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Journal articles on the topic 'The art of photography'
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1
Heriwanto, Heriwanto, Muhammad Faiz Bolkiah, and Oky Mauludya Sudradjat. "Photo Arts Concept as Alternative Photography Works." Jomantara: Indonesian Journal of Art and Culture, Vol. 4 No. 2 July 2024 (July 30, 2024): 136–43. http://dx.doi.org/10.23969/jijac.v4i2.13509.
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The development of photography so far has encouraged the birth of various forms of new concepts in the field of photography. The birth of digital photography technology has provided various conveniences and encouraged photographers to develop photography more widely. Currently, the concept of photo art has been widely used by photographers or photo artists through the development of new ideas and concepts in the form of photographic works. Fine art photography can be an assessment and representation for the photographer who created the photograph. Therefore, the time has come for photographers who may or may not have unique characteristics in creating photographic works, to make photographs into works of art with a combination of new concepts in photographic work.
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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.
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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing
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Hillman, John. "How Does Photography Appear to Appear?" Magic, Vol. 5, no. 1 (2020): 72–79. http://dx.doi.org/10.47659/m8.072.art.
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Photography shares little with the logic of simulation and simulacrum, instead it facilitates a dimension within which people and objects we photograph emerge from an impossible frame. Its intrigue resides in the palpable sense of impossibility that photographs render visible to us. This sleight of hand obfuscates the question of how appearance appears. In Finders Keepers, Dutch photographer Laura Chen works with imagery sourced from undeveloped films purchased from eBay and car-boot sales. When Chen develops the films, the real of someone else’s reality is transformed into art. Left undeveloped, these images occupy nowhere in particular, but Chen makes appearances fill in a void and poses a question which is not one of “why” but of “where” are images? Furthermore, in seeking out meanings, the magic of photography is understood through the misdirection of illusion and appearance. What is more useful is to ask how photography appears to appear? Keywords: photography and illusion, magic of photography, reality and simulation, appearance of photography, Laura Chen
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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.
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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”
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Molloy, Caroline. "The Studio Photograph as a Conceptual Framework." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 38–47. http://dx.doi.org/10.47659/m5.038.art.
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In her essay, Caroline’s draws from her PhD thesis that looks the visual habitus of transcultural photography. She concentrates her writing on the genre of studio photography, specifically early English studio photography and argues that the conceptual framework established in early photographic studio practices still has its legacy in contemporary digital photographic studio practices. To illustrate this argument, she draws from a contemporary case-study in her local, digital photographic studio in North London and discusses a selection of photographs in relation to early photographic studio practices. She suggests that rather than a radical break caused by digital technologies, digital photography has opened up imaginative ways in which to make studio portraits that blur boundaries between the real and symbolic. Keywords: anthropology, digital form of photography, photography, studio photography
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Vellanki, Vivek. "Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research." Cultural Studies ↔ Critical Methodologies 22, no. 2 (2021): 132–42. http://dx.doi.org/10.1177/15327086211045976.
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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.
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Vogelsang, Helena. "A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.
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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography
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Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.
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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terhadap keunggulan reduplikasi, proses instan, dan otomatisasi fotografi membuat fotografi kehilangan tempatnya di dunia seni. Akan tetapi, persoalan seni adalah persoalan rasa. Fotografi tetaplah sebuah seni dengan melihat adanya relasi intensional yang tercipta antara objek dan seorang fotografer dalam sebuah foto. Relasi intensional ini tercermin dalam proses, imajinasi, dan kreativitas fotografer di dalam menghasilkan sebuah foto. Lukisan dan fotografi adalah seni menurut rasanya masing-masing. Photography is an Art: A Disaproval towards Roger Scruton's Analysis on the Legitimacy of Art Value of a Photograph. This paper aims to disprove Roger Scruton's argument about the validity of the artistic value of a photograph. Scruton argues that photography is not a work of art. Photography is simply a mechanical action in producing a picture, not a representation but merely a causal event, not an imaginary image, but only a copy. Photography presupposes the ease of art creation. Scruton's statement is further reinforced by the phenomenon of technological development that has forgotten the aesthetic side and only entirely devoted to the action of the machine. The excessive emphasis on the benefits of reduplication, instant processing, and photographic automation makes photography lose its place in the art world. However, the issue of art is a matter of taste. Photography remains an art by seeing the intense relationships created between an object and a photographer in a photograph. This intense relationship is reflected in the process, imagination, and creativity of the photographer in producing a photograph. Painting and photography are arts according to their own taste.
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Kloster Poulsen, Steffen. "Når eksplosioner er kunst." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 100–115. http://dx.doi.org/10.7146/periskop.v2024i31.146623.
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This article argues for an expanded effort to search for, and actively utilize, concepts and methods from the sociolinguistic periphery of the otherwise anglocentric academic lit- erature on photography in order to achieve a more level playing field between vernacular concepts and purportedly universal ones. Taking the history of public debate on photo- graphy in Japan as a departure point, this article aims to map out a new area of explora- tion for photographic research in the academic field of art history. Japan has been home to a vivid public and intellectual debate on photography since the birth of photography and, although its output of photographers and photobooks has been globally acclaimed and exported to museums and galleries internationally, especially in the past thirty years, lit- tle emphasis in academic research and elsewhere has been put on Japanese photographic critique, theory and debate outside the archipelago. As an example of unexplored theory, this article analyzes two published lectures by Japanese photographer Hatakeyama Naoya in which he reflects on photography's value as art, its place in the art world and the processes by which photographers become labelled as artists. Using a metaphor from analogue photography, he deems photographers “latent artists” who by a development process can become artists. Following Hatakeyama’s line of thought, this article argues furthermore that the metaphor can be extended to photographs themselves.
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Aksenova, N. V., N. V. Denisova, and N. O. Magnes. "COUNTERFACTUAL SOVIET PHOTOGRAPHY THROUGH THE LENS OF AMERICAN AND BRITISH ART CRITICS: EVALUATIVE DIMENSIONS OF ART DISCOURSE." Voprosy Kognitivnoy Lingvistiki, no. 1 (2023): 40–51. http://dx.doi.org/10.20916/1812-3228-2022-1-40-51.
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The paper studies the axiological interpretation of Soviet photographs in British and American art reviews by examining the basic concepts STATE, ARTIST, and WORK OF ART. The analysis draws on the methods of cognitive discourse analysis, narratology, pragmatics, and semantics. Accepting R. Barthes’ view of the photograph as “a message without a code”, we hold that the main goal of art discourse is to construct an intermediary code to facilitate communication between the Operator and the Spectator, especially in the presence of a time/culture gap between the two. Through aesthetic distancing, art reviewers shift the axiological focus from the ethical implications of Soviet photographs towards their aesthetic value, encouraging a transcultural and transtemporal dialogue between the reader/viewer and the photographer. The analysis has enabled us to expand the framework of photographic roles (Operator, Spectrum and Spectator) suggested by Barthes and later complemented with the role of the Demonstrator, which is central to this study. The role of the Emptor, added here to the Barthian set of core roles, emerges as the ultimate role of the Soviet state vis-à-vis photography.
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Kleimenova, S. N., and O. I. Yablokova. "Photography as an object of copyright." Uzhhorod National University Herald. Series: Law 1, no. 78 (2023): 177–80. http://dx.doi.org/10.24144/2307-3322.2023.78.1.28.
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Copyright, the norms of which regulate relations that arise in connection with the creation and use of works of science and art. Copyright is an important component of the universal system of human rights, copyright is one of the essential guarantors of intellectual creativity, self-affirmation and dignity of every person. From whatever side copyright is analyzed, its purpose is to protect the interests of the creator of works and the interests of society. A photo can be created not only by a professional photographer, but also by any other individual. This is where the opportunity enshrined in the law to realize their creative abilities of each member of society is manifested.This article deals with issues related to a special object of copyright - photography. With the adoption of the new Law of Ukraine «On Copyright and Related Rights», the approach to understanding photography has changed. This is connected with the legal definition of the concept of a work and its features. Signs of originality and objective form are highlighted. Moreover, the legislator clearly defines which photographs should be attributed to objects of copyright, and which photographs are not subject to legal protection. This approach will greatly facilitate the resolution of issues related to the establishment of which photographs are subject to copyright. The Law of Ukraine «On Copyright and Related Rights» clearly states that photographic works are subject to legal protection. Based on the legislative definition of a work as an object of copyright, we can conclude that only original photographs are subject to legal protection. Moreover, paragraph 8 of Art. 8 of the Law of Ukraine «On Copyright and Related Rights» clearly defines that photographs that do not have a sign of originality are not photographic works. An analysis of some foreign judgments regarding the legal nature of photography makes it possible to conclude that a photograph is considered as an object of copyright if there are signs inherent in the work. he study conducted in this article confirms the correctness of the legislative understanding of photography as an object of copyright.
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Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (2010): 43–57. http://dx.doi.org/10.7202/044587ar.
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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.
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Colner, Miha. "Miroslav Zdovc: Contextualising the Archive." Život umjetnosti, no. 111 (July 2023): 132–45. http://dx.doi.org/10.31664/zu.2022.111.10.
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In this paper a case study of constructing a photographic archive in a museum context, and the ways of contextualising seemingly marginal and insignificant photographic material, is being showcased and analysed. The focal point of the paper is the personal photographic archive of Miroslav Zdovc (1929–2009), a prominent Slovenian professional photographer as well as an artist using photography who, however, did not receive a deserved place in local and regional history of photography and art. Therefore, his extensive body of work that has nearly disappeared from the public eye is now in the process of being reviewed and re-evaluated. His extensive archive consists of diverse materials: personal imagery, documentary photographs, documents of artworks, and (his own) photographic artworks. The paper thus presents the project in the making in which the curators of Božidar Jakac Gallery – Museum of Modern and Contemporary Art, Kostanjevica na Krki have been conducting the process of cataloguing, evaluating and finally showcasing his immense body of work. It also brings forward the most significant elements of his artistic practice that spanned from the 1950s to the 1990s, and which was changing and developing in accordance with the concurrent tendencies in photography and art.
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Galani, Areti, and Alexandra Moschovi. "Other People’s Stories: Bringing Public-Generated Photography into the Contemporary Art Museum." Museum & Society 11, no. 2 (2015): 172–84. https://doi.org/10.29311/mas.v11i2.231.
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Constituting the ‘defining other’ of art photography, amateur photographic practices have long been neglected or specifically excluded from official histories of photography. Even the term ‘amateur’ has historically been characterized by semantic ambiguity. In recent years, however, contemporary amateur photographs have been capturing the art curatorial imagination. This is often motivated by the institutional and political impetus to engage with personal, local stories, rather than official, national narratives alone. Amateur photographs, with their apparent rawness and immediacy may afford the art museum with a more credible record of ‘real life’ and enable the display of polyvocal narratives. Furthermore, the changing digital media landscape has opened up opportunities for art museums to reach new audiences through public-contributed content. In response to these developments, this article asks: How has amateur photography acquired a protagonist role in contemporary art museum displays? Drawing on contrasting case studies of exhibitions in the US and Europe, which have incorporated user-contributed photographic content in their displays, this article discusses how everyday photographic creativity and the raw materials of people’s stories serve as a means to interact with institutionally constructed histories of photography.
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Burleigh, Peter. "Photogenic Intensions." Magic, Vol. 5, no. 1 (2020): 60–65. http://dx.doi.org/10.47659/m8.060.art.
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What is a photograph? What a spurious, redundant start! After all, a photograph is clearly an image, a technical image of something. What a photograph is – such a stupid question! Yet, the casual announcement of the photograph as signification relies on an a priori truth that orients our thinking, our identities, our institutions. For it is “in terms of this self-apparent image of thought that everybody knows and is presumed to know what it means to think.” Collaging Deleuze and Bergson, intuition teaches us that an image is a nexus of force in itself, or as Anne Sauvagnargues suggests, what is crucial to images is how they cut into the world. As real enfoldings of the virtual and actual, photographs are the territories of a multiplicity of sensations – a genesis, the real actual of a diagrammatic structuring of the world in registers of time and space. Roger Fenton’s The Queen’s Target made at Queen Victoria’s opening of the first Rifle Association in 1860 is an entry point to thinking deeper signalisation in photographs. While the 3-D work by Andreas Angelidakis indicates photogenetic zones of intensity, temporal dislodgment, and the event of photogenesis actualized in physical form. Keywords: photogenesis, virtual, photography and event, ontology of the image, photography and information, philosophy of photography
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Čeferin, Hana. "Who’s Afraid of Photography?" Magic, Vol. 5, no. 1 (2020): 94–98. http://dx.doi.org/10.47659/m8.094.art.
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In contemporary horror, the photographic image is often used as the object of horror or even represents the main antagonist of the story. We can trace the origin of such depictions to the very invention of the technique of photography in the 19th century, which was also the heyday of spiritualist theories about photography making the soul of the deceased visible to the human eye using chemical compounds. A notorious example is the case of photographer William Mumler who offered well-off relatives of recently deceased people in the States to make portraits with the ghosts of their loved ones. There are also reports of some peoples that allegedly also consider the soul to be closely bound to photography and in consequence abhor photography, as the film is supposedly capable of capturing and depriving the photographed person of their soul. Films like The Ring, The Others, Peeping Tom, and The Invisible Man demonstrate how frequently uncanny photography appears in the horror film genre and open questions about the reasons of such depictions. While the theory of horror claims that horror uses specific iconography of fear to reflect the common fears of the time (e.g. an invasion of giant insects and carnivorous plants in the 50s as a consequence of American fear of a communist invasion), the article explores the issue of photography as the main antagonist in the horror genre of the 21st century and whether this means that it appears as the universal fear of digital identity, surveillance, and identity theft.
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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.
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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.
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Guk, Alexey A. "Cultural and Aesthetic Dynamics of Photography as a Form of Contemporary Art." Observatory of Culture 21, no. 2 (2024): 149–57. http://dx.doi.org/10.25281/2072-3156-2024-21-2-149-157.
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Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary artists of the conceptual possibilities of photography. It was mainly the photographic documentation of process-action forms of contemporary art. The same period saw the birth and formation of the main artistic strategies and creative methodologies of art-photography: adherence to documentaries, the use of staging (directing), the introduction of seriality (typology), the combination of word and image. The second stage (1980s — 1990s) of art-photography functioning is characterized by further development and enrichment of established artistic tendencies and the emergence of new practices in which photographic material expands its subject matter and claims the role of a text that problematizes (thematizes) the represented reality. The development of art-photography at the third stage (2000s to the present) is determined by two main factors: the processes of digitalization and oscillation of contemporary culture and art, which leads to the transformation of the “mode of truth” of the photographic image and the strengthening of the importance of the aesthetics of the individual photographic frame. At the level of practice, this is expressed in the creation of photographic pictures where reality and fantasy images merge into a single whole and become indistinguishable. This effect was reinforced by printing photographs of enormous size and exhibiting them in museum spaces and galleries. Nowadays, art-photography, while remaining a form of contemporary art, seeks to go beyond it and acquire signs of aesthetic self-sufficiency.
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Kukorenchuk, Volodymyr, and Nataliia Vdovychenko. "Photography as a Proof of Our Existence." Bulletin of KNUKiM. Series in Arts, no. 37 (December 10, 2017): 36–45. https://doi.org/10.31866/2410-1176.37.2017.155607.
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The purpose of the article is to supplement the overall picture of the history of photography and its ability to influence reality. Photography is by its very nature a technical art, but the sophisticated modern equipment is controlled by people. The question of what modern photography is gains ground due to the fact that, thanks to the introduction of completely new technology, the 21st century is witnessing the emergence of the alternative development of photography. The research methodology. The article traced the evolution of photography from the appearance of the first photographic images to the photographs of today. Particular attention was paid to the role of amateur and household photography in culture. It was revealed that these types of photography exert a strong influence on the position of photographic activity as a kind of art. Analyzing the content of these types of photography, it was stated that the photographs representing these very types of photography become the «mirror of reality». The scientific novelty of the work. Analyzing human behavior in the modern cultural environment, it can be assumed that a person immersed in the world of photographic images begins to act and identify themselves as an image. Conclusions. Trying to explore the evolution of modern photography, we cannot clearly define its role and reveal the mechanisms of the influence of photography upon society. This is explained by the fact that photography influences man and culture in its own way, which leads to heterogeneity in the formation of reality. Another trend is a deep immersion of photography into the Internet space. The spread of social networks, blogs and microblogging services made photography become a means of actualizing virtual reality or «real virtuality» in the space of everyday life.
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Aziz, Abdul, John Felix, and Candy Reggi Sonia. "EKSPLORASI VISUAL SITU CANGKUANG DALAM FOTOGRAFI SENI." Capture : Jurnal Seni Media Rekam 9, no. 1 (2018): 1–11. http://dx.doi.org/10.33153/capture.v9i1.2052.
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The facilities and services provided by photographic technology have made it easier for people to photograph. So photography is no longer a strange thing in the society. Photography has been able to replace manual illustrations, with its many advantages, such as the similarities and details of the objects it records. Photography is also necessary as a means of communication and photographic messages can also be a means of expression. When photography enters the arts, photography can provide dimensions that touch technical aesthetic aspects, as well as conceptual and thematic discourses. Exploration Situ Cangkuang will be the choice of visual objects Researchers in the creation of artistic photography. This is a form of aesthetic expression of researchers to make a real contribution to the awakening of art treasures that touch the aspect of tourism. The research method used is the qualitative descriptive method. In this method, the researcher performs a visualization and a photographic display supported by a subjective observation result.Keywords: Photography, art, visual, and Situ Cangkuang
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Golia, Maria. "Surrealism and Photography in Egypt." Nka Journal of Contemporary African Art 2021, no. 49 (2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.
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Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.
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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games
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Ferreira, Carolina de Assis Pinto, Fernanda de Araújo Verdant Pereira, Mariana Vasconcellos Bazoli Rodrigues, Juliana Lima de Oliveira Amorim Cabral, and Inger Teixeira de Campos Tuña. "Art and science of dental photography: suggested photographic protocol with cellular device." OBSERVATÓRIO DE LA ECONOMÍA LATINOAMERICANA 22, no. 8 (2024): e6167. http://dx.doi.org/10.55905/oelv22n8-050.
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Photography is characterized as the science and art of producing and creating images. With the evolution of technology, photography has permeated medical sciences, becoming an effective tool for different areas, such as Dentistry. For this reason, the aim of this study was to understand and discuss the importance of photography in the dental field, through a narrative literature review, and to produce a suggestion for a basic photographic protocol using a mobile phone, equipment available to a large portion of dental students and dentists. This article reviews dental photography through an advanced search in the PubMed and Virtual Health Library (VHL) databases. In addition, produce basic technical content, through a protocol, aimed at Dentistry students about the use of photography with cell phones. It has been found that photographic production depends on numerous factors: knowledge of basic photographic concepts, understanding of light manipulation techniques, and the use of equipment suitable for each case. From 1840 to the present day, photography has deeply permeated the dental context. However, there are different photographic protocols with distinct settings for intraoral and extraoral photographs. The protocol suggested in this study aimed to facilitate and standardize photographic documentation performed in the office, using a mobile phone, making the process simple and feasible for dental students and dentists. Photography plays a central role in contemporary Dentistry, being useful in different areas and facilitating the storage of patient data and treatment predictability. However, there is a necessity to promote the teaching of dental photography.
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Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.
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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research
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Baid, Anisha. "Wild Life." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 20–25. http://dx.doi.org/10.47659/m4.020.art.
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Wild Life is a series of augmented photographs of animals and insects placed in vacant, overgrown spaces in suburban Bangalore. Taken through mobile AR apps like Holo and Augment, these photographs (or screenshots) situate virtual bodies within the frame of the mobile camera – creating something in between a document and fiction. The work investigates these processes of augmentation, which enable 3D representations of things in the real/physical world to be projected back into physical space that are then photographed. The larger phenomenon of AR photography also complicates traditional notions of “immersive” media – forcing one to interact with their environments. This essay reflects on the implications of mobile AR photography on the image and the referent. Through a phenomenological reading of and immersion into popular uses of mobile AR (like the game Pokémon Go), the essay is an observation of the convoluted relationships evoked between augmented bodies, their environments and the screens on which they manifest. Keywords: digital image, documentary, mobile AR, photography, Pokémon Go
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Perevozchikova, Anna Alekseevna. "Composition and decomposition: An expressive medium in the art of photography." Manuscript 18, no. 1 (2025): 97–104. https://doi.org/10.30853/mns20250016.
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Composition and decomposition are important aspects of photography that help photographers create visually appealing and emotionally intense images. Understanding and applying the main components of composition and visual hierarchy allows you to improve the quality of photographs, enhance their artistic value and develop the creative vision of the photographer. The purpose of this research paper is to analyze the relationship between the basic principles of composition and decomposition. The article highlights the principles of dynamic equilibrium and such rules of composition as the golden ratio, symmetry, balance, frames, perspective. The novelty is connected with the justification of the harmonious interaction of the elements of photography, arranged within the framework of more than one traditional rule of composition. The results of the study showed that it is possible to cognitively integrate several styles of composition to form a photographic artwork.
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Tarasov, Volodymyr, and Nataliia Markhaichuk. "FEATURES OF THE ARTISTIC LANGUAGE OF PHOTOGRAPHY IN THE CONTEXT OF INTERSPECIFIC TRANSFORMATIONS: PHOTO-READY-MADE AND PHOTOCOLLAGE (ON THE EXAMPLE OF FOREIGN PROJECTS OF THE VENICE BIENNALE 2010-2020)." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 68 (December 3, 2023): 25–35. https://doi.org/10.26565/2306-6687-2023-68-03.
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The article is devoted to the problem of the artistic language of photography, which is actively transforming in the direction of new types and genres of art. The authors examine the projects of the Venice Biennale 2010s - 2020s by I. Makhami, L. Kita, E. Kotatkova, A. Crosby, V. Mutu, M. Zukerman-Hartung, J. Stezakera, T. Michie that use photography as the main component of artistic expression in works and projects. The article uses the example of the analysis of specific projects and individual works of art to show the unique property of photography to represent one's own species identity, in which the peculiarities of the artistic language play a key role. There is practically no kind, type or form of art that has the ability to "undo" the characteristic visuality of a photograph. According to the authors, this is the key to a wide representation of photographic means of expression in various practices and forms of modern art, and in a broader sense, modern culture. The article shows that collage, ready-made, installation, street art and other types of art representation have their own methods of addressing the viewer and rely on the appropriate mediation technique. However, none of them is able to visually "destroy" the photograph, which remains in a characteristic type of representation even within the external artistic shell (for example, a photo collage or a photograph in an installation). Such a feature is determined by the authors as a key characteristic of the artistic imagery of photography, which, in turn, determines the nature of the artistic language. Studies of the ready-made as an artistic technique combined with photographic practices allow us to see the extraordinary flexibility of photography as a universally manipulative mode of representation. Instead, as the analysis of the Venice Biennale projects shows, photocollage practices return photography to its natural state of manipulation of reality, where the photo has an almost monopoly on representation. The authors emphasize that the artistic arena of the Venice Biennale demonstrates extremely important problems of the phenomenology of photography. The subjectivity of the watershed between the nature of the photo to act on its own behalf and at the same time on behalf of the representative has an almost limitless manipulative potential that gives photography new opportunities to conquer narrative spaces. At the end of the 20th - the beginning of the 21st century, photography is already integrated into all major social phenomena, which will certainly require further interpretation and generalization.
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YURGENEVA, ALEXANDRA L. "Replicability in Art Photography: From Pictorialism to NFT Art." Art and Science of Television 18, no. 2 (2022): 13–38. http://dx.doi.org/10.30628/1994-9529-2022-18.2-13-38.
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The article deals with the idea of uniqueness as an obligatory feature of a work of art in relation to artistic photography. The work is of an overview nature, it notes the methods of giving photographs the features of originality, which emerged at different stages during the century-long history of artistic photography. Earlier studies never focused on the fact that photographers were constantly artificially limiting the technical reproducibility of their works. Addressing this issue defines the novelty of this work. Such a limitation was demanded by an approach in which photographic images had been evaluated from the perspective of traditional art, which affected not only determination of their aesthetic value, but also the legal aspect. And yet, at the turn of the 19th and 20th centuries, the presence of machine nature in photography became a stumbling block in the development of legislative norms on the copyright for pictorialists. The entry of photography into the art market environment gave it the obligation to limit the number of copies based on commercial considerations. The relevance of the study lies in the issues of replicability in digital art, its acquisition and sale. I attempt to interpret the phenomenon of the blockchain system as a concept influencing new ways of understanding and evaluating digital photography in light of its history. The emergence of the NFT format is considered as a moment of overcoming the attitude towards the replicability of artistic photography as a problem rather than its natural property. A suggestion is made that the emergence of a virtual artistic environment has the potential to harmonize this long-standing conflict, and also raises the question of the need for new legal norms in this area.
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Pabedinskas, Tomas. "Personal Photo Album and Collective Memory: The Case of Romualdas Požerskis’ Photographs and Diary." Art History & Criticism 16, no. 1 (2020): 115–24. http://dx.doi.org/10.2478/mik-2020-0008.
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SummaryHistory and memory have been the conceptual core of many Lithuanian photography based contemporary art works as well as international curatorial art projects, including authors from different Baltic countries. On the one hand, this indicates the relevance of the subject related to photography and memory; on the other hand, it also shows the overexploitation of personal and historical memory in contemporary photography and in contemporary art in general.In this context the article analyses Romualdas Požerskis’ personal album photographs from the years 1971–1975 and his written diaries from the years 1965–1985. The photographs captured Požerskis’ and his friends’ leisure activities, mainly rides on motorcycles across Lithuania and one trip to Tallinn, Estonia. The diary reflects the key historical events of the time, describes Požerskis’ attitude to it and reveals his personal emotional, intimate experiences. The beginning of the seventies was the time when the now famous Lithuanian photographer Požerskis was still a student, who did not consider himself a creative photographer. However, his photographs and diary from this period have been published in a book “Restless Riders” in 2017 putting this visual and written material in between the private and the public, and in between creative photography field and visual history of the country’s past.The aim of the article is to show how personal photography can help to restore or even create collective memory. To reach this aim the article addresses the respective tasks of explaining the importance of photography’s emotional content in building up a collective memory and revealing how the way in which Požerskis’ personal photo album and private diaries relate to collective memory is distinctive in the context of photography-based Baltic contemporary art.The article claims that the “Restless Riders” case is different because of its emotional content unmediated by interdisciplinary presentation, art’s conceptual framework or amendments to its visual form. Although it is impossible for the beholder to restore the emotional experience of the author, it is not difficult to let the photographs trigger his or her own memories or imaginary vision of the past. This in turn fills the personal story of photographer with emotion and lets it be seen as part of a liveable historical narrative. This narrative, visualized and made public has the potential to add up to the cultural myth, or in other words, common memory and assumptions, which support the identity of community and nation.
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Rissanen, Mari-Jatta. "Entangled photographers: Agents and actants in preschoolers’ photography talk." International Journal of Education Through Art 16, no. 2 (2020): 271–86. http://dx.doi.org/10.1386/eta_00031_1.
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Photographs taken by young children have engendered a growing amount of research across diverse academic disciplines. Photographs have been used as visual data for analysing for example children’s social relations and well-being. However, only a few studies have addressed the photographic practices of young children as means for them to explore, imagine and coexist with the surrounding world. In this article, I introduce a case study that draws on research from art education and sociology of childhood. The data were gathered in a photography workshop in a Finnish early childhood education and care centre, where fourteen preschoolers discussed their photographs inspired by contemporary Finnish art photography. In order to expose diverse human and material actors and their interactions in preschoolers’ photography talk, I applied Bruno Latour’s actor-network-theory. Thus, preschoolers’ photography is seen as a practice of visual meaning-making wherein agency is distributed among several actors.
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Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany." Science in Context 17, no. 4 (2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.
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ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy (1938, 198)
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Vilches, Gerardo. "Photography in Non-Fiction Comics." European Comic Art 17, no. 2 (2024): 30–48. https://doi.org/10.3167/eca.2024.170203.
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Abstract Photography and comics were both media born with modernity in the nineteenth century, with an important role in the configuration of mass society. Photography has been related to comics in many ways, but it is in non-fiction comics where authors have exploited its potential as an index of reality and as evidence for testimonies. Works such as Art Spiegelman's Maus or Emmanuel Guibert's Le Photographe [The photographer] contributed to open a field of experimentation that some Spanish cartoonists have also explored. A comparative analysis of graphic novels such as Paco Roca's Regreso al Edén [Return to Eden] or Carlos Spottorno and Guillermo Abril's La Grieta [The crack] and La Falla [The fault] enables an assessment of the multiple values of photographs when they are included in a graphic narrative.
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Magurean, Irina Dora, Andrei Picos, Lucia Timis, Alina Picos, and Dinu I. Dumitrascu. "The Evolution of Photographic Arts Is Linked to Progress in Chemistry: A Review of Two Centuries of Symbiosis." Journal of Research in Philosophy and History 3, no. 2 (2020): p153. http://dx.doi.org/10.22158/jrph.v3n2p153.
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Photography is a major component of present art. It has applications in arts, in sciences and mainly health sciences, in social interaction. The evolution of photography since its advent 200 years ago relied and was dependent on the knowledge of chemistry. This is a review of the chemical techniques used in the recording and reproduction of photographs and of its applications. In the last two centuries, numerous chemical substances: inorganic, organic and polymeric, influenced the aspect and quality of the photographic techniques and of photographs. Teaching photography requires knowledge of chemistry, while chemistry education needs knowledge of esthetics as offered by photography.
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Horta, Paula. "When the Landscape of the Face is Hidden from Us." Grimace, Vol. 2, no. 1 (2017): 68–71. http://dx.doi.org/10.47659/m2.068.art.
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How do we respond to the vulnerability of the Other when we do not see his face? How do photographer and viewers position themselves ethically in relation to the (hi)story of suffering they are called to witness? These are the questions that steer my reflection about Jillian Edelstein’s unpublished photograph of Archbishop Desmond Tutu. Taken shortly after the South African Truth and Reconciliation Commission (TRC) completed its work, the photograph evokes the moment during the TRC hearings when the Archbishop, Chairman of the commission, laid down his head and wept. Drawing on Emmanuel Levinas’s conceptualization of “the face”; I discuss how affect is produced within and through Edelstein’s photograph, and specifically how the affective quality of the photograph both contributes to an understanding of the experience of suffering within the context of the TRC and summons an ethical response from the viewer. Keywords: Desmund Tutu, Emmanuel Levinas, gesture and photography, Jillian Edelstein, photography portrait
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Zuhdan Aziz. "Dramatization of Visual Communication Messages In Macro Photographic Genre." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (April 7, 2020): 154–73. http://dx.doi.org/10.33153/iicacs.v3i1.30.
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Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).
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Fowler, Bridget. "The Russian Revolution and photography: The tragic paradoxes of canonisation." Sociological Review 72, no. 4 (2024): 756–72. http://dx.doi.org/10.1177/00380261241258581.
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Bourdieu (et al.’s) Photography contends that it is the fate of photography to remain for ever ‘a middlebrow art’. This is partly because its technological character is held to be inimical to canonisation as a high art-form, but also because it lacks a class willing to invest time in its reception. Here, I argue, Bourdieu has been proved wrong: photography has now been consecrated, including, ironically, his own photography. Support for this claim is drawn from the field of art in Russia. The Russian Revolution and the Constructivist movement brought into the public gaze artists such as Rodchenko, El Lissitzky and Valentina Kulagina, who saw photography as one of a series of genres that might renovate the social order and transforms the public’s habitual perception. Photography became central in the movement to replace Academic art and thus a key route to photography’s consecration. However, as Benjamin pointed out there is a danger of decontextualising and ‘eternalising’ the photographs or photomontages that make the transition into the art museum. They may remain neither the art of the community from which they emerged, nor be recognised as an expressive resource for later dominated groups; instead such canonised works may become a status adornment of those with cultural capital.
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Buddeus, Hana. "Enlarged Details and Close-up Views: Art Reproduction in 1930s Czechoslovakia." Artium Quaestiones, no. 33 (December 30, 2022): 61–86. http://dx.doi.org/10.14746/aq.2022.33.3.
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Each photograph captures an artwork within a particular frame of space and time, providing a perspective that is contingent and dependent on the era the photograph was made in (Bergstein 1992). Moreover, every photograph is always embedded in specific material conditions and has its own social life (Edwards–Hart 2004). The aim of this article is to show the particularity of reproductions of artworks in 1930s Czechoslovakia and the motivations and discussions behind the extensive use of detail. I argue that the pronounced interest in close-up views is a result of a series of circumstances specific to the period. There is an important pre-condition in the development in the field of art photography and graphic design that took place in the late 1920s, bringing about an interest in sharp and faithful images and full bleed prints, as well as a recognition of the social impact of the medium. As a result, photographers, artists, art historians, and graphic designers living in Czechoslovakia also began to rethink the use of photography in the art field. This was manifested in period publications such as the well-known Fotografie vidí povrch (Photography Sees the Surface), published in 1935. In terms of art reproductions, it shows the importance of close-up views for providing an insight into individual artistic approaches and into the history of the respective artwork. The same year saw the publication of the 31st volume of the art magazine Volné směry, which enables us to follow several micro-histories that can also be applied more generally to the period discussions. As illustrated by a text by Bohuslav Slánský and the reproduced photographs of medieval panel portraits from Karlštejn Castle attributed to Master Theodoric, one of the purposes behind the commissions of enlarged photographic details of artworks were planned restorations. Moreover, examples from the photographic campaigns led by the company of Jan Štenc, the State Photo-Measurement Institute, or the project by Karel Šourek, Alexandr Paul, and František Illek (Documenta Bohemia Artis Phototypica) show that detail is generally used for showing the structure and texture of the work, for zooming in on otherwise distant works, or for the purpose of comparison. According to Volné směry editor-in-chief Emil Filla and his manifesto article “Práce oka”, the new method of working with reproductions and the frequent use of photographic detail precipitated a change in the observational habits of the audience. This intention was materialised through his long-term collaboration with the photographer Josef Sudek, who helped him show the artworks in a new light. It is evident that by the mid-1930s, the synergic work of individuals from different fields brought the use of detail in art-related publications to an unprecedented level.
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Jernejšek, Jasna, Emina Djukić, and Joan Fontcuberta. "Homo Photographicus: Interview with Joan Fontcuberta." Instinct, Vol. 4, no. 1 (2019): 4–11. http://dx.doi.org/10.47659/m6.004.int.
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In the interview Spanish photographer Joan Fontcuberta reflects upon his diverse photographic practise and his constant playing on the idea of different spaces which photography inhabits. He claims that “Photography by itself doesn’t mean anything,” what makes a difference is managing its uses. He discusses the topics of reformulation of the concept of authorship, notion of the fake as a methodology of art and of political activism, parody and humour as long traditions of Mediterranean thought and a rejection of pleasure as a hegemonic current in contemporary art. He also speaks of his explorations of the relationship between nature photography and nature of photography, the Eden of Adam and Eve as the first botanical garden and the fact that today nature has become a cultural, ideological, economic and political construct. In the end he also touches on the phenomenon of the internet, ideas of post-truth and his concept of Homo photographicus. Keywords: contemporary photography, deception, fiction, humour and art, Joan Fontcuberta, post-truth and photography
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Mihalcea, Ioan Daniel. "Photographs of the Miners’ Raids: Reworking Images of the Past and Negotiating the Present." Protest, Vol. 4, no. 2 (2019): 76–84. http://dx.doi.org/10.47659/m7.076.art.
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This paper investigates the conditions in which photojournalistic images of the past are becoming iconic and it also traces the ways in which such images actively negotiate the meanings of particular events. Starting from Robert Hariman and John Lucaites’ iconic photography methodology (2007), this research aims to clarify how iconicity operates in specific situations defined by cultural and digital circumstances. The proposed case study analyses the photographs of the events known as Miners’ Raids that took place in Bucharest, Romania in the aftermath of the December 1989 Revolution. First, through a close reading of the aesthetic qualities of the photographic composition, I investigate how images themselves are sites where meaning is produced and how they have the power to sustain multiple and sometimes contradictory semiotic transcriptions. Second, I trace the circulation and appropriation of these photographs to argue their capacity to generate debates and absorb new meanings in the course of their afterlives. The purpose is to understand how photography can work as a distinct category that can articulate complex ideas, judgments, and dialogue. Keywords: close reading, dissent, iconic photography, remobilization, Romanian public culture
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Baird, Jean. "Photography without Pictures." Arts 13, no. 1 (2024): 17. http://dx.doi.org/10.3390/arts13010017.
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Magic, as an emanation of past presence in a picture, emerges as a theme in postmodern theories of photography. It is linked to various forms of actual and symbolic absence; an absence which creates a space that keeps us looking, ostensibly for something that is lost. Photography may not always have been digital, but it has always been magical. Photography Without Pictures explores the critical dialogue and disciplinary uncertainty around the terminology of an expanded photographic that derived from debates surrounding the proliferation of digital media and the previous, ontological question of the nature of photography as a technology and a pictorial medium. It is prompted by Andrew Dewdney’s conviction that in order to deal with the contemporary condition of the networked screen image, we need to “Forget Photography” (2021). Dewdney considers the paradox that while photography is now ubiquitous, it is also peculiarly and magically undead, a simulation at the behest of mutable electronic data. The article examines three instances of critical response to contemporary photography, including the interpretation and response to several photographic artworks and one simulated photograph, to distinguish characteristics of pictoriality, authorship and temporality in photographic pictures. In asking what it means to be a real photographer, we discover that the singular observer/artist has become a crowd in respect of the image sharing culture of post-internet art. Throughout his polemical argument to Forget Photography, Dewdney prefers to use the term image and imagery to refer to both the photographic and the networked image. The terms picture and image tend to be interchangeable in language and inhabit each other in practice, yet there are historical differences and continuities that make the distinction remarkable in considering questions of ontology and media continuity. Pictorial, temporal and illusory ‘magic’ are the themes through which these photographic uncertainties unfold.
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Damarjati, FX. "RELASI SUBJEK, OBJEK, DAN NILAI PADA PENCIPTAAN KARYA FOTOGRAFI SENI NICO DHARMAJUNGEN." Jurnal Dimensi Seni Rupa dan Desain 19, no. 2 (2023): 235–52. http://dx.doi.org/10.25105/dim.v19i2.16454.
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In the discourse of fine arts, photography is a medium for expressing the expression of its artists whose practice has been similar to other processes of art creation. Expressive photography has become more subjective than other genres such as journalistic and commercial. It is this difference that makes expression photography an interesting discourse to research from the creation process, the embodiment of the work to the presentation technique. An important element in the process of embodiment of expressive photography is the relationship between the subject, object and the value of the artist’s thoughts. The subject as a photographer/creator/artist undergoes aesthetic and artistic experiences that are heavily influenced by his own history, formal education in art schools, experience of undergoing continuous photography practice, experience of observing and seeing the development of photography both in Indonesia and western country. It is this influence that makes the subject become more mature in choosing objects so that they have value and meaning for their photography career journey as well as being wiser in choosing the stories implied in their photographic works of art. In this study, the figure of Nico darmajungen was deliberately chosen considering the criteria above in accordance with his figure. Moreover, his photography styles have brought about a change in the paradigm of photography in Indonesia. The conclusion of this study is that the aesthetic experience experienced by artists and spectators becomes a major stage before works of art are created. Aesthetic experience has stimulated the brain to create works in accordance with the artistic experience that is practiced. The stages that occur subconsciously but are always repeated in the creation of a work of art seem to be a bridge to read an artist’s creative process.Keywords: Art Photography, Nico Dharmajungen, Art Objects, Art Value, Art Subjects
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.
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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation
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Paštéková, Michaela. "Premenlivá pozícia amatérskej fotografie [Shifted Position of Amateur Photography]." ESPES 8, no. 1 (2019): 47–54. https://doi.org/10.5281/zenodo.3255301.
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The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of amateur photographs? In our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples.
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Gizzi, Ferdinando. "Photographing a miraculous apparition in fin-de-siècle France." Magic, Vol. 5, no. 1 (2020): 28–35. http://dx.doi.org/10.47659/m8.028.art.
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This paper is dedicated to the photographic coverage of the alleged miraculous apparitions, which occurred in the small French village of Tilly-sur-Seulles between 1896 and 1897. These photos, circulated as postcards and appearing in popular magazines of the time such as L’Illustration and Le Monde illustré, were presented – by virtue of the authority of the photographic as an indexical trace – as “authentic” testimonials of the supernatural events, though in fact neither recognized nor approved by the Catholic Church. These photographs used the already-known double exposure process of spirit photography, bringing these exotic visual materials into the tradition of religious “authentic fakes”. But more importantly, such images manifested the “visionary fervour” of late nineteenth-century France, that is, the growing desire of the modern crowd to see the invisible in more and more spectacular and convincing ways. Such a new spectatorial desire – that can also be found in the very successful genre of the photographs of the real bodies of mystics, saints, and seers – would be perfected by a whole series of contemporary forms and attractions, and finally, by cinematographic special effects. Keywords: nineteenth century, Marian apparitions, visionaries, photography, superimposition
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Aji Susanto Anom Purnomo. "TERAPI INGATAN MELALUI FOTO TEMUAN DAN KOLASE MIXED MEDIA." Jurnal Dimensi Seni Rupa dan Desain 20, no. 1 (2023): 127–42. https://doi.org/10.25105/dim.v20i1.17995.
Full textAbstract:
Memory plays a vital role for humans as historical beings. Man interprets his life in a space of time that continues in his memory. Humans also know the concept of forgetting, where memory repression is one of the leading causes. Repression is a memory activity in which past experiences are deliberately suppressed so that they do not surface. Guilt and traumatic events in childhood are just a few causes of such repressive activities. Photography as an art activity has a very close relationship with the function of memory. The beginning of the emergence of the photographic medium is related to the human desire to record memories from precious memories. The connection between photography and memory becomes more pronounced when photography becomes a medium of art therapy. Photography as a medium of art therapy is called the therapeutic photography approach. This approach is an exploration that will be carried out in this study. The subject of research that will be a vital instrument in this research is the experience of the researcher, who still leaves internal conflicts on him. The research method will use Fox's creative creation research method and conduct memory therapy through mixed media experimentation on the photo findings. The stages of this research are as follows: Observation stage, Data collection, Problem Identification and Formulation, Literature Study, Data Processing, Data Analysis, Exploration, Experimentation and Work Realization. This study aims to reveal the positive effects of the medium of photography as art therapy. The therapeutic process carried out is based on the activity of making and reading a narrative through photographic works. The narrative is constructed through re-accessing memory and self-reflection to find positive coping. With the positive effects caused by therapeutic photography, it is hoped that the repression experienced by research subjects will be reduced and reconcile internal conflicts. Keywords: art therapy, collage, found photograph, therapeutic photography
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Hatano, Hiroyuki. "Photographic collections in Japan: accessibility and new technology." Art Libraries Journal 14, no. 4 (1989): 7–10. http://dx.doi.org/10.1017/s0307472200006453.
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Photographic collections are relatively undeveloped in Japan, although in the last decade a national photographic museum has been established, and other museums have opened departments of photography. Problems of access to collections of photographs of works of art have impeded the study of art history, but the capacity of new technologies to store, and to facilitate the retrieval of, visual images, is beginning to transform the situation.
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Li, Yiming, Chenxi Ye, Peiyi Wang, Lingjian Yang, and Shengdong Zhou. "An Interpretation of Computational Methods of Time Consciousness and Symbolic Space in Photographic Art in the Age of Digital Imaging." Journal of Combinatorial Mathematics and Combinatorial Computing 127a (April 15, 2025): 1477–93. https://doi.org/10.61091/jcmcc127a-085.
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In the era of digital imaging, the art of photography has undergone profound changes, in which the calculation method of temporal art and symbolic space has become the key to understanding this art form. This paper analyzes the temporal form of photographic art and designs the symbolic space in photographic art, using digital photography technology based on drone remote sensing combined with collage photography technology. And through a variety of calculation methods, the time consciousness and symbolic space of the creative works are quantitatively embodied. The resolution of the photographic works obtained by scanning drone photography and surround photography is 9.448 and 9.966mm respectively, and the error in plane and height is low. The use of collage technology to express different emotions is demonstrated by the audience’s recognition score of more than 4. Digital technology embodies the time consciousness and symbolic space of photography, “storytelling”, “composition and perspective”, “light and color”, with an average increase of 16.9%, 20.36%, and 13.06% respectively. The regression results show that “image capture and processing”, “post-processing”, “high resolution and color reproduction”, “autofocus”, “Digital Signal Processing” can all contribute to the time-conscious and symbolic spatial embodiment of photographic art at the 0.001 level.
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Kuznetsova, Tatyana Viktorovna, and Luiza Vladimirovna Welch. "The Photographic Image as an Aesthetic Phenomenon." Философская мысль, no. 10 (October 2022): 54–62. http://dx.doi.org/10.25136/2409-8728.2022.10.38896.
Full textAbstract:
The subject of the study is the analysis of the preservation and creation of an image in the art of photography. The invention of photography and the creation of a technical image is considered the second turning point in human culture. An image is an imagination, an illusion, it is a reflection of the sensory world. The object of the study is the specificity and evolution of attitudes towards the concept of an image in photography as an aesthetic phenomenon. The language of fine art, as an earlier phenomenon, had a significant impact on the creation of a photographic image, but the role of photography in changing the language of fine art is also noted. The purpose of this work is to identify the features of the formation of photographic thinking, in the analysis of its evolution. As a methodological basis of the study, the formal-stylistic method of cognition, the method of sensory cognition and historical and cultural analysis are used. The scientific novelty of the study lies in the analysis of the role of imagination, illusion, magic in creating a photographic image. Causal relationships do not work here - the image of the acts as an intermediary between the world and man. Both the photographer and the subject are the directors of the creation of the image, and the game becomes part of its creation. The image is what the director-photographer wants to see, and how the subject feels. However, the freedom of the photographer is limited by the quality of the equipment, which makes it necessary to improve the technical means of the camera more and more. Creating an image is the implementation of the technical capabilities that are embedded in the camera. The image of photography is the subjective vision of the master, the transformation of the real world into the world of illusion.
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Loginov, A. A. "Collecting Photography." Observatory of Culture, no. 3 (June 28, 2015): 90–95. http://dx.doi.org/10.25281/2072-3156-2015-0-3-90-95.
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Collecting Photography (by Artem Loginov) makes differentiation of key concepts and rules of the art-market of photography. The article’s aim is to show several limitations which form specific features of relations between authors and buyers of photographic art pieces. The article analyzes in brief some criteria which have an influence on price formation in the art-market of photography.
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Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN." Victorian Literature and Culture 33, no. 1 (2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.
Full textAbstract:
AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was developed by Tate curator Richard Humphreys and Butler scholar Elinor Shaffer, with the support of librarian Mark Nicholls from St. John's College at Cambridge, which houses most of Butler's extensive photographic work in its special collections. Titled “Samuel Butler and the Ignorant Eye,” after Shaffer's notion in her Erewhons of the Eye: Samuel Butler as Painter, Photographer, and Art Critic (1988) that Butler's photography renders “the eye of the viewer … ignorant and open” (229), the black-and-white secularism of Butler's work offered a startling change in imagery from the intense colorism of “Rossetti and Medievalism,” the exhibit that preceded it in Gallery sixteen.