagem como seus pesquisadores e artistas. Além dos aspectos clássicos que envolviam as discussões que norteavam as escolas que estudavam os fenômenos da imagem, a indústria fotográfica calcou toda sua produção em técnicas e práticas que se originaram no século XIX. Parecia claro que a fotografia como uma expressão artística e um labor, fosse manter sua origem com o avanço das novas tecnologias e sustentaria também suas práxis nos formatos seminais já colocados no transcorrer da metade do século XIX. Assim como as teorias tendem a ser adequadas ou refutadas, com o advento do avanço desenfreado dos sistemas de processos digitais, a cada nova inovação neste universo um novo significado foi se dando e uma nova fotografia foi tomando assento e protagonismo. Esse artigo discute a consolidação de uma nova fotografia, classificada e nomeada por alguns teóricos como pós-fotografia (BARCELLOS, 2020; FONTCUBERTA, 2016) bem como suas aplicabilidades no mundo das redes de sociabilidade como apontam estudiosos debruçados sobre o tema (MANOVITCH, 2017) e sua inserção nos registros de rua.
Abstract: For more than a century, photography with an argenic basis has sustained all contemporary thought and also the field of theories that approached this language as well as its researchers and artists. In addition to the classic aspects that involved the discussions that guided schools that studied the phenomena of image, the photographic industry based its entire production on techniques and practices that originated in the 19th century. It seemed clear that photography as an artistic expression and a job, would keep its origin with the advancement of new technologies and would also support its praxis in the seminal formats already placed in the middle of the 19th century. Just as theories tend to be adequate or refuted, with the advent of the unbridled advancement of digital process systems, with each new innovation in this universe a new meaning was taking place and a new photograph was taking its place and leading the way. This article discusses the consolidation of a new photograph, classified and named by some theorists as post-photography (BARCELLOS, 2020; FONTCUBERTA, 2016) as well as its applicability in the world of sociability networks, as pointed out by researchers working on the subject (MANOVITCH, 2017 ) and their insertion in street records.
Keywords: Photography. New media ecology. Post-photography. Street photography. Communication
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Wibowo, Sulistiyo. "‘OVERLOAD’ POTRET TRANSPORTASI ANGKUTAN BARANG DALAM KARYA STREET PHOTOGRAPHY." Jurnal Ilmiah Publipreneur 9, no. 1 (July 1, 2021): 16–29. http://dx.doi.org/10.46961/jip.v9i1.183.
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Humans are creatures that are able to move and move from one place to another. Long before the wheel was discovered as part of the means of human transportation, animals and livestock such as horses, cows, camels and even elephants were used as a means of transportation. Apart from being a tool to speed up and lighten the travel time of these animals, sometimes the burden is attached to the rider. After the wheels were found, humans made transport vehicles that functioned as places for passengers and goods which were then pulled by animals so that the loads carried became more efficient and more efficient. Along with the development of time from time to time until finally motorized vehicles were found, the distance between the movement of people and goods was getting farther, more numerous and faster. Humans can move freely with current road facilities and adequate facilities. Almost everyone today can afford a vehicle from a bicycle to a plane depending on the abilities and needs of each individual. Movement or mobilization is not only human but also goods. Movable goods clearly require transportation assistance and humans as the perpetrators and are supported by the ease of road facilities and infrastructure. Each vehicle created has its own specifications and specifications, be it designation, capacity and recommended load. For example, passenger vehicles are not allowed to carry goods and vice versa. Especially if it is related to the recommended load capacity, whether it is a passenger vehicle or goods, it will clearly affect the safety of both the driver, passengers and luggage. Seeing the tendency in Indonesia, things related to the transportation function and discipline are often violated, the writer and photographer in this study is interested in the theme of 'overload', namely the portrait of transportation, especially freight transport in Indonesia, which is often seen carrying excess burden or over capacity in street / Street photography works. Photography Keywords: Street Photography, Transportation, Street Photography
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Aziz, Abdul, and M. Imam Tobroni. "Aesthetics exploration of chiaroscuro light: capturing the visual atmosphere of traditional markets in Jakarta." Gelar : Jurnal Seni Budaya 21, no. 1 (June 27, 2023): 80–89. http://dx.doi.org/10.33153/glr.v21i1.5057.
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Photography is needed as a medium of expression and delivery of communication messages. In the field of art, Chiaroscuro is a new vehicle for expression to be translated as a visual object in creating street photography. The main focus that is interesting to know is about the aesthetics of chiaroscuro light in the art of photography. The purpose of this research is to describe how to visualize the aesthetic expressions of researchers about traditional markets in the area of Jakarta. The research method employs an artistic approach within the context of visual field research, emphasizing creativity, subjective perspectives, and interpretations. The analysis techniques center on formal aspects of visual elements, including composition, color, shape, line, and texture, with the goal of understanding how these elements contribute to the overall aesthetic and communicative qualities of the image. Photographic exposure and description are supported by subjective observations. The results of the study show that photography is able to provide aesthetic expression according to the wishes of the researcher. The research contributes to the field by exploring the use of chiaroscuro as a novel expressive tool in street photography, particularly in the context of traditional markets in Jakarta. It demonstrates how an artistic approach and formal visual analysis techniques can effectively capture and convey the aesthetic qualities of these markets, ultimately resulting in a tangible outcome in the form of a photo book, enriching our understanding of urban culture and visual communication.
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Corby, James, and Dragana Rankovic. "Jaipur, Beyond the Frame: A Photographic Essay." CounterText 9, no. 2 (August 2023): 266–84. http://dx.doi.org/10.3366/count.2023.0309.
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In ‘Jaipur, Beyond the Frame: A Photographic Essay’, defying the colourful aesthetic cliches of the India of the imagination, Dragana Rankovic’s black-and-white street photography documents daybreak encounters and an unpolished view of Rajasthan’s Pink City, offering James Corby an opportunity to reflect on the politics of framing and the economies of visibility in literature and beyond.
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Schwind, Peter, and Tobias Storch. "Georeferencing Urban Nighttime Lights Imagery Using Street Network Maps." Remote Sensing 14, no. 11 (June 2, 2022): 2671. http://dx.doi.org/10.3390/rs14112671.
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Astronaut photography acquired from the International Space Station presently is the only available option for free global high-resolution nighttime light (NTL) imagery. Unfortunately, these data are not georeferenced, meaning they cannot easily be used for many remote sensing applications such as change detection or fusion. Georeferencing such NTL data manually, for example, by finding tie points, is difficult due to the strongly differing appearance of any potential references. Therefore, realizing an automatic method for georeferencing NTL imagery is preferable. In this article, such an automatic processing chain for the georeferencing of NTL imagery is presented. The novel approach works by simulating reference NTL images from vector-based street network maps and finding tie points between these references and the NTL imagery. To test this approach, here, publicly available open street maps are used. The tie points identified in the reference and NTL imagery are then used for rectification and thereby for georeferencing. The presented processing chain is tested using nine different astronaut photographs of urban areas, illustrating the strengths and weaknesses of the algorithm. To evaluate the geometric accuracy, the photography is finally matched manually against an independent reference. The results of this evaluation depict that all nine astronaut photographs are georeferenced with accuracies between 2.03 px and 6.70 px. This analysis demonstrates that an automatic georeferencing of high-resolution urban NTL imagery is feasible even with limited attitude and orbit determination (AOD). Furthermore, especially for future spaceborne NTL missions with precise AOD, the algorithm’s performance will increase and could also be used for quality-control purposes.
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Tahalea, Silviana. "BUDAYA FASHION DI JALANAN DALAM STREET PHOTOGRAPHY." Jurnal Dimensi Seni Rupa dan Desain 12, no. 2 (April 13, 2016): 211. http://dx.doi.org/10.25105/dim.v12i2.59.
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<p><strong>Abstract</strong></p><p><strong></strong><br />Fashion is a code that needed a description to understand about the person<br />who's wearing the dress. Every clothes that's worn by somebody brings a strong<br />message about the person wearing the clothes, there for cloting in generally<br />becoming a way to communicate with the world. Fashion it self by any mean can<br />be represent by our own preception and prespective. This fashion power issue<br />has becoming my concern, fashion it self also becoming an identity of a changing<br />of an era. In other conception, fashion can de define as a lifestyle or an identity of<br />a person in certain situation. Fashion always evolving according to an era in a<br />dynamic condition.<br />Street fashion phenomenon become a culture in big cities and it's getting more<br />common in everyday life an in fashionably modern life. Street is an intersting<br />context of fashion as a place for replacing a studio position for photographer and<br />a catwalk for a fashionista. Fashion image is no longger addresed for a<br />profesional figure model. Now a days fashion is a daily life setting on today's<br />society everyday life. I'm choosing Jakarta's down town, specially Sudirman<br />Street, because it was one of the most crowded public space in Jakarta. We could<br />easily found bussiness center, economic center to a shopping center in<br />Sudirman Street. People from various social background, education, jobs and<br />needs with a various style of fashion could easily be found in here.</p><p><br /><strong>Abstrak</strong><br />Fesyen adalah sebuah kode yang butuh pendeskripsian untuk mengerti<br />tentang orang yang mengenakannya. Setiap pakaian yang dikenakan<br />seseorang membawa pesan yang kuat tentang si pemakainya. Oleh<br />karena itu, pakaian seseorang pada umumnya merupakan<br />komunikasinya dengan dunia luar.<br />The purpose of this study was to document the trend of Street Fashion these days<br />in Jakarta. From these results it can be concluded that the type of fashion that is<br />in the Sudirman area is adjusting place or in other words the way people identify<br />themselves is to understand their environment.<br />Fashion sendiri dapat diartikan<br />berbagai macam, sesuai dengan persepsi dan perpektif kita masingmasing.<br />Hal inilah yang menjadi ketertarikan untuk bicara mengenaikekuatan fashion, fashion sendiri dapat diartikan bagian dari identitas<br />perubahan era atau zaman. Dalam konsepsi lain fashion juga dapat<br />didefinisikan sebagai gaya hidup atau identitas seseorang didalam<br />lingkungannya. Fashion terus berkembang sesuai tuntutan zaman dan<br />dalam kondisi yang selalu dinamis.<br />Fenomena street fashion yang semakin membudaya di kota besar dan<br />semakin terlihat didalam keseharian kehidupan modern yang semakin<br />fashionable. Jalan merupakan konteks yang menarik untuk fesyen sebagai<br />tempat untuk menggantikan posisi studio bagi para fotografer dan<br />catwalk bagi para penggemar fesyen. Image fesyen tidak lagi hanya<br />diperuntukan bagi figur model profesional. Sekarang ini fesyen adalah<br />seting kehidupan sehari-hari masyarakat urban.<br />Tujuan penelitian ini adalah untuk mendokumentasikan trend street<br />fashion yang sedang berlangsung saat ini di Jakarta. Dari hasil penelitian<br />tersebut dapat diambil kesimpulan bahwa jenis fesyen yang ada di<br />kawasan Sudirman adalah menyesuaikan tempat atau dengan kata lain<br />cara masyarakat mengidentifikasi dirinya adalah dengan memahami<br />lingkungannya.<br /><br /></p>
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Coleman, A. D. "Private lives, public places: Street photography ethics1." Journal of Mass Media Ethics 2, no. 2 (March 1987): 60–66. http://dx.doi.org/10.1080/08900528709358295.
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Advent, Sebastianus. "Memaknai Ruang Dalam Fotografi Jalanan “Home Street Home”." AKSA: JURNAL DESAIN KOMUNIKASI VISUAL 2, no. 2 (April 20, 2020): 311–18. http://dx.doi.org/10.37505/aksa.v2i2.21.
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This study attempted to analyze and interpret about “space” trough photography, particularly a street photography. Public space is a place where people meet each other, interact, communicate, earn a living, do politics, and there are still many activities carried out in public space. How important public space for some people who depend on their lives in public space. In other word, human can live, without disturbing their privacy space. Home Street Home is a smallest piece of absorptive public space through photography. In this study, the writer also attempted to explain about how photography sees public space as a picture of human define the public space as their private space either. Public as a home is considered to be most comfortable and intimate place. Home is not a space that literally roofed, protect human from rain, shade, and comfort. But home is an intimate space, a place where human returns to get back their humanity, and become a privacy space.
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Palmer, Daniel. "Icons of colonial injustice: From photographs to public art." Art & the Public Sphere 8, no. 2 (December 1, 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 and a statue located outside a major football stadium in Perth. I argue that by drawing on, but also extending, the original content of the images, these public translations of the photographs, and the story of their coming into being, become another chapter in the lives of the images. Moreover, in the shift from print to pavement, they transform public spaces into sites of public pedagogy.
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Fontcuberta, Joan. "IZAS, RABIZAS Y COLIPOTERRAS: UN ÀLBUM FURTIU." Catalan Review 18, no. 1-2 (January 1, 2004): 181–90. http://dx.doi.org/10.3828/catr.18.1-2.12.
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This essay examines the work of Joan Colom, a Catalan photographer who has come to receive a welter of honors, including the National Prize in Photography, but whose career has been anything but easy and uninterrupted. Colom’s fame derives largely from Izas, rabizas y colipoterras, a photo-book produced in collaboration with Camilo José Cela that focuses on the prostitutes of the Barri Xino of Barcelona and that quickly acquired a cult status among members of the “divine left” critical of Franco’s morally smug regime. Addressing tensions between amateurism and professionalism, art and documentation, the studio and the street, and the image and the word, Fontcuberta presents Colom’s work as a radiography in which the camera serves as an instrument of political critique and the vibrancy and sordidness of street life come to the fore. Inimitable as the book is, it nonetheless allows for productive comparisons with more recent, feminist inflected work on streets, streetwalkers, and sex workers from beyond Barcelona: Susan Meiselas’s Carnival Strippers; Elisabeth B’s Das ist ja zum Peepen; Merry Alpern’s Dirty Windows, and Erika Langley’s The Lusty Lady.
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Surya, Erwin, Agung Suharyanto, and Rehia K. Isabela Barus. "Netnografi Komunitas Walk The Street Medan dalam Percakapan WhatsApp Group mengenai Street Photography." Jurnal Antropologi Sumatera 20, no. 2 (May 31, 2023): 85. http://dx.doi.org/10.24114/jas.v20i2.43925.
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The research purposes to see the netnography that occurs in the WTSM community in WAG about street photography. In this research, researchers used a virtual ethnographic approach. Virtual ethnography is an ethnographic method used to observe social phenomena and or user culture in cyberspace. Communication in the WAG Community WTSM is a social interaction that occurs in an open, flexible, and dynamic way. Every day WTSM Community members interact with each other, discuss with each other. This makes the knowledge of WTSM Community members grow, especially in the field of street photography. The social integration that occurs in the WTSM Community WAG can be seen from the social activities carried out by fellow members, these mutual help activities build good integration among members. Based on the contents of the WAG conversation, the WTSM Community has a star pattern communication pattern, each member communicates with each other without any relationship restrictions between members, so that each member is free to communicate with all members.
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Wigoder, Meir. "Some thoughts about street photography and the everyday." History of Photography 25, no. 4 (December 2001): 368–78. http://dx.doi.org/10.1080/03087298.2001.10443239.
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Hawker, Rosemary. "Repopulating the Street: Contemporary Photography and Urban Experience." History of Photography 37, no. 3 (August 2013): 341–52. http://dx.doi.org/10.1080/03087298.2013.798521.
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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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Constantine, Simon. "From the Museum to the Street: Garry Winogrand’s Public Relations and the Actuality of Protest." Arts 8, no. 2 (May 3, 2019): 59. http://dx.doi.org/10.3390/arts8020059.
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Focusing on Garry Winogrand’s Public Relations (1977), this article explores the problematic encounter between street photography and protest during the Vietnam War era. In doing so, it considers the extent to which Winogrand’s engagement with protest altered the formalist discourse that had surrounded his practice and the ‘genre’ of street photography more broadly since the 1950s. It is suggested that, although Winogrand never abandoned his debt to this framework, the logic of protest also intensified its internal contradictions, prompting a new attitude towards the crowd, art institution, street and mass media. By exploring this shift, this article seeks to demonstrate that, while the various leftist critiques of Winogrand’s practice remain valid, Public Relations had certain affinities with the progressive artistic and political movements of the period.
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Opp, James. "Re-imaging the Moral Order of Urban Space: Religion and Photography in Winnipeg, 1900-1914." Journal of the Canadian Historical Association 13, no. 1 (February 9, 2006): 73–93. http://dx.doi.org/10.7202/031154ar.
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Abstract The arrival of the Reverend J.S. Woodsworth as the Superintendent of Winnipeg's All Peoples' Mission in 1907 coincided with a strategic shift in the visual representation of urban space in many Canadian Methodist publications. Traditional photographs of churches and ministers were soon accompanied by images of crowded tenements, impoverished conditions, and unsupervised children on the street. This paper examines the introduction of a social documentary style of photography and analyses how these images functioned within the context of the emerging social gospel and widespread middle-class anxieties over the “problem” of the city. This visual technology appealed to the new social reform emphasis on “surveying” conditions, but photography's inherent claim to represent an objective reality was overlaid with gendered moral boundaries, particularly in the space that surrounded the bodies of children. The re-imaging of urban space was part of a broader narrative that positioned the religious response to the city as both a moral and an environmental problem.
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Kaime-Atterhög, Wanjiku, Lars-Åke Persson, and Beth Maina Ahlberg. "“With an open heart we receive the children”: Caregivers' strategies for reaching and caring for street children in Kenya." Journal of Social Work 17, no. 5 (June 7, 2016): 579–98. http://dx.doi.org/10.1177/1468017316651989.
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Summary This article describes caregivers' strategies for reaching children on the streets and caring for them at institutions of care. Data was collected over a period of two years from 70 caregivers in 35 organisations in Nairobi, Nakuru and Muranga, identified by snowball sampling strategy. Data was collected using a semi-structured topic guide based on issues emerging from earlier studies with street boys. Direct observation, video recording and photography were used to study interactions between the children and their caregivers. Findings Two themes were developed: the “dedicated” caregiver confronting street realities, and making a difference despite the limitations. The way caregivers interacted with the children on the streets and in the institutions influenced the children's decision to leave the streets, to be initiated into residential care, and attend rehabilitation and reintegration programmes. Children were more positive to caregivers who took time to understand them and were soft in establishing rapport with them. Application The results suggest that caregivers' strategies are potential contributors to reversing trends in the street children phenomenon as they influence the children's decision to leave the streets and undergo rehabilitation at institutions of care. We thus recommend development of educational efforts focusing on helping caregivers develop healthy relationships and positive interactions with the children.
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Earle, Kathryn. "From runway to platform: The creation of a digital fashion photography archive." Art Libraries Journal 42, no. 1 (December 15, 2016): 47–54. http://dx.doi.org/10.1017/alj.2016.46.
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In 2011, Bloomsbury Publishing Plc purchased a fashion photography archive with over 750,000 images from runway photographer Niall McInerney, with the aim of digitizing it for the educational market. The archive spans the period from the late 1970s through to 2000, before the rise of digital photography. It includes many rare images – backstage and street style as well as runway. Bloomsbury recently completed the three-and-a-half-year digitization project, and is in the process of indexing the images for digital deployment as part of Bloomsbury Fashion Central, which will also include the Berg Fashion Library and Fairchild Books content. This article looks at the drivers behind the purchase of the archive, the challenges it presented and the logic of partnerships with other possible content providers.
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Natermann, Diana Miryong. "On the longevity of visual colonial stereotyping and its influence on twenty-first-century societal and identity debates." Antíteses 16, no. 31 (September 18, 2023): 326–53. http://dx.doi.org/10.5433/1984-3356.2023v16n31p326-353.
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This paper engages with current societal identity debates related to select postcolonial southern African circles, whose European origins can partially be traced back to the creation of the colonial photography genre. The contemporary visualisation of non-white Africans in the European landscape is linked to a genre that was born in the times of High Imperialism. As a child of its time, colonial photography laid the foundation for both racist and racial depiction patterns of certain African peoples and what their supposed traits and looks were from the coloniser’s point of view, thereby creating seeing patterns. Until today, social debates and political movements are linked to the visualisation of non-white peoples. This project is about the historical muting of sub-Saharan Africa through stereotypical images and its links to the shaping and maintenance of postcolonial identity debates concerning racialised visualisation traditions in Europe. This repetitive visual blinding is another form of colonial aggression by constantly perpetuating certain image(rie)s and thereby facilitating colonial mentalities. Examples presented below show how far-reaching the colonial photographic stereotypes are by not limiting the scope of seeing traditions to photographs. Instead, other areas of visible everyday spaces like street names, monuments, statues, lawsuits or book covers are included.
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Hayes, Patricia. "SEEING AND BEING SEEN: POLITICS, ART AND THE EVERYDAY IN OMAR BADSHA'S DURBAN PHOTOGRAPHY, 1960s–1980s." Africa 81, no. 4 (October 13, 2011): 544–66. http://dx.doi.org/10.1017/s0001972011000593.
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ABSTRACTThere is an assumption that the photographic iconography of the South African struggle against apartheid is universally known and familiar. It is however dominated by certain tropes and categories that obscure the many complexities and nuances of its origins, its practitioners and its effects. This article focuses on one photographer, Omar Badsha, and explores his own narrations about city and family life in the Indian Ocean port city of Durban, and the artistic and political trajectories in which he was embedded that gave rise to his own photographic work and the organization of other photographers into the collective known as Afrapix. Badsha grew up in ‘the imperial ghetto’ of Grey Street in Durban within a rich legacy of radical political and cultural debate, becoming an artist and later a trade union organizer. It is the imperatives of the latter work that pushed him into photography as a medium of literacy. Many of his own photographs started as a personal visual diary when he re-explored the spaces of his childhood as an adult, and in the process became increasingly sensitized to the parallels between political and religious ritual. In particular he was fascinated by the dynamics between the leaders and the led, and the techniques and theatricalities of the different genres of mobilization. His work and the multiple forces and influences at play suggest that there were (and are) plural and competing aesthetic regimes during (and after) apartheid that are little recognized, mostly due to a deeply entrenched (and ongoing) separation between the domains of aesthetics and politics in South Africa and elsewhere outside the African continent.
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Shapiro, Aaron. "Street-level: Google Street View’s abstraction by datafication." New Media & Society 20, no. 3 (January 16, 2017): 1201–19. http://dx.doi.org/10.1177/1461444816687293.
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While aerial photography is associated with vertical objectivity and spatial abstractions, street-level imagery appears less political in its orientation to the particularities of place. I contest this assumption, showing how the aggregation of street-level imagery into “big datasets” allows for the algorithmic sorting of places by their street-level visual qualities. This occurs through an abstraction by “datafication,” inscribing new power geometries onto urban places through algorithmic linkages between visual environmental qualities, geographic information, and valuations of social worth and risk. Though largely missing from media studies of Google Street View, similar issues have been raised in critiques of criminological theories that use place as a proxy for risk. Comparing the Broken Windows theory of criminogenesis with big data applications of street-level imagery informs a critical media studies approach to Google Street View. The final section of this article suggests alternative theoretical orientations for algorithm design that avoid the pitfalls of essentialist equations of place with social character.
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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.
Full textAbstract:
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