Littérature scientifique sur le sujet « Photography / Photo Essays »
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Articles de revues sur le sujet "Photography / Photo Essays"
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Nugroho, Oki Cahyo, et Deny Wahyu Tricana. « REYOG OBYOGAN IN PHOTO ESSAY ». Capture : Jurnal Seni Media Rekam 11, no 1 (2 août 2019) : 1–16. http://dx.doi.org/10.33153/capture.v11i1.2247.
Texte intégralRésumé :
Reyog is one of the traditional arts that shows a richness of Indonesian culture. This art is unique and interesting to be realized in the form of visual works and meaningful, especially the art of photography. Photography has an important role as a medium for delivering information in the form of images, moreover images are a universal language. This research uses the method of creation with stages, namely observation, exploration, selection, and correction as well as analysis and presentation of data in order to uncover the phenomena that occur in Reyog Ponorogo. The results of this study indicate that 1) the shooting of an essay about performance of reyog obyogan Ponorogo's typical requires adequate photographic technical mastery; 2) the use of digital processing can support the visualization of photos essays of reyog obyogan; and 3) the mastery of technical shooting and digital processing is able to portray the characteristics of the reyog obyogan that are distinctive and full of traditional aesthetic values.
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Cabañes, Jason Vincent A. « Telling migrant stories in collaborative photography research : Photographic practices and the mediation of migrant voices ». International Journal of Cultural Studies 21, no 6 (5 octobre 2017) : 643–60. http://dx.doi.org/10.1177/1367877917733542.
Texte intégralRésumé :
This article examines how photographic practices in collaborative research might mediate migrant voices. It looks at the case of Shutter Stories, a collaborative photography project featuring images by Indian and Korean migrants in Manila, the Philippines. Drawing on life-story interviews and participant observation data, I identify two ways that the photographic selection practices in the project mediated the migrants’ photo essays. One is how subject selection practices led the participants to use both strategic and ‘medium’ essentialism in choosing their topics. The second is how technique selection practices enabled the participants to express vernacular creativity in crafting their images. I argue that the mediation instantiated by Shutter Stories fostered the participants’ ability to use photo essays to articulate voices that simultaneously conveyed their personal stories and engaged the viewing public. However, I also identify the limits of this mediation, indicating how future projects can better enable migrant voices.
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Crowder, Jerome W., et Elizabeth Cartwright. « Thinking through the Photo Essay : Observations for Medical Anthropology ». Medicine Anthropology Theory 8, no 1 (14 avril 2021) : 1–13. http://dx.doi.org/10.17157/mat.8.1.5110.
Texte intégralRésumé :
As photography becomes more prevalent in ethnographic research, scholars should more seriously consider the photo essay as a medium for sharing their work. In this Position Piece, we present guidelines for the creation of ethnographic photo essays for medical anthropology that do not simply combine image and text, but create a balance that allows words to provide context for the image(s) and images to reinforce or challenge the text. We feel there are three basic elements every photo essay must consider that are informed by the theory and practice of visual anthropology. While a solid background in visual anthropology is not necessary to produce a successful photo essay, being mindful of these three elements in relation to your work will help you develop a photo essay that combines the best of what both media offer your audience.
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Sett, Alisha. « Photo Circle : A Short History of the Nepal Picture Library ». Cabinet, Vol. 2, no. 2 (2017) : 56–69. http://dx.doi.org/10.47659/m3.056.art.
Texte intégralRésumé :
This is a short history of the Nepal Picture Library (NPL), Nepal’s first large-scale digital photo archive encompassing over 50,000 photographs collected in less than a decade. It is a rare institution; a catalogued visual resource open to the public with scores of intimate family collections, the historic and the mundane captured over decades by photojournalists, and portraits made in photo studios across the country. The essay provides insight into the strength, scope and potential of this community-created archive. Founded and managed by Photo Circle, a platform for photography in Kathmandu, NPL has published books, done several exhibitions in museums and public spaces across Nepal, and exhibited their collections internationally. Tracing the origins and the impact of NPL through a series of interviews, the essays reveals not only the transformative power of their methods of public engagement but also the deep concern for visual culture fostered in their volunteers particularly among photographers serving as amateur archivists. Keywords: archive, Kathmandu, Nepal, oral history, public history
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Snyder, Robert E. « Margaret Bourke-White and the Communist Witch Hunt ». Journal of American Studies 19, no 1 (avril 1985) : 5–25. http://dx.doi.org/10.1017/s0021875800020028.
Texte intégralRésumé :
Margaret Bourke-White (1904–1971) has been called “the most famous woman photographer” and “the finest woman photographer of our times.” Indeed, in a photographic career that spanned nearly five decades, Bourke-White demonstrated great professional versatility, registered many photographic firsts, and in a male-dominated field set standards by which others were measured. During the 1920s, Bourke-White carved out her first reputation in architectural and industrial photography. Her pictures of steel mills, shipyards, packing houses, logging camps, quarries, auto plants, skyscrapers, banks, and terminals captured the atmosphere of the industry and the dynamics of the capitalist system. Her industrial photography was of such outstanding quality that, as one critic observed, it “transformed the American factory into a Gothic cathedral.”Henry Luce was so impressed by her early work that he hired her as the first photographer for his business magazine Fortune. Under a unique arrangement she was allowed six months out of the year to pursue her own private studio practice for advertising agencies and corporations. When Henry Luce added the pictorial magazine Life to his growing publishing empire in the 1930s, he selected Margaret Bourke-White to become one of the four original staff photographers. At Life she established the tradition of negatives printed full frame and proved by black borders, and pioneered the synchronized multiple flash picture. Bourke-White revealed the range of her photographic talents in photo essays, murals, and documentary travelogues. “As a result of her twelve- and fourteen-page essays,” Carl Mydans noted, “her monumental work became known throughout the world — beyond that of any other photographer.”
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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 (2 décembre 2018) : 461–75. http://dx.doi.org/10.1177/1363459318815933.
Texte intégralRésumé :
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 photographic projects by photographers/mothers that document their ill and dying daughters – Lesley McIntyre’s photographic essay The Time of Her Life (2004) and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light (2009). Illness in these projects is not experienced in isolation. Instead, the photographs and accompanying texts provide a space to engage in a dialogue which is built on the interdependency of all the participants of the photographic act – the photographer, the subject of the photograph and the viewer. My aim is to question how these projects construct experiences and articulate private expressions of illness and how the photographs enhance and/or challenge the mother–daughter bond. Alan Radley’s critical analysis of representations of illness, Emmanuel Lévinas’s and Maurice Blanchot’s perspectives on ethical philosophy and visual social semiotics approach developed by Kress and Van Leeuwen provide a guiding framework for this study.
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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 (août 2018) : 417–44. http://dx.doi.org/10.3366/mod.2018.0220.
Texte intégralRésumé :
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 Autographic Camera which became known as the ‘Soldier's Camera’, allowed soldiers on the battle front and their families on the home front to experience the war and the formation of post-war memory outside of the iconic images of military heroes and battlefield conflict. Vernacular photography allowed for intimate portrayals of everyday soldier life to be visually displayed in private arrangements of photographs in photo-albums compiled by soldiers and their families as forms of post-war remembrance. Discussing photograph albums compiled by Irish soldiers and nurses, this essay explores the place of vernacular photography in personal commemorative acts by soldiers and nurses in the aftermath of the First World War. By treating vernacular soldier photographs of World War I as social objects that allow relationships to be formed and maintained across time, the essay argues that the materiality of the photograph as image-object can be explored to consider how the exchange, circulation and consumption of photographs allow for the accumulating and expending of histories and memories of the First World War and its aftermath.
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Tanyushina, Alexandra Alexandrovna. « German Dada photomontage as art of the “real” : on the path towards “new realism” ». Культура и искусство, no 6 (juin 2020) : 47–59. http://dx.doi.org/10.7256/2454-0625.2020.6.31742.
Texte intégralRésumé :
The subject of this research is such artistic practiced of German Dadaism as photography and photomontage. Relevance of this topic is associated not just with the growing interest of art historians, cultural critics and writers to the culture of Weimar Germany, but also active study by modern scholars of the peculiarities of functioning of the various visual practices, which emergence is substantiated by constant shift and mutual integration of different artistic mediums, among which special place belongs to photography and related photo techniques. Research methodology is of complex nature and suggests the uniformity of cultural-analytical, philosophical-anthropological and historiographical methods through studying primary sources, which include literary texts, essays and manifests of the key representative of German Dadaism. The author concludes on substantial role of the category of “real” in ideological-semantic component of the movement in question, appeal to which justified usage of photomontage technique by the Dadaists. The result of this research lies in determination of the fundamental philosophical-methodological and ideological-semantic aspect of photomontage practices of German Dadaists. The article briefly indicates the vectors of further development of Dada photomontage in Weimar Germany. The acquired results may serve as a pivotal point for future research in the area of Dada art, German art of “new realism” presented in the works of artists of the “new corporeity” and “magic realism”, as well as subsequent art movements of the XX century, characterized by the use of photographic and photomontage techniques.
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Gonzales-Day, Ken. « Analytical Photography : Portraiture, from the Index to the Epidermis ». Leonardo 35, no 1 (février 2002) : 23–30. http://dx.doi.org/10.1162/002409402753689272.
Texte intégralRésumé :
The current abundance of scholarship concerning the technological development of photography has coexisted with a proportionate absence of recent critical analysis of photographic images. Given photography's long-standing embrace of technological advances, even predating the portable camera or roll film, this article revisits some early uses of scientific photography in order to clarify the impact of digital technology on contempo-rary photographic practice. The author uses scientific photogra-phy and photographic archives as the groundwork for photo-graphic experiments into what might be called analytical photography. The essay con-cludes with a reconsideration of the photographic portrait.
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Kobylińska-Bunsch, Weronika. « Opowieść ze „Stolicą” w tle. Odkrywanie fotograficznego obrazu powojennej Warszawy ». Załącznik Kulturoznawczy, no 8 (2021) : 573–86. http://dx.doi.org/10.21697/zk.2021.8.29.
Texte intégralRésumé :
This photo essay is based on a poetic narrative about Polish post-war photography, which was published in 1946 in the Stolica [The Capital] magazine. The text presents in a detailed way authentic, archival photographs presented originally in this journal. Therefore, the article displays a varied range of photographic compositions created both by famous and unknown photographers. The specific structure of this photo essay was inspired by one of the short novels written by Julio Cortázar, where narrative escaped temporal linearity.
Thèses sur le sujet "Photography / Photo Essays"
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Cavallini, Denise Meirelles. « Adentro ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-05032013-104440/.
Texte intégralRésumé :
A pesquisa inicialmente intitulada: \"Retratos da Serra da Canastra\", teve como proposta a realização de um ensaio fotográfico autoral. Com o intuito de promover a reflexão sobre a construção do livro de autor e sobre os processos de edição da produção artística em suas finalidades específicas, o resultado previsto foi a criação de um livro e a realização de uma exposição.Originally titled as \"Portraits of the Serra da Canastra\", the research looked to do a photographic essay. Aiming to promote reflection on the construction of an artist\'s book and about edition processes of artistic production in their specific purposes, the expected result was the creation of a book and perform an exhibition.
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Mace, Alain. « Essai de photo-interprétation a l'échelle parcellaire, appliqué au drainage agricole ». Dijon, 1985. http://www.theses.fr/1985DIJOS063.
Texte intégralRésumé :
Le sol est à la fois un support physique des végétaux et un milieu de stockage de l'eau et des éléments nutritifs. Il est le siège de mouvements des fluides qui sont fortement influencés par l'état structural. Dans les terres cultivées, l'optimisation de la production agricole s'obtient par la mise en œuvre de diverses techniques. L'une d'elle, le drainage est destiné à améliorer l'état hydrique et l'aération par évacuation des eaux excédentaires saisonnières ou permanentes. L'interprétation de photographies aériennes fournit plusieurs paramètres utiles, voire indispensables, pour adapter à la parcelle des réseaux de drainage
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Gadelha, Camila de Paz. « Todas as casas em mim ». Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01122015-100634/.
Texte intégralRésumé :
O ensaio Todas as casas em mim investiga a relação entre os espaços da casa e o fazer fotográfico, corpo de 20 imagens produzidas em sistema digital entre 2010 e 2014.The essay every home of myself investigate the relation between the spaces of home and the practice of photography, body of 20 images produced in digital system between 2010 and 2014.
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Kim, Lynn. « Body Language ». The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587494555861933.
Texte intégral
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Le, Maître Barbara. « L'ensemble visuel et l'idée de manque : un essai sur la relation entre film et photo ». Paris 3, 1999. http://www.theses.fr/1999PA030108.
Texte intégralRésumé :
Quelquefois, les images filmiques et photographiques confluent, puis s'imbriquent pour former des representations composites. L'ensemble visuel est le nom que je leur donne. Comment s'effectue la rencontre entre ces images ? que produit leur confrontation ? comment comprendre leur relation ? je note d'abord ceci, que la confluence opere entre des images qui sont aussi bien des empreintes. Je noteencore que l'ensemble visuel s'offre comme une representation fracturee, litteralement ecartelee entre film et photo. De la que cet ensemble fonde deux problemes theoriques, dont le premier engage la comprehension de l'image-empreinte, et le second, celle de l'agencement entre les differents morceaux du tissu representatif. Il se trouve que la pensee freudienne place l'empreinte au coeur de la mecanique du desir et suggere un modele pour comprendre la maniere selon laquelle une simple trace se fait image. A partir des reflexions de freud, j'ai tente de montrer que les empreintes filmiques et photographiques ne constituent pas uniquement des objets visuels, mais encore de veritables instruments d'un travail psychique. Autrement dit, il y a un rapport tout a fait privilegie entre l'empreinte et le desir, entre le travail de l'image et le manque, rapport qu'il s'agit d'expliciter. Les analyses d'oeuvres de robert frank, de chris marker, d'agnes varda, de johan van der keuken, d'autres encore, sont autant d'occasions d'examiner les differentes manieres selon lesquelles l'image exhibe quelque chose du desir, quelque chose qui trouve la, non seulement a s'organiser visuellement, mais encore a s'accomplir.
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Vicente, Carlos Edmundo Fadon. « Entre-realidades : obra artística de Carlos Fadon Vicente em fotografia e seus desdobramentos no período 1975-2015 ». Doctoral thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/23223.
Texte intégralRésumé :
Entre-realidades. Obra artística de Carlos Fadon Vicente em fotografia e seus
desdobramentos no período 1975–2015.
Estudo crítico da obra artística de Carlos Fadon Vicente em fotografia e suas
ramificações, criada no período entre 1975 e 2015, conduzido pelo próprio autor de maneira
retrospectiva. O conjunto da sua produção é revisto, acompanhado de documentação
compreendendo a análise de obras significativas e das ideias, em imagens e em palavras,
indutoras e derivadas de sua produção imagética.
São abordadas as características centrais do processo de criação e de pesquisa em
fotografia, sua dinâmica e temática; apresentados seus elementos-chave; explicitadas as
questões conceituais e, sobretudo, estéticas que fundamentam e perpassam as obras. Nos
desdobramentos são consideradas as realizações em media art (hipermídia, imagem digital,
telecomunicações) e com outros meios (artes visuais, audiovisual, televisão), bem como
destacadas as interligações no conjunto da obra e as relações com a representação
fotográfica.
Como informações de referência têm-se a cronologia e o resumo das obras
organizados por meio de expressão, a seleção de textos do autor e da fortuna crítica, e a
biografia. Em adição, um extenso dossiê de obras e imagens é oferecido em formato digital,
expandindo o conteúdo da tese em papel; Abstract:
In-between realities. Carlos Fadon Vicente's art photography and its ramifications from
1975 to 2015.
The author develops a critical analysis of his art photography and its ramifications from
1975 to 2015. The most significant works from this period are examined and documented.
The dissertation also examines the main characteristics of the author’s creation and
production processes, along with their dynamics and subject matter.
The author focuses on the imagery and ideas that inform his production, as well as on
further developments prompted by his photography. The ramifications comprise the author’s
body of work in electronic art/media art (digital imaging, hypermedia, telecommunications art)
and in other media (visual arts, audiovisual production, television). The dissertation
emphasizes the interconnectedness of the author’s art photography with his electronic art
and with the question of photographic representation.
A chronology of the author's artwork organized by means of expression, a selection of
the author's writings, selected essays about the author’s work, and a biographical profile are
included as background information. As a supplement, a broad range of works and images
are provided in digital format, stepping up the contents of the printed thesis.
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Campaneli, Juliana Okuda. « A fotografia documental no museu de arte : dissonâncias e consonâncias ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-04042013-092536/.
Texte intégralRésumé :
Essa dissertação tem como objetivo principal identificar os mecanismos envolvidos na inserção da fotografia documental em museus de arte, durante a década de 1970, na cidade de São Paulo. São apresentados três estudos de caso sobre exposições fotográficas, de caráter temático, realizadas nesse período: A família Brasileira, realizada no Museu de Arte de São Paulo, em 1971; Xingu/Terra, parte integrante da 13ª Bienal Internacional de São Paulo, em 1975; e Bom retiro e luz: um roteiro, na Pinacoteca do Estado de São Paulo, em 1976. A análise dos formatos das mostras e dos processos envolvidos em sua realização revelam dissonâncias e consonâncias entre os objetivos e interesses de seus proponentes e/ou realizadores. As exposições também são investigadas do ponto de vista das relações políticas da época, pois há a intenção de identificar as funções sociais adquiridas pela fotografia em seu processo de institucionalização.This dissertation aims to identify the main mechanisms involved in the inclusion of documentary photography in art museums during the 1970s, in São Paulo. It presents three case studies about thematic and essay format photo exhibitions, accomplished at this period: A família brasileira, held at the Museu de Arte de Sao Paulo, in 1971; Xingu/Terra, part of the 13th Bienal International São Paulo, in 1975, and Bom retiro e luz: um roteiro in the Pinacoteca do Estado de Sao Paulo, in 1976. The analysis about the exhibitions formats and processes involved in their realization reveals dissonances and consonances between the purposes and interests of their proponents and/or directors. The exhibitions are also investigated from the standpoint of political relations of the time, because the intention is to identify the social functions of photography acquired in the process of its institutionalization.
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Dumas-Côté, Clémence. « L’écrit comme présence ? Cinq photos à te montrer (récits poétiques), suivi de Qui est là ? La présence chez Sophie Calle (essai) ». Mémoire, Université de Sherbrooke, 2017. http://hdl.handle.net/11143/10475.
Texte intégralRésumé :
Ce mémoire se décline en trois parties. La première en est une de création où se succèdent cinq nouvelles mettant en scène des personnages en quête de leur propre présence. Dans chacune des courtes histoires présentées, la photographie prend une place centrale quant à l’incarnation de cette recherche. Suit une partie théorique portant sur la présence dans trois œuvres photo-textuelles de Sophie Calle. À leur lecture, une impression de présence émane. De quoi s’agit-il, exactement? Comment cela fonctionne-t-il? Et à quel point cette matière est-elle malléable? Cette analyse tente de répondre à ces questions en s’intéressant aux rapports entre texte et photographie dans À suivre, Gotham Handbook et Des histoires vraies, et ce, à la lumière des écrits de Roland Barthes, de Georges Didi-Huberman et de Johnnie Gratton. Puis, une réflexion sur l’écriture s’ouvre sur l’idée de l’expérience comme manière d’embrasser la présence. Je propose une poétique du corps de l’écrivain qui cherche des états de présence au monde en fréquentant des magasins de vêtements de seconde main. J’ouvre ainsi mon atelier en présentant un micro-cycle de création comportant des procédés d’épuisement des sens et menant ultimement à une expression de la sensibilité à l’expérience, si cruciale dans mon processus personnel.
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Pacheco, Ana Cristina Rebelo. « Fotografia de ativismo ambiental : O valor de ensaio fotográfico da série Plastic Trees (2014) de Eduardo Leal ». Master's thesis, 2020. http://hdl.handle.net/10071/21013.
Texte intégralRésumé :
A presente crise ambiental incentivou uma vaga de ações criativas cujas obras, pela presença de uma narrativa de protesto, adquirem uma natureza ativista. Alicerçada no campo da Cultura Visual, esta pesquisa pretende identificar as possibilidades do ensaio fotográfico enquanto elemento de discurso de protesto ambiental, estabelecendo como objeto de estudo a série Plastic Trees (2014) do fotógrafo português Eduardo Leal (Porto, 1980), um retrato da poluição no Altiplano Boliviano.
No primeiro capítulo, integra-se o surgimento do conceito de fotografia ambiental na Cultura Visual e nos fatores que levaram ao aparecimento do Ambientalismo enquanto movimento cultural, e averigua-se a forma como as preocupações ambientais foram retratadas na fotografia, desde as primeiras manifestações ambientalistas à emergência do movimento ambientalista contemporâneo originário na década de 60. Segue-se uma perspetiva histórica da utilização da fotografia como prática de ativismo. Defende-se a importância da documentação visual como estímulo para a discussão dos problemas no espaço público, demonstrando o peso que a fotografia desempenhou no despertar da consciência ambiental.
Num segundo momento, faz-se uma análise da série fotográfica Plastic Trees, à qual é atribuída o valor de ensaio fotográfico, por reunir um conjunto de qualidades intrínsecas ao género. Identificam-se os elementos das imagens que formam a sua retórica visual e que as capacitam enquanto ferramentas de ativismo ambiental, e reconhece-se como principal fator de sucesso da missão destas imagens, a opção por uma estética do sublime tóxico, ou esteticização da poluição, enquanto abordagem experimental e alternativa aos meios convencionais de denúncia.The current environmental crisis held to a wave of creative actions, whose works, through the presence of a narrative of protest, earns activist outlines. Rooted in the visual culture field, this research aims to identify the possibilities of the photoessay as an element of environment protest discourse, establishing as object of study, the photoessay Plastic Trees (2014) by photographer Eduardo Leal (Porto, 1980), a portrait of pollution in the Bolivian Altiplano. The first chapter integrates the rise of the environmental photography concept in Visual Culture and the factors that led to the emergence of Environmentalism as a cultural movement. It also investigates how environmental concerns were portrayed in photography, since the first environmentalist manifestations, to the emergence of the contemporary environmental movement originating in the 60s. A historical perspective follows on the use of photography as a practice of activism. The importance of visual documentation is defended as a stimulus for discussing problems in public space, demonstrating the importance photography played in the awakening of environmental awareness. In a second step, the dissertation analyzes the photographic series Plastic Trees, which is attributed the value of a photo essay. The elements of the images that form their visual rhetoric and that enable them as tools of environmental activism are identified, and the option for an aesthetic of the toxic sublime, or aestheticization of pollution, is recognized as the main success factor of the mission of these images. , as an experimental and alternative approach to conventional means of reporting.
Livres sur le sujet "Photography / Photo Essays"
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Tarnished silver : After the photo boom : essays and lectures, 1979-1989. New York : Midmarch Arts Press, 1996.
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Marcou, David J. The people book : Photo-essays and montages in monochrome. Kalamazoo, Mich : Speranza, 2004.
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John, Robaton, dir. Photo-journalism basics : An introduction to photography for publication. Ipswich, Mass : Upper River Press, 1994.
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1913-, Gernsheim Helmut, Sui Claude W, Wieczorek Alfried et Forum Internationale Photographie, dir. Helmut Gernsheim : Pionier der Fotogeschichte = Pioneer of photo history. Ostfildern-Ruit : Hatje Cantz, 2003.
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1947-, Russell George, dir. Eyewitness : 150 years of photojournalism. 2e éd. New York : Time Books, 1995.
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Lacayo, Richard. Eyewitness : 150 years of photojournalism. New York : Time, 1995.
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Lacayo, Richard. Eyewitness : 150 years of photojournalism. New York : Time, 1990.
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1946-, Wyatt Roger B., dir. Photo provocations : Thinking in, with, and about photographs / Brian C. O'Connor, Roger B. Wyatt. Lanham, MD : Scarecrow Press, 2004.
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Roberta, Valtorta, dir. Carte riciclate = : Recycled papers. Milano : Charta, 2001.
Trouver le texte intégralChapitres de livres sur le sujet "Photography / Photo Essays"
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DonovanBlondell, Amy. « Trekking, Navigating, and Travelogueing in the Youth Trek Project : The Documentary Photography and Photo Essays of a Young Research Collaborator Traveling in the United States ». Dans Identities and Subjectivities, 511–37. Singapore : Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-287-023-0_27.
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Donovan Blondell, Amy. « Trekking, Navigating, and Travelogueing in the Youth Trek Project : The Documentary Photography and Photo Essays of a Young Research Collaborator Traveling in the United States ». Dans Identities and Subjectivities, 1–27. Singapore : Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-4585-91-0_27-1.
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Blasing, Molly Thomasy. « Framing Memory ». Dans Snapshots of the Soul, 131–78. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753695.003.0004.
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This chapter offers a comprehensive inquiry into photography's place in Joseph Brodsky's oeuvre and connects the poet's thinking about photography with his process of poetic creation. Through a close reading of photographic motifs in selected poems and essays, the chapter shows that photographs for this poet have a particular elegiac quality that works in multiple temporal frames. For Brodsky, photo-poetic writing offers simultaneous access to past, present, and future temporalities; photography represents an essential aesthetic instrument for his writings about mortality, memory, and exile. The chapter also permits us a firmer grasp on how Brodsky understands the nature of texts by exploring his creative dialogue with photography. From examining the contours of Brodsky's photographic imagination, the chapter allows us to learn what poetry is capable of as a verbal, language-based form, in contrast with the visual nature of the photographic medium.
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Wampole, Christy. « Dalí’s Montaigne ». Dans On Essays, 323–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198707868.003.0018.
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This chapter analyses the hybridization of the essay with visual genres such as illustration, photography, film, and video, an emergent tendency throughout the twentieth century that underscores the shared features of essayism and Surrealism. These include the use of a logic of digression and free association, a focus on the inner life of the self, the dismissal of formal strictures, the deployment of sensory perception, memory, intuition, and imagination towards expressive ends, and the reliance on images. Beginning with Salvador Dalí’s illustrations for Montaigne’s Essays (1947), the chapter then turns to James Agee and Walker Evans’ collaborative photo essay Let Us Now Praise Famous Men (1941), Chris Marker’s essay-film Sans soleil (1982), and John Bresland’s video essay Mangoes (2010) in order to pinpoint the shared affinities between essayism and Surrealism.
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Strangleman, Tim. « Creating Industrial Citizens ». Dans Voices of Guinness, 32–55. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190645090.003.0003.
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This chapter looks at the way Guinness management developed its workforce in the postwar period from 1945 to 1975. This was the era of the long boom, in which millions of UK workers enjoyed rising living standards and material conditions. The chapter examines how Guinness management developed “Guinness Citizenship” and how this vision related to contemporary ideas about a wider industrial citizenship. The chapter provides a detailed reading of the company magazine, Guinness Time, especially its photo essays focusing on aspects of labor in the plant. This is contextualized in a wider discussion of industrial photography.
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Harris, Mark Edward. « The Travel Photography Market ». Dans The Travel Photo Essay, 228–43. Routledge, 2017. http://dx.doi.org/10.4324/9781315515014-12.
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Gratton, Johnnie. « The Eclipse of Form in Roland Barthes’s ». Dans What Forms Can Do, 67–80. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620658.003.0005.
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This chapter charts the process whereby the text of Barthes’s La Chambre claire sidelines form as a critical concern applicable to photography. An overview of the value system he brings to photography (quite unlike the one he applies to the Novel in the lectures he was delivering contemporaneously) shows that the priority accorded to the referent over the photo as such, to authentication (“ça-a-été”) over representation, and to the disturbing punctum over the disturbed studium, necessarily entails the priority of force over form, not least because each dominant term in these pairs undermines the value of the photograph as something outwardly visual and concretely visible. Force, or intensity, can be tracked not just in the photograph, but also in Barthes’s emotions, whether as beholder of the photo, son in mourning, or essayist repudiating critical sterility, proposing instead to construct a personal phenomenology incorporating the force of affect. A short conclusion via the ideas of René Thom on salient and pregnant forms will suggest a way of bridging the gap between form and force.
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Martin, Pauline, et Carole Sandrin. « Exhibiting Gabriel Lippmann : A Collaborative Challenge ». Dans Gabriel Lippmann's Colour Photography. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland : Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463728553_ch10.
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This essay aims to show how the nature of cultural goods initiates specific collaborative approaches. Photo Elysée, Museum for Photography owns 138 Lippmann interferential plates, one of the largest collections in the world. Donated by descendants of Lippmann’s in-laws in the 1990s, these plates are among the wonders of the collection, which counts over one million photographic objects. This article aims to explain what such a collection brings to the institution in terms of opening up to external disciplines and collaborations which, in turn, nourish the museum’s work in a much broader way. At the intersection of the history of colour photography, science and contemporary art, Lippmann plates push the museum beyond its borders.
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Harris, Mark Edward. « Wearing the Many Hats of the Travel Photographer ». Dans The Travel Photo Essay, 154–70. Routledge, 2017. http://dx.doi.org/10.4324/9781315515014-9.
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« Photo Essays : Photographs from Nigeria, Russia, and Greece ». Dans World Report 2013, Photo Essays I—Photo Essays XXIV. Policy Press, 2013. http://dx.doi.org/10.51952/9781447309925.fm007.
Texte intégralActes de conférences sur le sujet "Photography / Photo Essays"
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Tobis, Slawomir. « THE USE OF PHOTOGRAPHY AND PHOTO ART THERAPY IN NURSING AND PATIENTS CARE - ANALYSIS OF STUDENTS� ESSAYS ». Dans 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b11/s2.135.
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Fuster pérez, Jaime. « La edición fotográfica en Ramón Masats ». Dans I Congreso Internacional sobre Fotografia : Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia : Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.7055.
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Resumen-Abstract El Premio Nacional de fotografía 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), ha sido considerado como un fotógrafo intuitivo. Sin embargo, un detenido estudio de sus fotolibros y ensayos fotográficos publicados en las revistas ilustradas, permiten revindicar otra faceta completamente desconocida: su labor como maquetador. A lo largo de su carrera Masats toma conciencia de la edición fotográfica. Desde la solitaria imagen de la noticia de un periódico, al ensayo fotográfico, entendido desde el punto de vista de E. Smith como un conjunto mayor de imágenes que profundizan y trascienden, permitiendo un reflexión más detenida de la historia que se cuenta; hasta llegar al foto libro, considerado como una unidad expresiva, un todo con significación completa: el formato más complejo de todos... Un Masats sofisticado y erudito se nos muestra consciente del montaje, del ritmo, del diálogo entre imágenes, de modo que la suma altera la percepción del conjunto. Un lenguaje que le llevará finalmente a explorar en el mundo del montaje cinematográfico y la dirección de documentales audiovisuales. En una época de auténtica explosión del fotolibro español como la que vivimos, conviene reconocer, recordar y aprender de nuestros antecedentes, de aquellos maestros en el arte de contar historias. The National Photography Prize 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), has traditionally been considered an intuitive photographer. However, a careful study of his photographs and photographic essays published in illustrated magazines unveils another aspect of his craft completely unknown until now: his work as a layout artist. Throughout his career Masats pays great attention to photographic edition: from the lonely image published besides the news in a newspaper, to the photographic essay, understood from E. Smith’s point of view as “a greater set of images that deepen and transcend leading the viewers to a more detailed reflection of the story that is being told; until reaching the photo book, which is considered an expressive unit, a whole with a complete meaning: definitely the most complex format of all. A sophisticated and academic Masats reveals a whole new aspect of his personality, showing his awareness of the layout, the rhythm and the dialogue between images, so that the sum and disposition of the images alter the perception of the whole. A language that will finally lead him to explore the world of filmmaking and the direction of audiovisual documentaries. In an age in which the Spanish photobook is at its peak, it is good to look back and give credit, remember and learn from our background, from those teachers in the art of storytelling. Palabras clave: Fotolibro, narración, edición, diseño, coherencia, autoría, comunicación, ritmo, análisis. Keywords: Photobook, narration, edition, design, coherence, authorship, communication, rhythm, analysis
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Ribeiro Rabello, Rafaelle. « Between absence and presence : Augmented Reality as a self-fiction poetic ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.
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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.
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Wiltshire, Richard, et Brit A. Storey. « Photo Essay : Construction Photographs of the Strawberry Valley Project, Utah ». Dans Water Resources and Environment History Sessions at Environmental and Water Reources Institute Annual Meeting 2004. Reston, VA : American Society of Civil Engineers, 2004. http://dx.doi.org/10.1061/40738(140)1.
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