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Journal articles on the topic 'Women photographers'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Coleman, A. D., Naomi Rosenblum, and Elizabeth Partridge. "Women Photographers." Art Journal 55, no. 1 (1996): 99. http://dx.doi.org/10.2307/777816.

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2

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

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

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3

Voina, Delia. "Femeile-fotograf ale Sibiului din a doua jumătate a secolului al XIX-lea: fotografiile Kamillei Ásbóth și ale Juliei Herter din colecția Muzeului Național Brukenthal." Anuarul Institutului de Cercetări Socio-Umane Sibiu 31 (December 31, 2024): 77–95. https://doi.org/10.59277/aicsus.31.06.

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The role of women photographers has been downplayed in the history of photography, although they have been among the earliest practitioners since the 19th century. A small number of women contributed to the early history of photography, although in the late 18th and early 19th centuries some women in high society were knowledgeable about the science. The complicated processes used to take photographs were deciphered and used by women photographers, and their portfolios included a wide variety of subjects. The first women photographers’ owners of permanent studios in Sibiu, in the second half o

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4

Loughery, John, and Jeanne Moutoussamy-Ashe. "Viewfinders: Black Women Photographers." Woman's Art Journal 10, no. 2 (1989): 49. http://dx.doi.org/10.2307/1358219.

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5

Noble, Mary L. "Iowa's Women Professional Photographers." Books at Iowa 65 (November 1996): 2–16. http://dx.doi.org/10.17077/0006-7474.1275.

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6

Rosenblum, Naomi. "A History of Women Photographers." Woman's Art Journal 20, no. 1 (1999): 67. http://dx.doi.org/10.2307/1358858.

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7

Rosenblum, Naomi. "A History of Women Photographers." Art Book 2, no. 1 (1994): 23d. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00368.x.

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8

Rosenblum, Naomi. "A History of Women Photographers." Art Book 2, no. 1 (1995): 23d. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00368.x.

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9

Rule, Amy. "Archives of American women photographers." History of Photography 18, no. 3 (1994): 244–47. http://dx.doi.org/10.1080/03087298.1994.10442358.

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10

Somerstein, Rachel. "‘Stay back for your own safety’: News photographers, interference, and the photographs they are prevented from taking." Journalism 21, no. 6 (2018): 746–65. http://dx.doi.org/10.1177/1464884918789227.

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This exploratory, mixed-methods study uses semi-structured interviews to identify the sources of interference that news photographers encounter and then, using survey research, assesses these interferences’ prevalence. It also uses interview and survey data to identify photographs that photographers are prevented from taking and ones taken despite interference. In so doing, the study illuminates how the constraints photojournalists encounter shape their work and, ultimately, the types of images missing from the mass media. Men and women, and freelancers and staff photographers, encounter diffe

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11

Mykytka, Iryna, and Isabel Balteiro. "Painting with words: describing women in photography." Feminismo/s, no. 38 (July 13, 2021): 149. http://dx.doi.org/10.14198/fem.2021.38.06.

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This study aims to identify and explore the linguistic devices used to describe women in photography, and the similarities and differences between women and men’s descriptions. Nowadays, digital photographs are often accompanied by text such as titles, descriptions, comments, or tags. Though the language used in social media has largely been explored in relation to different fields of knowledge and from different perspectives, to the best of our knowledge, there is no work dealing with the language used by professional photographers to describe women and men. In order to carry out the study, w

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12

Keller, Judith, and Katherine Ware. "Women photographers in Europe 1919-1939." History of Photography 18, no. 3 (1994): 219–22. http://dx.doi.org/10.1080/03087298.1994.10442354.

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13

Otayek, Michel. "Between the Archive and the Artworld: Writing Gendered Histories of Ibero-American Photography." Journal of Women's History 36, no. 4 (2024): 70–90. https://doi.org/10.1353/jowh.2024.a947027.

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Abstract: In recent years, a growing body of scholarship on women photographers in mid-twentieth-century Ibero-America has emerged in connection with exhibitions that have helped bring their work to the larger public. However, the importance given to notions of individual authorship, originality, and rarity in art market dynamics, institutional practices, and critical discourse on photographic images encourages scholarly work that often overlooks their print culture context. In this essay I argue that careful attention to the role of illustrated magazines as media for the circulation of photog

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14

Brown, Elspeth, and Melissa A. McEuen. "Seeing America: Women Photographers between the Wars." Journal of American History 87, no. 4 (2001): 1547. http://dx.doi.org/10.2307/2674852.

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15

Palmquist, Peter E. "Pioneer Women Photographers in Nineteenth-Century California." California History 71, no. 1 (1992): 110–27. http://dx.doi.org/10.2307/25158613.

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16

Carmin, James H. "WOMEN PHOTOGRAPHERS. Constance Sullivan , Eugenia Parry Janis." Art Documentation: Journal of the Art Libraries Society of North America 10, no. 2 (1991): 116–17. http://dx.doi.org/10.1086/adx.10.2.27948347.

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17

Franco, Dorothy. "A HISTORY OF WOMEN PHOTOGRAPHERS. Naomi Rosenblum." Art Documentation: Journal of the Art Libraries Society of North America 14, no. 2 (1995): 55. http://dx.doi.org/10.1086/adx.14.2.27948745.

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18

Palmquist, Peter E. "Resources for second world war women photographers." History of Photography 18, no. 3 (1994): 247–55. http://dx.doi.org/10.1080/03087298.1994.10442359.

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19

Ehn, Billy. "Den bortvända kvinnan." Kulturella Perspektiv – Svensk etnologisk tidskrift 19, no. 1 (2010): 37–50. http://dx.doi.org/10.54807/kp.v19.28294.

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Having collected seventy-six photographs and paintings of women seen from behind the author is reflecting on the meaning of this motive. Why have the photographers and the painters, mostly men from four centuries, chosen to represent the women by their backs? Are the women just (secretly) observed from behind, or are they actively turning away from the gaze of the onlooker? The author decides for the second interpretation and makes a connection to experiences of averted women in his own childhood and marriages. The conclusive question is: How subjective may a cultural researcher be doing refle

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20

Jordão Zanco, Amanda. "Photography, Memory and Postmigration:." tba: Journal of Art, Media, and Visual Culture 6, no. 1 (2025): 118–31. https://doi.org/10.5206/tba.v6i1.18959.

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Contemporary cross-border migration patterns often reflect historical colonial ideologies, with inequalities in freedom of movement closely tied to national identity, race, ethnicity, and gender. Representations of migrant women in news outlets frequently aim to symbolically position them as passive victims and depoliticized subjects dependent on external aid. While various facets of migration have been explored in critical media scholarship, more attention needs to be given to photography's role in depicting women's movement across geographical and cultural borders beyond traditional photojou

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21

Abdul Rahman, Muhammad Azri, and Nadzri Mohd Sharif. "A Constructive Comparison Framework for Colour Vision Deficiency Photographer in Digital Photography." International Journal of Art and Design 7, no. 1 (2023): 89–105. http://dx.doi.org/10.24191/ijad.v7i1.1101.

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Color vision deficiency (CVD) is the most common inherited disorder, with 1 in 20 men and 1 in 200 women affected. This situation ultimately gives disadvantages to photographers in digital photography. Individuals who suffer from CVD are unable to relish art since they are confused with objects and their colors. As a necessary consequence, researchers developed a constructive framework to improve CVD photographer visions by incorporating techniques of HSx (Hue, Saturation, Brightness), Contour Adjustment, Interpretation Process into photography. The impact of CVD towards digital photography fr

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22

Muñoz-Muñoz, Ana M., and Mª Barbaño González-Moreno. "Women photographers in Europe: a fresh, feminine approach." Collection and Curation 37, no. 4 (2018): 141–45. https://doi.org/10.1108/CC-03-2018-0007.

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<strong>Purpose: </strong>The purpose of this paper is to understand the role of women in the field of photography after the second wave of feminism in Europe. <strong>Design/methodology/approach: </strong>The grounded theory on the position of women in contemporary photography has been contrasted with the information collected by the authors in previous research studies on the presence of women photographers in the main museum collections in Europe. <strong>Findings: </strong>Gender inequality in the various artistic disciplines is a current sociopolitical problem Western countries have been

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23

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

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Abstract After reviewing how Middle Eastern women have been photographed historically, the paper explores how contemporary Gulf women represent themselves, both behind and in front of the camera. Initially, women were invisible, then eroticized or exoticized in Orientalist photography, only to appear in early twentieth-century family portraits as both the repository of cultural values and as the new, modern woman. The reaction of contemporary Gulf female photographers to perceptions of themselves as jobless, nameless, faceless, and voiceless is presented in examples of art photography-cum-poli

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24

Mecca, Ali. "PHOTO SELFIE AS WOMEN'S EXPRESSION OF FEMININITY." Capture : Jurnal Seni Media Rekam 10, no. 2 (2019): 1–19. http://dx.doi.org/10.33153/capture.v10i2.2246.

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In selfie photos, women are no longer positioned as objects from photographers, but rather act as subjects who take pictures as well as the subject being photographed. Women in this context become more aware of the values of femininity that have been attached to their bodies. This study aims to identify expressions of femininity represented in selfie. The method used in this study is audience research. The results of the study show two things. First, the physical beauty represented by selfie includes the brightness of facial skin, thin cheeks, and the reddish of red lips. Second, femininity as

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25

Kreisel, Martha. "American Women Photographers: A Selected and Annotated Bibliography." Woman's Art Journal 22, no. 2 (2001): 61. http://dx.doi.org/10.2307/1358948.

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26

Moore, Allison. "Promo-femme: Promoting Women Photographers in Bamako, Mali." History of Photography 34, no. 2 (2010): 170–80. http://dx.doi.org/10.1080/03087290903361530.

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27

Muñoz-Muñoz, Ana M., and M. Barbaño González-Moreno. "Women photographers in Europe: a fresh, feminine approach." Collection and Curation 37, no. 4 (2018): 141–45. http://dx.doi.org/10.1108/cc-03-2018-0007.

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28

Saffron, Jen. "Women of Vision: National Geographic Photographers on Assignment." Afterimage 41, no. 4 (2014): 30–31. http://dx.doi.org/10.1525/aft.2014.41.4.30.

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29

Wainwright, Jean. "Fast Forward and Rewind: Voices of Women Photographers." Photography and Culture 13, no. 3-4 (2020): 403–18. http://dx.doi.org/10.1080/17514517.2020.1762347.

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30

Williams, Val. "English collections of women photographers in national museums." History of Photography 18, no. 3 (1994): 242–44. http://dx.doi.org/10.1080/03087298.1994.10442357.

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31

Flores, Teresa Mendes. "Maria Pia fecit / By Maria Pia: the observed and the observer. Some reflections on gender issues considering the case of Queen Maria Pia, the photographer." Comunicação e Sociedade 32 (December 29, 2017): 123–45. http://dx.doi.org/10.17231/comsoc.32(2017).2754.

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his article discusses some aspects of the status of women amateur photographers during the turn of the 19th to 20th centuries, considering the case of the Portuguese Queen Maria Pia of Savoy (1847-1911). We acknowledge the difficulties of making the historiography of women photographers in Portugal, due to the scarcity of sources and archives, and the lack of questions about these absences and their reasons. These facts have contributed to a history of photography in Portugal that consists of a succession of male names of “great photographers”. Asking questions about “the other half”, as well

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32

Vieira Gomes, Inês. "Images from Portuguese late colonialism by the lens of women photographers." Fotocinema. Revista Científica de Cine y Fotografía, no. 30 (January 30, 2025): 21–42. https://doi.org/10.24310/fotocinema.30.2025.20581.

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This article examines the uses of photography by women within the Lusophone Africa and will consider what part their images played in the production of the colonial imaginary. The aim of this article is to survey the work of women who produced knowledge through the photographic lens and to question their absence in Portuguese historiography. By recognising women as active agents of the empire allows to give visibility to women photographers in colonial spaces while also refuting the label “women” as being a homogeneous category. Considering some case studies, I will focus on the production of

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33

Muñoz-Muñoz, Ana M., and Mª Barbaño González-Moreno. "The Presence of Women Photographers in the Permanent Collections of Ten European Museums." Curator: The Museum Journal 60, no. 2 (2017): 205–16. https://doi.org/10.1111/cura.12198.

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Gender inequality in the various artistic disciplines is still a socio-political problem despite the efforts of governments and institutions. The aim of this article was to examine the catalogues of the permanent collections of ten European museums: the Tate Modern, the Centre Pompidou, the MACBA (Museu d'Art Contemporani de Barcelona), the Museo Nacional Centro de Arte Reina Sofía, the Istanbul Modern Art Museum, the MUMOK (Museum Moderner Kunst), the Stedelijk Museum, the Kiasma, the Hermitage Museum and the Astrup Fearnley Museet, and then compare the proportion of women among the ar

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34

Muñoz-Muñoz, Ana M., and Mª Barbaño González-Moreno. "La mujer como objeto (modelo) y sujeto (fotógrafa) en la fotografía." Arte, Individuo y Sociedad 26, no. 1 (2014): 39–54. https://doi.org/10.5209/rev_ARIS.2014.v26.n1.40581.

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Este trabajo cuestiona la evolución del papel de las mujeres en el ámbito fotográfico contemporáneo. A partir del estudio de las primeras mujeres fotógrafas, se analiza la situación de las mujeres como objeto (modelo) y sujeto (fotógrafa); se reflexiona sobre los condicionamientos sociales y la influencia de las imágenes que transmiten los medios de comunicación en la construcción y proyección de la imagen femenina en la fotografía, analizando las fotógrafas pioneras y más relevantes en la histori

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35

Genovesi, Elisa. "Noi Donne, Effe, and Quotidiano Donna: Photography and the Representation of Women in Italian Feminist-Oriented Periodicals in the Late 1970s." Journal of Asia-Pacific Pop Culture 9, no. 2 (2024): 246–67. https://doi.org/10.5325/jasiapacipopcult.9.2.0246.

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Abstract Through the comparison of three of the main examples of Italian feminist-oriented press issued at the end of the 1970s, Noi Donne, Effe, and Quotidiano Donna, this article explores the various approaches to photography followed by the women’s movement in Italy, especially in relation to the sensitive topic of the representation of women by mass media and advertising. The article develops a specific focus on the controversial depiction of the female nude and the contributions of women photographers in search of new paradigms of photography. The discussion of these paradigms, which aime

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36

Hanstein, Lisa, and Federica Muzzarelli. "Women Photographers in Italy: The Work of Edith Arnaldi." Journal of Asia-Pacific Pop Culture 9, no. 2 (2024): 268–99. https://doi.org/10.5325/jasiapacipopcult.9.2.0268.

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Abstract Following the current perspectives offered by international gender and feminist studies, this paper aims to analyze the history of a very interdisciplinary artist, Edith Arnaldi, for her pioneering role in the history of Italian photography. Even if Arnaldi has been deeply studied as an illustrator and writer within Italian futurism, her photographic production has been the subject of little interest in scholarly context until recently. This article is intended to provide an opportunity to reflect on her photographic production in relation to early twentieth-century art and photograph

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37

Denny, Margaret. "Catharine Weed Barnes Ward: Advocate for Victorian Women Photographers." History of Photography 36, no. 2 (2012): 156–71. http://dx.doi.org/10.1080/03087298.2012.654938.

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38

Johnson, David M., and Yolanda Burwell. "Review: Viewfinders: Black Women Photographers by Jeanne Moutoussamy-Ashe." Explorations in Ethnic Studies ESS-7, no. 1 (1987): 55–56. http://dx.doi.org/10.1525/ess.1987.7.1.55.

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39

Travassos, Lorena. "The Brazilian woman: from the colonial photography to contemporary Portuguese photography." Comunicação e Sociedade 32 (December 29, 2017): 169–89. http://dx.doi.org/10.17231/comsoc.32(2017).2756.

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This study aims to carry out an initial analysis of how the Brazilian woman image is shaped by a discourse that is historically constructed and reinforced by colonial photography. This visuality has endured through the ages and represents a form of contemporary colonialism, as it is characterized by an identity reductionism disguised as a global ideology. The possibility of paradox prevalence in these speeches is analyzed through a critical view of the work of André Cepeda and Miguel Valle de Figueiredo, Portuguese photographers who has produced photography artwork about the Brazilian woman. I

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40

Wanta, Wayne, and Dawn Leggett. "Gender Stereotypes in Wire Service Sports Photos." Newspaper Research Journal 10, no. 3 (1989): 105–14. http://dx.doi.org/10.1177/073953298901000310.

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In wire service photos from the 1987 Wimbledon tennis tournament, male athletes were pictured as more emotional than women; women more dominated than men. Differences exist in male-female photo coverage, but there's no evidence that photographers reinforce gender stereotypes.

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41

Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II." Prospects 30 (October 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.

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Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them

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42

Buchloh, Benjamin H. D. "Photography's Exiles: from Painting, Patriarchy, and Patria." October 173 (September 2020): 3–6. http://dx.doi.org/10.1162/octo_a_00401.

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This issue is the second part of a two-part October project dealing with the photographic practices of women in Weimar culture and in exile from it. Focusing on seven crucial figures (Ellen Auerbach, Ilse Bing, Anne Fischer, Gisèle Freund, Lotte Jacobi, Germaine Krull, and Grete Stern), the essays collected here address a wide range of productive changes and destructive conflicts challenging traditional models of the photographers' social, artistic, and professional identities. Some of these changes resulted from the impact of emerging technologies (both in the infrastructural organization of

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43

Rose, Francesca. "Ambassadors of Progress: American Women Photographers in Paris 1900-1901." Woman's Art Journal 24, no. 1 (2003): 55. http://dx.doi.org/10.2307/1358829.

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44

Blaney, Aileen. "Women War Photographers, Aileen Blaney, NUI Galway, Galway, July 2007." Circa, no. 122 (2007): 70. http://dx.doi.org/10.2307/25564866.

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45

Roban, Sandra Križić. "Minor Photography? Women Photographers in Yugoslavia, Pre- and Post-WWII." Photography and Culture 13, no. 3-4 (2020): 299–321. http://dx.doi.org/10.1080/17514517.2020.1769446.

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46

Moise, Gabriella. "Shining Lights: Black Women Photographers in 1980s–90s Britain, Joy Gregory (ed.) (2024)." Philosophy of Photography 16, no. 1 (2025): 129–34. https://doi.org/10.1386/pop_00111_5.

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47

Loughery, John, and Andrea Fisher. "Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944." Woman's Art Journal 9, no. 1 (1988): 52. http://dx.doi.org/10.2307/1358372.

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48

Jacobson, Joanne. "Let us now praise famous women: Women photographers for the US Government 1935 to 1944." Women's Studies International Forum 14, no. 1-2 (1991): 119. http://dx.doi.org/10.1016/0277-5395(91)90099-4.

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49

Loughery, John, and C. Jane Gover. "The Positive Image: Women Photographers in Turn of the Century America." Woman's Art Journal 10, no. 2 (1989): 48. http://dx.doi.org/10.2307/1358217.

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50

Stein, Sally, and C. Jane Gover. "The Positive Image: Women Photographers in Turn of the Century America." Journal of American History 76, no. 1 (1989): 280. http://dx.doi.org/10.2307/1908438.

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