Literatura académica sobre el tema "Photographs: portraits"
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Artículos de revistas sobre el tema "Photographs: portraits"
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Fokin, Pavel. "Four Portraits, No Retouching". Неизвестный Достоевский 7, n.º 3 (septiembre de 2020): 97–113. http://dx.doi.org/10.15393/j10.art.2020.4801.
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Researchers are still raising questions related to the time and place of shooting of certain portraits in the scarce photographic iconography of F. M. Dostoevsky. First of all, this pertains to a set of early photographs, whose dating ranges between 1857 and 1863, according to various sources. The article offers new arguments in favor of attributing several portraits of F. M. Dostoevsky to 1859. This refers to photographs that captured an image of F. M. Dostoevsky that is unusual for most of his admirers, namely, without a beard. Two of them were taken in Semipalatinsk by the photographer S. A. Leibin, while in one of them F. M. Dostoevsky was captured together with the Kazakh educator Ch. Ch. Valikhanov, whom he befriended during the years of his exile. Another photo has not been precisely attributed. A comprehensive analysis of the details depicted on them, the facts of the biography of Ch. Ch. Valikhanov and the letters of F. M. Dostoevsky allows to date the Semipalatisk photographs with greater accuracy. The article proposes that another one of the portraits taken in Tver was carried out simultaneously with the shooting of the portrait of M. M. Dostoevsky. A comprehensive examination of various details and circumstances also leads to the same conclusions. To date, only a few copies of photographs with Ch. Ch. Valikhanov and a photograph allegedly taken in Tver are known. The original solitary portrait made in Semipalatinsk has been lost. The conducted research allows to assert that other copies of these photographs may exist. The proposed conclusions are made on the basis of a study of the originals of photographs in the collection of The V. I. Dahl State Museum of the History of Russian Literature.
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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918". Africa 57, n.º 4 (octubre de 1987): 510–18. http://dx.doi.org/10.2307/1159896.
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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa. The information presented here is based on ten years of searching for nineteenth-century photographs made by Sierra Leonean photographers. To locate these pictures, I have visited Freetonians and viewed their family portraits and photograph albums, interviewed contemporary photographers throughout Sierra Leone, and researched in the various colonial archives in England to locate photographs preserved from the period of colonial rule. I have discovered that a community of African photographers has worked in the city of Freetown since the very invention of photography. The article reviews the first phase of this unique photographic tradition, 1850–1918, and focuses on several of the African photographers who worked in Freetown during this period.
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Alù, Giorgia. "Order and otherness in a photographic shot: Italians abroad and the Great War". Modern Italy 22, n.º 3 (agosto de 2017): 291–314. http://dx.doi.org/10.1017/mit.2017.34.
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This article explores the meaning of photographic portraits of First World War Italian migrants, in terms of the tensions that emerge from their visual codes and the extent to which the subject’s interior reality and individuality might emerge from the reassuring surface imagery of photography and war. By analysing photographs of Italian migrants who either joined Italy’s army or enrolled in their adopted country’s army, we can see how the ‘otherness’ of the war – its artificial face of idealised glory, honour, and ordinariness, as presented through the portrait’s aesthetic codes – supplants the ‘otherness’ of the migrant individual, that is, their ambivalent life in between different cultures, traditions and identities. Yet, beyond the physical and psychological annihilation of the modern war, the photographic portrait, with its fabricated order and ‘otherness’, becomes, for the migrant soldier, a means of giving coherence to his dislocated existence. The nostalgic visual codes of the photograph, however, evoke an order that is now denied by the destructive mobility and mobilisation of both migration and war.
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Prasetyo, Martinus Eko, Shierly Everlin y Winnie Winnie. "VISUAL ANALYSIS OF LEE JEFFRIES’ INSTAGRAM PHOTOGRAPHS". Capture : Jurnal Seni Media Rekam 14, n.º 1 (1 de diciembre de 2022): 49–60. http://dx.doi.org/10.33153/capture.v14i1.4491.
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Instagram is a social media platform for publishing photographic works. Lee Jeffries, one of the most renowned portrait photographers, consistently exposes his works to the general public, including through the social media platform Instagram. His photographic works are considered highly interesting and unique due to their capacity to transmit social messages. Lee Jeffries consistently captures photographs of homeless people worldwide to convey social messages to his audience. This motivates the authors to discuss the meaning of visual messages in Lee Jeffries' works. The study employed a qualitative descriptive approach to analyze the photographs’ composition, color, and symbolic meaning. The results show that the application of symmetrical and asymmetrical compositions and colors for portraits of human faces, especially those of the homeless on urban street corners, produced symbolic meanings, including sadness, emotion, and happiness.Instagram is a social media platform for publishing photographic works. Lee Jeffries, one of the most renowned portrait photographers, consistently exposes his works to the general public, including through the social media platform Instagram. His photographic works are considered highly interesting and unique due to their capacity to transmit social messages. Lee Jeffries consistently captures photographs of homeless people worldwide to convey social messages to his audience. This motivates the authors to discuss the meaning of visual messages in Lee Jeffries' works. The study employed a qualitative descriptive approach to analyze the photographs’ composition, color, and symbolic meaning. The results show that the application of symmetrical and asymmetrical compositions and colors for portraits of human faces, especially those of the homeless on urban street corners, produced symbolic meanings, including sadness, emotion, and happiness.
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Kupchynska, Larysa. "A portrait of Klymentii Sheptytskyi by artist Mykhailo Shalabavka". Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, n.º 12(28) (2020): 382–99. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-13.
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The article covers the life and creative development of one of the little known Ukrainian photographers and painters of the first half of the twentieth century, who was Mykhaylo Shalabavka. In order to disclose his biographical data in more detail, the information provided by modern researchers 399 has been supplemented with archival materials. Due to their analysis, first of all, M. Shalabavka’s letters to Metropolitan Andrey Sheptytskyi presented many new facts that characterize the artist’s participation in public life in the formation of the Ukrainian school of photography first in Lviv, his beliefs about further ways of its development. Emphasizing his active participation in public life, the article stated that he executed hundreds of photographs of national liberation competitions of the Ukrainian people of the early twentieth century, life and way of life of Boykivschyna, Hutsulschyna and Podillya, architecture of Lviv. Particular attention is paid to the photo portraits that brought the author glory. One of his most famous works, Portrait of Oleksa Novakivskyi, and little-known photographs of prominent representatives of the Greek Catholic Church of the twentieth century, discovered in the collections of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv named after, are analyzed in detail. It is substantiated that by performing portraits, M. Shalabavka worked according to the requirements of the time, which included the use of the traditions of the portrait genre of previous centuries. This has significantly influenced the artist’s works, securing them a proper place in the history of photography. Due to many years of work by photographer M. Shalabavka in the late 1930’s, he turned to painting, performed an oil painting «Portrait of Klymentii Sheptytskyi». He is one of the later artists and sums up his multidimensional experience. Keywords: Mykhaylo Shalabavka, Ukrainian photographers, history, life and way of life, portrait, Klymentii Sheptytskyi.
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Moran, Leslie J. "A previously unexplored encounter: the English judiciary, carte de visite and photography as a form of mass media". International Journal of Law in Context 14, n.º 4 (23 de noviembre de 2018): 539–58. http://dx.doi.org/10.1017/s174455231800023x.
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AbstractStudies exploring the link between the representation of judges, photography and mass media tend to focus on the appearance of cameras in courtrooms and the reproduction of the resulting photographs in the press at the beginning of the twentieth century. But more than fifty years separate these developments from the birth of photography in the late 1830s. This study examines a previously unexplored encounter between the English judiciary and photography that began in the 1860s. The pictures where known as ‘carte de visite’. They were the first type of photographic image capable of being mass produced. It is a form of photography that, for a period of almost twenty years, attracted a frenzy of interest. Drawing upon a number of archives, including the library of Lincoln's Inn, London's National Portrait Gallery and my own personal collection this paper has two objectives. The first is to examine the carte portraits of senior members of the judiciary that were produced during that time. What appears within the frame of this new form of judicial portraiture? Of particular interest is the impact the chemical and technological developments that come together in carte photographs had on what appears within the frame of portraits. The second objective is to examine the manner in which they were displayed. This engages a commonplace of scholarship on portraiture; the location and mode of display shape the meaning of what lies within the frame of the picture. Carte portraits were produced with a particular display in mind: the album. They were to be viewed not in isolation, but as part of an assemblage of portraits. Few albums survive. Those that do offer a rare opportunity to examine the way carte portraits of judges were used and the meanings they generated through their display. Three albums containing carte portraits of judges will be considered.
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Pestarino, Julieta. "Botanical Portraits: On a 1935 Argentinean Book by Ilse von Rentzell with Photographs by Anatole Saderman". Rundbrief Fotografie 31, n.º 2 (1 de junio de 2024): 8–22. http://dx.doi.org/10.1515/rbf-2024-2004.
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Abstract In 1935, the Argentine-German botanist Ilse von Rentzell (1893–1985) published the book “Maravillas de nuestras plantas indígenas y algunas exóticas” (Wonders of our Indigenous Plants and Some Exotic Plants) in Buenos Aires, Argentina, illustrated with photographs taken by the Russian photographer Anatole Saderman (1904–1993). The publication of this book was entirely selffinanced by Von Rentzell herself, and it is one of the first in Argentina to include such a large number of photographs with this much prominence. The collaborative photographic work developed by these authors goes beyond the images included in the book. Working together, they created a corpus of photographs that each of them used in the following years to enhance their personal careers. At the time, these photographs of plants represented a break in Argentine photography, building bridges with the genealogy of botanical photographic publications in other parts of the world.
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Maurer, Andrey Markovich. "Composite photographic portrait as a tool for visualizing local anthropological variants (using the example of Bashkir men photographic materials)". Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), n.º 3 (14 de septiembre de 2021): 5–16. http://dx.doi.org/10.32521/2074-8132.2021.3.005-016.
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Based on individual images of Bashkir men from literary sources (early 20th century) and on the basis of our own photographs of the end of the 20th century, composite photographic portraits (full-face, in profile) were compiled using the "FaceOnFace" computer program. Based on the high similarity of composite photographic portraits, two samples (from the beginning and the end of the 20th century) of initial photographs of Bashkir men were combined into a single corpus (N = 85). Individual photographs corresponding to the descriptions of the South Siberian (N = 40) and Ural (N = 20) minor races were selected from the combined sample of photographs of Bashkir men of the 20th century. Results and discussion. Based on these two subsamples, using digital technologies, 2 pairs of high-precision male composite photographic portraits (full-face and in profile) of Bashkir men were created. They represent the two racial variants prevailing in the region. One pair of photo-generalizations characterizes the softened South Siberian (N = 40), and the other, the sub-Ural (N = 20) anthropological variants. All profile composite photographic portraits of the Bashkirs were obtained for the first time. The phantom image obtained by the method is mentally compared with a certain generalized idea of a particular anthropological version of the known racial classifications. Due to the authorial nature of the various racial classifications, the subjective choice of the «typical», «most characteristic» person (or a short series of faces), presented as an illustration, is also inevitable. Conclusion. The resulting photographic portraits are no less recognizable than the illustrations given in anthropology textbooks: two clearly distinguishable anthropologically variants are visualized that occur in Bashkir populations. This result confirms the deeply entrenched opinion of anthropologists about the heterogeneity and population polytypes of the Bashkir ethno-national community. Both population-typological composite photographic portraits of an ethnic group and a typological digital high precision quality composite portrait, which achieves the effect of "personalization" of a phantom image, are cognitive tools that allow one to assess the biological reality of the existence of human populations with biologically meaningful (adequate) visual means. It is necessary to seek visual means that are isomorphic to the nature of a living, lasting composite.
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Graham, Daniel, Pamela M. Pallett, Ming Meng y Helmut Leder. "Representation and Aesthetics of the Human Face in Portraiture". Art & Perception 2, n.º 1-2 (2014): 75–98. http://dx.doi.org/10.1163/22134913-00002026.
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How do representations of the face in portraits relate to the natural face, and how does the aesthetics of portraits relate to the aesthetics of faces in photographs? Here we investigate these questions with regard to the frontal face. Frontal faces are of particular interest because they are by far the most commonly studied type of face image in psychology, yet frontal portraits have been little studied by psychologists. Using behavioral and statistical tests, we show that artistic representations of frontal female faces have representational properties that broadly match those of the natural face, but we also find properties unique to artworks. We report that, as with frontal faces, frontal portraits show norm-based coding properties with respect to preference: averaged portraits become more attractive in proportion to the number of portraits averaged together. However, averaged photographs of faces are preferred to averaged portraits, suggesting that faces in portraits and photographed faces show basic differences in aesthetics. Consistent with this notion, we found that average face width and height ratios in an extended sample of frontal female portraits were significantly different from those for photographed faces. This indicates that portraits on average are not faithful representations of the typical structure of the face. In a behavioral experiment where we manipulated the structural ratios in portraits, we found that the preferred width and height ratios were significantly different from those preferred in photographed faces, and that the preferred ratios for portraits were closer to the average ratios of the portrait sample. We evaluate a variety of possible causes of the observed differences. We conclude that despite the demonstrated differences between artistic representations and natural faces, fundamental properties of natural faces are preserved in artistic representations of the face.
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Bell, Amy. "“We were having a lot of fun at the photographers”". Ontario History 107, n.º 2 (24 de julio de 2018): 240–61. http://dx.doi.org/10.7202/1050637ar.
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This article uses the photographic examples from a small female college to explore the use of photography as a social practice in late Victorian female colleges. It argues that photographs of students worked as both frames and surfaces: framing the visual details of their daily lives, while simultaneously allowing them a surface on which to fashion self-portraits. The photographs of Hellmuth Ladies’ College demonstrate the multiple arenas of late Victorian educational experience, the idealistic and aesthetic links between female educational institutions in the circum-Atlantic World, and the importance of school photographs to Canada’s photographic history.
Tesis sobre el tema "Photographs: portraits"
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Supartono, Alexander. "Faces and Places: Group Portraits and Topographical Photographs in the Photo Albums of the Sugar Industry in Colonial Java in the Early Twentieth Century". Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1282929717.
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Kowsar, Shabahang. "L'Art de Paraître dans le Portrait Photographique sous le Second Empire". Thesis, Versailles-St Quentin en Yvelines, 2015. http://www.theses.fr/2015VERS006S.
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L’essor de la photographie au milieu du 19ème siècle est contemporain de changements importants survenus au sein de la société française. A Paris sous le Second Empire, la forte hausse du pouvoir d’achat, due en grande partie aux travaux haussmanniens, influence l’image publique des citadins. La ville et ses grands boulevards offrent aux plus privilégiés la possibilité de se promener, de s’exhiber, de paraître selon certaines normes pour se mettre en lumière. Représentations qui seront ensuite fixées par les artistes : écrivains, peintres, sculpteurs, caricaturistes et photographes, ils concourent tous à immortaliser ce nouveau mode de vie et ses acteurs.Le portrait, ce moyen de représentation par excellence auparavant réservé à l’aristocratie, deviendra finalement accessible aux autres milieux sociaux. En comparaison avec les autres techniques, le portrait photographique gagnera davantage de succès et ce, grâce à de multiples critères : la baisse progressive de son coût, sa vitesse d’exécution, sa véracité reconnue par le public, sa capacité d’être reproduit à l’identique en grand nombre depuis l’invention du procédé collodion humide, sans oublier la naissance du portrait-carte de visite qui accélère sa démocratisation.Notre recherche repose sur un dépouillement minutieux d’archives photographiques. Elle aura comme objectif d’analyser le rôle joué par la photographie dans la procédure de représentation sous le Second Empire en répondant à un certain nombre de questionsWhen portraiture was made accessible to French citizens in the nineteenth century, someconservative critics did not consider all individuals to be “portrayable”. This did notprevent people of means from hiring portrait painters to create their own “visiblememory”. In the process, they redefined the nature of the artist’s model. These newsitters, who were employers rather than employees, were not obedient: they insisted uponimposing their individual style and references. Photographic artists, on the other hand,persisted in directing their sitters—as artists did their paid academic models—and had toseek compromises that, without relinquishing their favoured styles, would satisfy theirdemanding clients. Some photographers published manuals and treatises explaining howto produce a good portrait without being unduly disturbed by the model’s whims andfancies. Furthermore, self-proclaimed experts in modern “etiquette” taught people how totalk, how to walk and how to appear in society. A careful examination of the conditionsbehind the production of photographic portraits, especially those representing fashionablecitizens taken during the era of the carte-de-visite, reveals the importance of the rolesplayed respectively by the model, the portrait photographer and the social codes ofconduct of the day
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Magnatta, Sarah J. "Portraits of the Dalai Lama in Tibet and Beyond". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396265966.
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Temuulen, Bataa. "Das Recht am eigenen Bild rechtshistorische Entwicklung, geschützte Interessen, Rechtscharakter und Rechtsschutz". Hamburg Kovač, 2006. http://www.verlagdrkovac.de/3-8300-2354-5.htm.
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Munsie, Richard. "Intimation of life : photographic portraiture in art". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/719.
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Photographic artists have a continuing desire to express intimately aspects of their social world through the genre of portraiture. However, in attempting to make known the lives of those around them, portraitists encounter a range of complexities inherent in the representation of the human subject in a two-dimensional visual field. Portraits were initially an indicator of social class until the introduction of photography, when more and more people became involved in their production and ownership. It was at its inception that the photographic portrait assumed conventions consistent with those of the painted portrait in Western art and its social use. These conventions have persisted and, along with the accumulation of conventions specific to the medium, have come to define photographic portraiture as a genre. It is either from within the limitations of the genre, or through the challenging of its authority, that artists seek to portray issues relevant to contemporary life. This endeavour is affected by certain concerns associated with a person's photographic representation. These include issues pertaining to notions of likeness, identity, subjectivity, and realism. A photographic image of someone has traditionally been perceived to convey a realistic impression of that person's identity, however, concepts of identity and realism have come under increasing scrutiny, contesting the authority of the photographic representation. The portrait's verisimilitude is also undermined by limitations in photographic processes and technology, and the manipulation and control exercised by the photographer who can frame, filter, crop, and enlarge the image at will. In considering the inadequacies of the medium, the fragmentation of identity and subjectivity, and threats concerning the demise of the genre, a further concern to contemporary portraiture is the status of the psychological interaction between photographer and subject. For many participants this exchange is an important aspect of the portrait transaction in which rituals of pose and performance are enacted, and feeling states or emotional truths are sought out. Kozloff (1994, p. 4) considers stilt portraits to be scanty objects in which the intricacies of human experience are inadequately represented, yet they remain as a site for the documentation of experiences that are to become memories. The increasing influence of digital media in photography presents an opportunity for the re-evaluation of these concerns, and new creative and expressive possibilities.
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Carmignac, Ariane-Esther. "Passer le temps. Vies d'une archive photographique contemporaine : l'archivio Graziano Arici". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES044/document.
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L’Archivio Graziano Arici est une archive photographique d’un genre résolument singulier ; elle réunit des enjeux et ou assemble des finalités qui ne se rejoignent que partiellement. Archive courante des photographies de Graziano Arici (photographe né en 1949 à Venise, résidant actuellement à Arles, et toujours en activité), fonctionnant comme une base d’images permettant au photographe d’accumuler et de vendre ses productions, elle est aussi, dès le départ, conçue comme une forme-conservatoire destinée, dans son ensemble, par son auteur même, à représenter une époque, à rester comme un témoignage porté par un regard sur une époque. Par l’acquisition de fractions d’archives photographiques, la mise en place d’une politique de préservation des images, et par ses créations, son travail plastique, le photographe se fait tout à la fois héritier d’un domaine précaire, mais aussi son passeur. Dans ce cas particulier, en effet, le rassemblement qu’est l’archive photographique se trouve être, non seulement, un lieu d’origine, premier, mais également l’endroit et le moment d’une recomposition, d’un remontage de productions antérieures, donnant ainsi naissance à un art consommé de l’assemblage, dans un lieu devenu paradoxalThe Archive Graziano Arici is a definitely unique photograph Archive of its kind. It concentrates issues, or combine objectives which only partially meet. The standard Archive of Graziano Arici’s photograph (Arici is a photographer born in Venice, now living in Arles and still working) first acting as a picture-base which enables the photographer to gather together and sell his productions, is also, from the outset, designed as a conservation device, and by its author himself intended in its entirety to represent particular times and bear testimony to individual perceptions of those times ; by acquiring fractions of photograph archives, and setting up a picture-conservation policy, but through his own creation and plastic work as well, the photographer becomes heir to a fleeting world, and his go-between, too, giving birth to an art of assembling, and his archive becoming a paradoxical place
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Herrerias, Cuevas Vesta Mónica. "Le masque social ou la representation de la bourgeoisie mexicaine dans le portait photographique (1854-2008)". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030058.
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Loin de la dénonciation sociale ou d’un exercice strictement historique, le présent travail cherche à comprendre comment se construit l’image du personnage bourgeois à travers l’étude de portraits de la bourgeoisie mexicaine entre 1854 et 2008. Le concept de masque permet de rendre compte du portrait en tant que construction d’un modèle de représentation sociale. La première partie propose un aperçu général des origines et de l’évolution du portrait pictural, de son influence sur le portrait photographique, des conséquences des idées humanistes sur l’art, enfin de l’histoire de la bourgeoisie mexicaine et du portrait photographique bourgeois au Mexique. La deuxième partie s’intéresse au phénomène de la carte-de-visite en tant que source et modèle du portrait photographique de la bourgeoisie mexicaine, avant d’examiner la question de la figure : l’interprétation de la pose et du visage en tant qu’éléments constitutifs de la construction d’une identité sociale. La troisième partie étudie le fond, c'est-à-dire les différents espaces dans lesquels le personnage bourgeois se fait photographier, les objets qui l’entourent et son rapport à eux. Cette recherche s’appuie sur les contributions théoriques de philosophes, d’écrivains, d’historiens et de photographes tels qu’André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Parmi les photographes mexicains abordés dans cette étude, l’on citera les frères Valleto, Cruces et Campa, les Archives Casasola, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell et Ivonne VenegasFar from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas
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Skidmore, Colleen Marie. "Women in photography at the Notman Studio, Montreal, 1856-1881". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq46921.pdf.
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Pelser, Monique Myren. "Roles : "I am as intently observed as the people photograph"". Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007647.
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With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.
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Makun, Adetoun Jones. "International passports : portrait of the Nigerian diaspora". Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002226.
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International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.
Libros sobre el tema "Photographs: portraits"
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Gorgoni, Gianfranco. Artists image: Photographs. Roslyn, N.Y: Nassau County Museum of Fine Art, 1987.
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Liberman, Alexander. Then: Photographs, 1925-1995. New York: Random House, 1995.
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Seliger, Mark. Physiognomy: The Mark Seliger photographs. Boston: Little, Brown and Co., 1999.
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Willis, Hartshorn, Stapp William F. 1945- y National Portrait Gallery (Smithsonian Institution), eds. Annie Leibovitz : photographs, 1970-1990. New York: Haper Perennial, 1992.
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Janet, Stone. Thinking faces: Photographs, 1953-1979. London: Chatto & Windus, 1988.
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Lawrence, Michel. Framed: Photographs of Australian artists. South Yarra, Vic: Hardie Grant Books, 1998.
Buscar texto completoCapítulos de libros sobre el tema "Photographs: portraits"
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Druker, Elina. "Chapter 8. In and out of focus". En Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.
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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.
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Hood, Stephanie L. "Science, Photography, and Objectivity? Exploring Nineteenth-Century Visual Cultures through the HMS Challenger Expedition (1872–1876)". En Scientific Visual Representations in History, 251–86. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11317-8_9.
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AbstractPreparing to set off from England in 1872 on an oceanographic expedition around the globe, the officers and crew of HMS Challenger gathered on board the ship for a photographic portrait. It was one of the first photographs of crew on a scientific voyage of exploration ever taken. Over eight hundred photographs were taken or acquired on the Challenger in addition to drawings and paintings. This chapter uses these photographs to reexamine Daston and Galison’s theory that photography was successful in nineteenth-century science on account of its perceived “objectivity” as an epistemic ideal. The chapter first outlines the history and historiography of photography and of the Challenger expedition, proceeding to outline photographic practices on the voyage, and evaluating the photographs’ place within longer aesthetic traditions. It then examines the Challenger photographs’ circulation and use in its official scientific report, and in wider scientific contexts. The chapter finally analyzes the photographs’ personal, and then broader public, economic, and political circulation and uses. It concludes by arguing that drawing and painting were the preferred scientific visual strategies on the Challenger, indicating that photography was not preferred on account of its perceived “objectivity” for science. Instead, photographs afforded other benefits such as speed of capture, replicability, and adaptability—for economic, social, and political use as well as scientific. Photography was therefore an effective visual strategy not on account of its perceived scientific “objectivity” but due to its flexibility, which corresponded to the expedition’s scientific aims as well as its broader economic, social, and political context.
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Hodne, Lasse. "Unit 2 Lab: Portraits as Faces". En Neuroaesthetics, 101–6. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-42323-9_7.
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AbstractNear where you live, there may be a park with one or more statues or busts of famous people. Take a trip there, or to a museum where photography is allowed. Stand in front of the statue and, first, take a photograph of the depicted person from the front, as shown in this photo.
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Anderson, Joel. "Actor portraits". En Theatre & Photography, 39–45. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_6.
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Le Guen, Laurence. "Chapter 7. From the “Children of all Lands Stories” to the “Enfants du monde” collection". En Children’s Literature, Culture, and Cognition, 170–88. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.07le.
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Although it does not appear under this name on the shelves of bookshops or libraries, the literary genre of the phototextual country portrait has an effective reality in children’s literature, with a wide variety of publications. These works are regularly published in periods when children’s books are seen as the engine of a new pacifist humanism. They flourished in different parts of the world after the two world wars, all carrying the same message of hope, transmitting the conviction that the world, in its diversity and complexity, is one: our world. This article juxtaposes the works of the 1920s series “Children of all Lands Stories”, by the American photographer and filmmaker Madeline Brandeis, with those of the “Enfants du monde” collection, carried by photographs by French photographer Dominique Darbois, to discuss how photographs and texts are combined to offer the young reader new views of the Other and thus promote peace between peoples through children’s literature.
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Teukolsky, Rachel. "Sensation". En Picture World, 215–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859734.003.0005.
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Photography was a quintessential new visual technology of the nineteenth century. Chapter 4 studies cartes de visite, or small photographic portraits. These collectible photographs became both popular and controversial during the so-called “sensation” craze of the 1860s. Scholars have largely focused on sensation novels, known for their lurid crime plotlines and outrageous villainesses. Yet sensation was more than merely a literary aesthetic: it was a multimedia phenomenon encompassing both novels and photographs. It responded to new forms of spectacular female celebrity, as seen in the wild popularity of photo portraits of actresses, opera divas, prostitutes, even Queen Victoria. The carte-de-visite medium, circulating women’s portrait photographs in millions of paper copies, perfectly encapsulated sensation’s dialectic between embodiment and mediation, and between individual celebrity and the democratized mass. These themes drive the plots of sensation novels, especially Wilkie Collins’s The Woman in White and M. E. Braddon’s Lady Audley’s Secret.
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Duttlinger, Carolin. "Stillness". En Attention and Distraction in Modern German Literature, Thought, and Culture, 221—C7.F15. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856302.003.0008.
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Abstract Photography embodied the spirit, but also the underlying tensions, of Weimar culture. The snapshot captured the dynamism of modern life, while illustrated magazines enabled the speedy dissemination of photographs across modern society, contributing to a veritable deluge of images. Yet in the 1920s photography practitioners and theorists became increasingly critical of these trends and turned to the early days of the medium in search of an alternative, slower and more authentic photographic aesthetic. The rediscovered portraits of the Scottish photography pioneers David Octavius Hill and Robert Adamson were seen as the products of a bygone age of stillness and contemplation, which Weimar photographers sought to emulate. This chapter compares the resonances of these early portraits in the work of Erna Lendvai-Dircksen and Helmar Lerski. For all their aesthetic and political differences both photographers pursue a similar agenda: the search for authentic faces able to convey a sense of stillness in the age of acceleration.
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"Portraits of Eunuchs and Their Afterlives". En The Color Black, 67–91. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059257-005.
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Chapter 3 showcases a case study that links the lives of dying eunuchs at the royal court to the rise of minstrelsy performances within a generation. Naser ed-Din Shah (r. 1848–96) began to memorialize court eunuchs through photography and memoirs, most of whom were of African ancestry who were among the last generations of eunuchs in Iran. Photographing the eunuchs at such a critical period captured a different face of Iran, as the aging eunuchs were frail and delicate. These photographs served as a complicated site for preserving the memory and agency of eunuchs, as some eunuchs were also trained as photographers. At Mozaffar ed-Din Shah’s (r. 1896–1906) court, the photographs became fodder for court jesters, and blackface minstrelsy took on a very specific form. This chapter highlights the direct connection between enslavement and its legacy of blackface in Iran.
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"Photographs and Other Portraits". En Heinrich Schenker, Oswald Jonas, Moriz Violin, 191–200. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8306092.14.
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McGonagle, Joseph. "Introduction". En Representing Ethnicity in Contemporary French Visual Culture. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719079559.003.0001.
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Between 1995 and 1997 the French photographer Luc Delahaye conducted a rather peculiar project. While travelling with a concealed camera on the Paris metro, he began making hundreds of black-and-white portraits of unsuspecting passengers. Eighty of these were then published together as L’Autre (1999). A novel contribution to debates surrounding the visual representation of alterity, Delahaye’s surreptitious photography of strangers raises several legal and ethical issues. Viewers may question, for instance, who qualifies as “other” in his photography and what right, if any, a photographer has to take such photographs of others. They might also wonder whether alterity can be captured on camera at all. The metro passengers whose portraits were published are, visibly, ethnically diverse and the way their images appear can be read as a ...
Actas de conferencias sobre el tema "Photographs: portraits"
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Mohanty, Vikram, David Thames, Sneha Mehta y Kurt Luther. "Supporting Historical Photo Identification with Face Recognition and Crowdsourced Human Expertise (Extended Abstract)". En Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/660.
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Identifying people in historical photographs is important for interpreting material culture, correcting the historical record, and creating economic value, but it is also a complex and challenging task. In this paper, we focus on identifying portraits of soldiers who participated in the American Civil War (1861-65). Millions of these portraits survive, but only 10-20% are identified. We created Photo Sleuth, a web-based platform that combines crowdsourced human expertise and automated face recognition to support Civil War portrait identification. Our mixed-methods evaluation of Photo Sleuth one month after its public launch showed that it helped users successfully identify unknown portraits.
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DiPaola, Steve. "Painterly rendered portraits from photographs using a knowledge-based approach". En Electronic Imaging 2007, editado por Bernice E. Rogowitz, Thrasyvoulos N. Pappas y Scott J. Daly. SPIE, 2007. http://dx.doi.org/10.1117/12.706594.
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Красильникова, Дарья Сергеевна. "PHOTOGRAPHIC COLLECTION FROM N. ZHUKOVSKAYA’S (1874-1940) PERSONAL ARCHIVE IN THE COLLECTION OF THE LITERARY MUSEUM OF THE PUSHKIN HOUSE". En Фундаментальные и прикладные исследования. Актуальные проблемы и достижения: сборник статей XXIII всероссийской (национальной) научной конференции (Санкт-Петербург, Декабрь 2023). Crossref, 2024. http://dx.doi.org/10.37539/231206.2023.53.10.002.
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Данная статья представляет собой обзор и атрибуцию недавно выявленного архива фотоматериалов драматурга и переводчицы Натальи Юльевны Жуковской-Лисенко (1874-1940) в собрании Литературного музея Пушкинского Дома. Фотографии представляют собой портреты семей Жуковских, Ильиных и Лисенко. Особое внимание уделяется фотографиям, связанным с театральной деятельностью Натальи Юльевны, запечатлевшим сцены из театральных постановок и актеров, исполнявших роли в ее пьесах. Собрание писательницы позволяет ощутить ту театральную среду России конца XIX - начала XX веков. This article is a review and attribution of a recently discovered archive of photographic materials of the playwright and translator Natalya Zhukovskaya-Lisenko (1874-1940) in the collection of the Literary Museum of the Pushkin House. The photographs present portraits of the Zhukovsky, Ilyin and Lisenko families. Particular attention is paid to photographs related to Natalya Yulievna’s theatrical activities, capturing scenes from theatrical productions and actors who performed roles in her plays. The writer’s collection allows you to feel the theatrical environment of Russia at the end of the 19th and beginning of the 20th centuries.
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Stewart, Michelle. "Ghostly Imprints: Revisiting the Tradition of the Death Mask in Digital Clay". En Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35905.
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This paper explores the representation of the dead through a creative project that involves 3D digital sculptures inspired by forensic facial photographs of unclaimed deceased in government morgues as well as posthumous photographs of the author’s mother-in-law. The project draws on the tradition of death masks and aims to create final portraits that commemorate the individuals and acknowledge the transcendental aspects of death masks. The author’s work is situated within the discourse of art theory and history, rather than forensic art, and emphasises the artistic and conceptual nature of the sculptures. The project is associated with the International Committee of the Red Cross’s Missing and Deceased Migrant Project and explores the humanitarian implications of migrant deaths in South Africa. The paper also delves into the history and evolution of death masks in Western culture, highlighting their significance as representations of true faces and their use in phrenology.
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Venable, Dennis L. y Nicholas George. "Orientation sorting by diffraction pattern sampling". En OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/oam.1987.ma2.
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Diffraction pattern sampling has been successfully applied to various problems in automatic pattern recognition, e.g., sorting of photographs based on scene content. In the current research we address the problem of sorting pictorial imagery according to whether a photograph was exposed upright (0°) or rotated 90°. This problem is of interest in the field of photographic processing, where along a continuous film strip, it is desirable to know whether a photograph was exposed in landscape or portrait mode. We limit the photographs in our study to those containing (1) landscape and houses only, (2) people only, and finally (3) groupings of houses and people. The optical transform is known to be independent of image translation but relates in a one-to-one fashion with image rotation. The detector used for sampling the optical transform is the Ring-Wedge detector, consisting of 32 wedge-shaped detectors and 32 concentric half-ring detectors. Using a feature set extracted from data obtained from wedge (angle-dependent) values, we illustrate the method of software development. Algorithms based on physical optics expectations are found to give reliable sorting in some cases. Discriminant functions using multiple feature algorithms are described. Results are presented in truth-table form for the three groupings listed above.
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Yang, He. "Illusion of Portrait Photography". En 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.113.
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Кузнецова, Ю. Н. "AKHAL-TEKE BEFORE AND NOW. TWO PORTRAITS". En СОВРЕМЕННЫЕ ДОСТИЖЕНИЯ И АКТУАЛЬНЫЕ ПРОБЛЕМЫ В КОНЕВОДСТВЕ. Crossref, 2019. http://dx.doi.org/10.25727/hs.2019.1.35383.
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Представлены результаты сравнения лучших жеребцов ахалтекинской породы XIX века с картин русских художников А.Б. Виллевальде (жеребец Сардар) и Н.Е. Сверчкова (жеребец Аад) с фотографическими изображениями современных жеребцов - лучших представителей этой породы. Для сравнения отбирались жеребцы разных временных периодов XX-XXI веков, сфотографированные в сходной позе. Учитывалась принадлежность к внутрипородному типу - основному (Сардар) и скаковому (Аад). Определены параметры, по каким изменился экстерьер ахалтекинской лошади в указанный период. Среди современных жеребцов полностью идентичного Сардару не обнаружилось. Ближе всех по многим признакам стоит к нему трехлетний жеребец Караоглан. В экспозиции музея имеется также художественное изображение другого ахалтекинского жеребца - серого Аада. Этому изображению наиболее наиболее близок из современных жеребцов Гахрыман 1975 г.р. The results of comparison of the best stallions of the Akhal-Teke breed of the XIX century with the paintings of Russian artists A. B. Villevalde (Sardar stallion) and N. E. Sverchkova (Aad stallion) with photographic images of modern stallions - the best representatives of this breed. For comparison, stallions of different time periods of XX-XXI centuries were selected, photographed in a similar pose. Account of the belonging to intrabreed type - basic (Sardar) and the race (Aad). The parameters conformation changings of the Akhal-Teke horse during this period were determined.Among modern stallions it were not found stallions identical to the Sardar. The closest in many ways to it is a three year old stallion Karaoglan.In the exposition of the Museum there is also an artistic image 146of another Akhal-Teke stallion - grey Aad. The modern stallions Ghahraman ,1975, is the closest to this image.
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Zhang, Xiaoyan, Kap Luk Chan y Martin Constable. "Pose-based composition improvement for portrait photographs". En 2017 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2017. http://dx.doi.org/10.1109/icassp.2017.7952499.
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Song, Xue, Jiawei Pan, Fuzhang Wu y Weiming Dong. "Optimal Composition Recommendation for Portrait Photography". En SA '22: SIGGRAPH Asia 2022. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3550082.3564206.
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Paora, Tangaroa. "Applying a kaupapa Māori paradigm to researching takatāpui identities". En LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.179.
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In this practice-led doctoral thesis I adopt a Kaupapa Māori paradigm, where rangahau (gathering, grouping and forming, to create new knowledge and understanding), is grounded in a cultural perspective and Māori holistic worldview that is respectful of tikanga Māori (customs) and āhuatanga Māori (cultural practices). The case study that forms the focus of the presentation asks, “How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression”. In addressing this, the researcher is guided and upheld by five mātāpono (principles): He kanohi kitea (a face seen, is appreciated) Titiro, whakarongo, kōrero (looking, listening and speaking) Manaakitangata (sharing and hosting people, being generous) Kia tūpato (being cautious) Kāua e takahi i te mana o te tangata (avoiding trampling on the mana of participants). In connecting these principles and values that are innate within te ao Māori (Māori people and culture) the paper unpacks a distinctive approach taken to interviewing and photographing nine takatāpui tāne (Māori males whose sexuality and gender identification are non-heteronormative). These men’s narratives of experience form the cornerstone of the inquiry that has a research focus on tuakiritanga (identity) where performative expression and connectivity to Māori way of being, causes individuals to carry themselves in distinctive ways. The lived experience of being takatāpui within systems that are built to be exclusive and discriminatory is significant for such individuals as they struggle to reclaim a place of belonging within te ao Māori, re-Indigenise whakaaro (understanding), and tangatatanga (being the self). In discussing a specifically Māori approach to drawing the poetics of lived experience forward in images and text, the presentation considers cultural practices like kaitahi (sharing of food and space), kanohi ki te kanohi kōrero (face to face interviewing), and manaakitangata (hosting with respect and care). The paper then considers the implications of working with an artistic collaborator (photographer), who is not Māori and does not identify as takatāpui yet becomes part of an environment of trust and vulnerable expression. Finally, the paper discusses images surfacing from a series of photoshoots and interviews conducted between August 2021 and February 2023. Here my concern was with how a participant’s identitiy and perfomativity might be discussed when preparing for a photoshoot, and then reviewing images that had been taken. The process involved an initial interview about each person’s identitiy, then a reflection on images emanating from studio session. For the shoot, the participant initially dressed themseleves as the takatāpui tāne who ‘passed’ in the world and later as the takatāpui tāne who dwelt inside. For the researcher, the process of titiro, whakarongo, kōrero (observing, listening and recording what was spoken), resourced a subsequent creative writing exercise where works were composed from fragments of interviews. These poems along with the photographs and interviews, constituted portraits of how each person understood themself as a self-realising, proud, fluid and distinctive Māori individual.
Informes sobre el tema "Photographs: portraits"
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Visa Barbosa, M., T. Serés Seuma y J. Soto Merola. From the family portrait to the profile picture. Uses of photography in the Facebook social network. Revista Latina de Comunicación Social, abril de 2018. http://dx.doi.org/10.4185/rlcs-2018-1278en.
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GOLS for Development. Inter-American Development Bank, noviembre de 2013. http://dx.doi.org/10.18235/0006221.
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Gols for Development, an exhibition organized by the IDB Cultural Center, is a history of sport-based and cultural development. The figures of our idols and our people, portraits in art and photography, inspire us to creat an ever-more-level socioeconomic playing field.