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Artículos de revistas sobre el tema "Photography"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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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

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2

Wensing, Thomas. "LC Foto Le Corbusier Secret Photographer, Tim Benton." Architecture Image Studies 1, no. 1 (2020): 141–43. https://doi.org/10.62754/ais.v1i1.19.

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This is a review of Tim Benton's LC Foto Le Corbusier Secret Photographer (2013), an immaculately researched and well-written book which covers the development of Le Corbusier’s photographic output. Le Corbusier had an ambiguous relationship with photography throughout his career; on the one hand he relied heavily on professional photography to promote his built work and support his discourse, but on the other hand he ‘maintained that photography was a stultifying activity, good only for lazy people’. In managing this image, he never allowed himself to be photographed holding a camera, while f

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3

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 o

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4

Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'." Aesthetic Investigations 1, no. 1 (2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.

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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's phot

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5

Shamriz, Lior. "Photography of indenture." Journal of New Zealand & Pacific Studies 12, no. 1 (2024): 55–72. http://dx.doi.org/10.1386/nzps_00187_1.

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The 1882 photography book by British photographer Colonel Henry Stuart Wortley, Tahiti: A Series of Photographs, features an image of a family of service workers. Wortley, who only briefly passed through the island, refers to the couple in the photograph as his ‘servants’. This article traces the margins of the journey of Wortley, as well as that of Lady Annie Brassey, an ultra-wealthy traveller and photography enthusiast who visited Tahiti in 1876 and who contributed the letterpress to Wortley’s book. By analysing the text and images of the book and looking at the historical context of Tahiti

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6

Merlijn, Geurts. "The Atrocity of Representing Atrocity Watching Kevin Carter's Struggling Girl." Aesthetic Investigations 1, no. 1 (2015): 1–13. https://doi.org/10.5281/zenodo.4013367.

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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of C

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7

Tomaszczuk, Zbigniew. "Fotografia jako przedłużenie ciała." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (2019): 134–49. http://dx.doi.org/10.5604/01.3001.0012.9869.

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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.

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8

Tomaszczuk, Zbigniew. "PHOTOGRAPHY AS THE EXTENSION OF A BODY." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (2019): 134–47. http://dx.doi.org/10.5604/01.3001.0012.9927.

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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.

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9

Cha, Sang-Yook. "A Study on Domestic and Foreign Cases on the Copyrightability and Protection Scope of Photographic Works." Korea Copyright Commission 149 (March 31, 2025): 221–90. https://doi.org/10.30582/kdps.2025.38.1.221.

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Based on the criteria for judging the originality of photographic works presented in the Supreme Court ruling on the “Nambu Ham Case,” this article analyzed the attitudes of domestic and foreign precedents surrounding subjects of photography from the perspective of copyrightability and scope of protection, and examined the significance of individual precedents. As with the attitude of the so-called “Nambu Ham Case” Supreme Court ruling, it is interpreted that copyright protection can be obtained as a photographic work only when individuality and creativity are present after comprehensively jud

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10

Yusuf, Tan Sri Zulfikar, and Dea Rifia Bella. "Menangkap Photographic Moments di Pelelangan Ikan Muara Baru melalui Pendekatan Komposisi dan Etnografi Fotografi." JURNALISTIK DAN MEDIA 2, no. 2 (2024): 40–55. http://dx.doi.org/10.32722/jjm.v2i2.7141.

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In photography studies, composition is essential in capturing images to arrange visual elements within the photo frame. These compositions are important for communicating the message the photographer wants to convey to the audience, thus creating a dialogic communication effort. This paper uses traders at the Fish Auction in Muara Baru, Jakarta, as the subject of photography, and the resulting photos become photographic moments in photographic ethnography. By capturing photographic moments through the correct composition, this paper demonstrates that photographs can produce meaning from the mo

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11

Kanicki, Witold, and Geoffrey Batchen. "Magical Thinking: Conversation with Geoffrey Batchen." Magic, Vol. 5, no. 1 (2020): 4–9. http://dx.doi.org/10.47659/m8.004.int.

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His long-standing interest in the history of early photography makes Geoffrey Batchen the appropriate speaker to discuss the question of photographic magic. Therefore, our conversation oscillates between magic and realism, but also other antonyms within the medium: negative and positive, analogue and digital. Taking in consideration all these oppositional notions, Batchen suggests that theoreticians “need to acknowledge and embrace photography’s abstractions and contradictions”. Different contradictions within photography’s theory and history became pivotal in our conversation. We also discuss

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12

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

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13

Qasmiyeh, Yousif M., and Saiful Huq Omi. "Photography as Archive." Migration and Society 4, no. 1 (2021): 195–202. http://dx.doi.org/10.3167/arms.2021.040118.

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In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, fina

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14

Markiewicz, Małgorzata. "„Takie jak w rzeczywistości”. Obraz fotograficzny - obiektywne odwzorowanie czy subiektywna kreacja? Fotografia w badaniach archeologicznych." Folia Praehistorica Posnaniensia 28 (December 27, 2023): 207–30. http://dx.doi.org/10.14746/fpp.2023.28.09.

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The article reviews the current state of knowledge on photography and the use of photographs in archaeological research. The discovery of photography was a breakthrough in the history of archaeology. The mechanical method of image registration, considered to be devoid of subjective human intervention, was supposed to guarantee the neutrality and objectivity of the visual representation. Belief in realism of photography has led to it becoming the primary form of documentation in archaeology, for both the research process and the relics themselves. This article will attempt to answer the questio

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15

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 i

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16

Borshch, V., O. Yakymovych, O. Shabanova, and L. Zozulia. "PECULIARITIES OF PHOTOFIXATION DURING TESTS." Наукові праці Державного науково-дослідного інституту випробувань і сертифікації озброєння та військової техніки 24, no. 2 (2025): 36–45. https://doi.org/10.37701/dndivsovt.24.2025.05.

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The article investigates the peculiarities of photofixation during tests on the example of testing remotely operated humanitarian demining vehicles. In the course of the study, the author analyzes photography during tests, considers methods of scientific and technical photography during research, and identifies some features of photographic recording in accordance with the classes of humanitarian demining vehicles. To ensure the research process, there are a number of methods of scientific and technical photography: survey photography, nodal photography, orientation photography, large-scale (m

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17

Huen, Antony. "Photographs, Photography and the Photographer." Wasafiri 34, no. 3 (2019): 59–63. http://dx.doi.org/10.1080/02690055.2019.1613016.

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Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, no. 5 (2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.

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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two

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19

von Brevern, Jan. "Fototopografia: The “Futures Past” of Surveying." reproduire, no. 17 (September 8, 2011): 53–67. http://dx.doi.org/10.7202/1005748ar.

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This article examines a particular problem in the early history of photographic land surveying: the unwavering desire to use photography to capture accurate topographical information for map-making, even in light of practical difficulties. It considers how both the practical survey work and the status of photography changed when, instead of the landscape itself, photographs were measured. Photography’s promise to simplify strenuous fieldwork was almost as old as photography itself—but in practice, it took decades of experimenting until the process was feasible.

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20

Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.

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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in whi

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21

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 researc

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Carville, Justin. "‘This postcard album will tell my name, when I am quite forgotten’: Cultural Memory and First World War Soldier Photograph Albums." Modernist Cultures 13, no. 3 (2018): 417–44. http://dx.doi.org/10.3366/mod.2018.0220.

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Since the Crimean and American Civil Wars in the nineteenth century, photography has allowed societies to experience war through the collective understanding of photographic representation as an inscription or mnemonic cue for recollections of past events. However, the First World War ushered in new vernacular cultural practices of photography which radically altered how both war was represented and experienced through photography. This shift, in turn, engendered new private and domestic forms of post-war remembrance through the photographic image. Kodak's marketing of the Vest Pocket Autograp

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M.M.Tan, Ellyana. "An Overview: Visual Communication in Photography as Healing Therapy." Silpa Bhirasri (Journal of fine arts) 8, no. 1-2 (2020): 302–16. https://doi.org/10.69598/sbjfa240919.

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The study explores the use of visual communication interpretation in visual studies focused mainly on photography images as persuasion on Therapeutic Photography. The context of the study involves examining the photograph as a factor that contributes to the sustainability of visual communication in photography practice. The discussion examines the visual significance and understanding of image data using visuals and analysing the value of photographic images for self-healing therapy. The study discusses; firstly, the value of visual communication, secondly, on visual studies in photo-imagery p

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Feldmann, Rodney M. "Photographic procedures." Paleontological Society Special Publications 4 (1989): 336–41. http://dx.doi.org/10.1017/s2475262200005311.

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Preparation of appropriate photographs is absolutely essential in conveying paleontological information. The effort expended in adequate cleaning and preparation of specimens is not only reflected in exposing the detail of material so that it can be properly described but also in permitting the morphologic information to be transmitted to others through photography. Therefore the purpose of this chapter is to describe the general procedures involved in preparing high quality, publishable photographs because special techniques related to photography of microfossils will be treated elsewhere, th

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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 th

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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (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.

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Prasetyo, Martinus Eko, and Imamul Masyhudi. "Visual Aesthetics Semiotics Roland Barthes Photography Journalistic Works Phenomenal World." IMAGIONARY 3, no. 1 (2024): 27–39. http://dx.doi.org/10.51353/jim.v3i1.961.

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Documentary photography as a medium of conveying information and documentation can document reality and tell important stories with integrity and honesty. Where journalistic photography will continue to be a powerful tool in reporting the truth and influencing social change, giving us a window into a wider and more diverse world. This research visually analyzes the phenomenal works of world photography from the aesthetic side with Roland Barthes' semiotic approach. It tells that aesthetically the photograph is an embodiment of visual beauty immortalized by the photographer not only by chance i

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Battin, Justin Michael. "Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context." Review of International American Studies 15, no. 2 (2022): 49–70. http://dx.doi.org/10.31261/rias.14868.

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In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explore

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Trnková, Petra. "Josef Schulz, architektura a fotografie." Acta Musei Nationalis Pragae – Historia 78, no. 3-4 (2025): 51–67. https://doi.org/10.37520/amnph.2024.016.

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The study traces architect Josef Schulz’s early theoretical and practical interest in photography against the background of the dynamically developing field of architectural photography in the first half of the 1860s. The first part presents Schulz’s earliest known photographic works from the time of his studies at the Prague Polytechnic, when he became familiar with the demanding wet collodion process and tested his photographic skills in his immediate surroundings. The next two parts shed light on the broader integration of photography into architectural work in the Austrian Empire in the 18

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Foliard, Daniel. "Photography as Absence: Implicit Histories (Africa, Late Nineteenth and Early Twentieth Centuries)." Sources 6 (2023): 65–84. http://dx.doi.org/10.4000/11tb8.

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Photographic material can sometimes pose an overwhelming and distorting presence, especially when it comes to the writing of history. Some of the first visual recordings of African social worlds via photography would long serve as a model for images of the continent. This phenomenon has only been reinforced by recirculations of images from the late nineteenth and early twentieth centuries. Intended as a counterpoint, this article will contemplate a paradoxical history of photography by considering it based not on its presence but on its very absence. A work of history supported by photographic

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McQuirter, Marya. "yes. still. movement." liquid blackness 7, no. 2 (2023): 102–9. http://dx.doi.org/10.1215/26923874-10658346.

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Abstract How does one attempt to look at a photograph that is not attached to an institutional archive and for which there is no known historical data? How does one attempt to look when all you have is the photographic object? Focusing on a circa 1893 tintype of a couple of bicyclists taken at an indoor photography studio, this essay offers a set of reading practices that position photographic subjects as coproducers with the photographer and argues for stillness as a form of movement, rather than the suspension of movement. Conceived this way, this stillness illuminates the connections betwee

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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.

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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the dire

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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, photog

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Tarasenko, L. L. "Photographic work as an object of copyright." Uzhhorod National University Herald. Series: Law 1, no. 87 (2025): 299–304. https://doi.org/10.24144/2307-3322.2025.87.1.44.

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The article considers certain problematic aspects of the legal regime of photographic works under the legislation of Ukraine. It has been established that the Law of Ukraine “On Copyright and Related Rights” pays insufficient attention to photographic works as objects of copyright. It has been proved that it is advisable to systematize the legislative provisions on photographic works into a separate article in the Law of Ukraine “On Copyright and Related Rights”, which will allow for a comprehensive definition of the legal regime of a photographic work, the grounds for acquisition and the feat

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Chervonik, Olena, and Geoffrey Batchen. "Negative Thinking - A History of the Photographic Negative as a Repressed Other: Conversation with Geoffrey Batchen." Master, Vol. 5, no. 2 (2020): 106–10. http://dx.doi.org/10.47659/m9.106.int.

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Olena Chervonik talks with Geoffrey Batchen about his two most recent publications: Apparitions: Photography and Dissemination, that reached bookshelves in 2018, and Negative/Positive: A History of Photography, slated for release later in 2020. The conversation revolves around the photographic condition of reproducibility, repetition and difference, embedded in the medium from the time of its inception. While Apparitions explores photography’s relation to various newsprint outlets of the nineteenth century, Negative/Positive traces a comprehensive history of the medium’s propensity for multipl

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Castillo, Richmond M., Grace Y. Kim, Kirk D. Wyatt, Christine M. Lohse, and Thomas R. Hellmich. "Use of an EHR-Integrated Point-of-Care Mobile Medical Photography Application in a Pediatric Emergency Department." Applied Clinical Informatics 10, no. 05 (2019): 888–97. http://dx.doi.org/10.1055/s-0039-1700870.

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Abstract Background Mobile applications allow health care providers to capture point-of-care medical photographs and transfer them to the electronic health record (EHR). It is unclear how providers use these photographs or how they affect clinical care. Objectives We aimed to understand the content, purpose, and outcomes of point-of-care medical photography performed in the pediatric emergency department (ED) at large academic medical center. Methods A retrospective chart review was conducted of patients <21 years of age who were seen in the ED and photographed between March 29, 2015 and Ju

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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 undevelop

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Malkoff, Nicolas, Brigette Cannata, Artur Manasyan, et al. "757 Focusing the Lens on Burn Wound Photography: An Institutional Assessment." Journal of Burn Care & Research 45, Supplement_1 (2024): 232. http://dx.doi.org/10.1093/jbcr/irae036.299.

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Abstract Introduction Wound photography plays a critical role in burn care. In addition to written descriptions, photographs document wound changes and inform management decisions. Furthermore, photographs may be utilized for academic purposes such as teaching and research. With the development of smartphones, clinical photography has become faster and easier but has seen a decline in consistency and overall image quality. This study aims to evaluate the quality of burn wound photography at our institution to identify areas for improvement and inform efforts to develop a standardized photograp

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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 o

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Slevin, Tom. "The Zone of Photography: Magic, Ghosts and Haecceity." Arts 12, no. 4 (2023): 157. http://dx.doi.org/10.3390/arts12040157.

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Photography evidences presence, but what does it present? This article explores the notion of magic in photography through Deleuze and Guattari’s concept of ‘haecceity’, Jacques Derrida’s logic of the ‘supplement’ and Jean-François Lyotard’s ‘inhuman’. The sections ‘The Zone of Photography’, ‘Ghosts in/of the Machine’, ‘The Crypt and Encryption’, ‘Affect-Event-Haecceity’ and ‘Magic, Consumerism, Desire’ consider how photography provides a ‘zone’ that encrypts the desires of its photographer and viewer. A photograph, in its various forms and appearances, from scientific instrument to personal d

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Yavuz, Ozan. "Temporality and Spatiality in In-game Photography." AM Journal of Art and Media Studies, no. 33 (April 15, 2024): 97–115. http://dx.doi.org/10.25038/am.v0i28.591.

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This study delves into the intricate relationship between temporality and spatiality within the realm of in-game photography, aiming to dissect its unique methodology and uncover its vast potential. While in-game photography shares fundamental elements of temporality and spatiality with classical photography, it carves out a distinct niche by virtue of its association with virtual environments. Temporal considerations reveal commonalities between in-game and classical photography, as both capture specific moments in time, akin to the concept of the decisive moment. However, the arresting of te

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Soyref, Polina G. "The Test of Photography." Koinon 3, no. 2 (2022): 86–105. http://dx.doi.org/10.15826/koinon.2022.03.2.018.

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This article aims to substantiate the interpretation of photography as a tool, artifact, and practice using the concept of test. The concept of test is chosen due to its complex semantic and functional meanings: to test is to check for durability, to find the truth; to be tested is to gain experience. In line with the double meaning o the genitive — we test the photograph, and the photograph tests us — (mutual, bidirectional testing), the article introduces the following headings: “The Test of Strength”, “The Test of the Viewer”, “The Test of the Gaze”, “Body Experience: Tested by the Gaze”, “

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Wilson, Dawn M. "Invisible Images and Indeterminacy: Why We Need a Multi-stage Account of Photography." Journal of Aesthetics and Art Criticism 79, no. 2 (2021): 161–74. http://dx.doi.org/10.1093/jaac/kpab005.

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Abstract Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate “latent” photographic images as a technic

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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 terha

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Narušytė, Agnė. "Swimming in the desert of time: photography transformed by the flow of digital images and Akvilė Anglickaitė’s installation "Ocean"." SPHAIROS 13 (2022): 167–85. https://doi.org/10.53630/sphairos.2022.6.

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The premise of this article is Paul Virilio’s concept of a “temporal catastrophe” where space is cancelled by the “dromospherical time of light” in the world of real time media. When digital technologies and the internet have speeded up communication and cancelled distances, this is no longer just a dystopian fantasy. The fake reality of the digital world may be convincing not least because of its basis in photography - still or moving. Roland Barthes claims that this medium is founded on the “myth” that what is photographed is real, natural, and objective, while it is also imaginary and subje

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Blos-Jáni, Melinda. "The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) From Cluj." Studia Universitatis Babeș-Bolyai Historia Artium 68 (December 30, 2023): 141–64. http://dx.doi.org/10.24193/subbhistart.2023.06.

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The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) from Cluj. Lajos Orbán was an amateur photographer, whose main body of work was produced starting from the 1920s when he became the employee of a local shop specialized in photographic equipment and member in local photographic societies, e.g. the Tessar Bowling Society. His photographs were displayed at international photo exhibitions, but he was organising regional photo contests and exhibitions as well. His photographs show the influence of the pictorialist photography, but traces o

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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.

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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed th

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AGUIAR, JONAS JOSÉ MENDES, JEAN CARLOS SANTOS, and MARIA VIRGINIA URSO-GUIMARÃES. "On the use of photography in science and taxonomy: how images can provide a basis for their own authentication." Bionomina 12, no. 1 (2017): 44–47. http://dx.doi.org/10.11646/bionomina.12.1.4.

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Photography has, since its inception, significantly contributed as a tool to many areas of scientific research and consequently, has been able to achieve a high level of prestige in the scientific field. In recent years, there has been an increasing debate within the scientific community regarding the need for the deposition of type specimens when describing new species. Recently, Marshall & Evenhuis (2015) described a new species of Diptera, based exclusively on a few photographs. Even if one withholds judgement about whether the photographs used present sufficient characteristics for the

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Kephart, Richard E. "Photographic Standards in Rhinoplasty." American Journal of Cosmetic Surgery 12, no. 1 (1995): 71–74. http://dx.doi.org/10.1177/074880689501200113.

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The difference between photography in general and photographic documentation is explored as a possible reason why standardized photographic documentation has been so elusive to cosmetic surgeons. Photographic documentation must employ the scientific experimental procedure wherein all of the elements that can affect the outcome of a photograph are held constant so that the one change, that performed by the surgeon, can be studied. The adaptive nature of off-the-shelf cameras and lighting, targeted to the amateur photographer, defeats the principles of scientific documentation. Simple modificati

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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

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