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1
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.
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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.
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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 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.
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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 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.
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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.
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Mazur, Adam. « Zadanie fotografa. Problemtyka Reprodukcji dzieła sztuki na przykładzie dwóch książek fotograficz`nych Eustachego Kossakowskiego August Zamoyski oraz Lumières de Chartres ». Artium Quaestiones, no 33 (30 décembre 2022) : 107–34. http://dx.doi.org/10.14746/aq.2022.33.5.
Texte intégralRésumé :
Using the example of two books by Eustachy Kossakowski (1925–2001) – August Zamoyski (1974) and Lumières de Chartres (1989) – the text addresses the issue of reproducing works of art in the form of a photo album (photobook). The work of the photographer who makes reproductions of works of art is compared to the task of the translator, a reference to Walter Benjamin’s essay. The text is divided into two parts corresponding to albums. A detailed analysis allows us to see the differences between the books, as well as the change in Kossakowski’s approach to reproduced works of art. The first album consists of black-and-white photographs depicting in an original way the works of the prominent Polish sculptor August Zamoyski. Kossakowski recontextualizes individual objects photographed in the artist’s French studio. In the second book, the photographer publishes color photographs of the titular “lights of Chartres.” Taken inside the early Gothic cathedral, the photos move away from the documentation of the object, and the weight shifts to a near-abstract record of the artist’s emotions. Published alongside Anne Prache’s scholarly study, engravings and documentation of the edifice, Kossakovsky’s photographs constitute an original monograph of Chartres Cathedral. In the author’s view, Kossakowski’s photobooks go beyond the framework of a typical album of reproductions offering the mass public a substitute for contact with art. The photographer creates autonomous objects by translating the reproduced work of art into an object that fosters an aesthetic experience and becomes art itself. Kossakowski’s approach is juxtaposed with Mieke Bal’s reading of Benjamin’s text. While the album dedicated to Zamoyski seems to be based on unconventional documentation, in which the procedure of recontextualizing objects plays a dominant role, the Chartres monograph approaches the “ecstatic aesthetic” proposed by Bal. Lumières de Chartres provides a different perspective on the reproduction album, which, in addition to basic information and illustrative reproductions, is a carrier of emotions, a record of experiences and a medium of art. An analysis of the author’s publications, which include reproductions of August Zamoyski’s sculptures and documentation of Chartres Cathedral, emphasizes their autonomous and artistic character. Kossakowski observes and interprets Zamoyski’s work by looking at it from a distance. But in Chartres, we observe how he lets himself be captivated by the cathedral. The transformation of the cathedral into sensual light completely absorbs its subject - the metamorphosis of Zamoyski’s sculptures does not. Photography is not art, nor is it reproduction. It is only in the process of interpreting an object by looking at it with a camera to the eye that the artistry of translating a work of art into the format of a photograph and, further, a photo album is revealed. The photobook as a work of art is the true task of the photographer.
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Shah, Chinar. « The Execution of Bin Laden in Images ». Cabinet, Vol. 2, no. 2 (2017) : 98–101. http://dx.doi.org/10.47659/m3.098.art.
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The photo essay illustrates the politics of missing visuals from the public domain and analysis of the artist’s book Bin Laden Situation Room. The book is a reaction to the photograph issued on 2 May 2011 by the American government at the time of Bin Laden’s execution. The image taken by the official White House photographer Pete Souza, depicts president Barack Obama and his national security team witnessing the execution of Osama Bin Laden, the leader of the Islamic militant organization, al-Qaeda. Apart from this the American government did not issue any other visual evidence of the event. The essay explores war strategies of keeping the visuals mute, and in doing so, controlling the public opinion. Photography that prides itself on representing and uncovering historical moments, completely fails here. The book Bin Laden Situation Room, attempts to look for what the image fails to show. The essay examines the visibility and invisibility of frames of references and power to see and not see. Keywords: Bin Laden, missing images, photo book, photography, situation room
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Foster, Michael Dylan, et Minoru Ogano. « Secret Eroticism and Lived Religion ». Journal of Religion in Japan 9, no 1-3 (22 septembre 2020) : 277–300. http://dx.doi.org/10.1163/22118349-00901007.
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Abstract Through interviews and personal observation, this essay introduces the photographer Ogano Minoru, exploring his particular take on the practice of matsuri photography. In his photos, Ogano tries to visually capture the affective aspects of matsuri as experienced by participants. He suggests that even when matsuri are not organized through religious institutions, they emerge from deeply held beliefs and everyday life concerns in the local community. The concluding part of the article is a brief photo essay about mushi-okuri and related matsuri in the Tsugaru region (Aomori Prefecture).
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Wikan, Daniar. « City of Madness : Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan ». ANDHARUPA : Jurnal Desain Komunikasi Visual & ; Multimedia 3, no 01 (28 février 2017) : 59–68. http://dx.doi.org/10.33633/andharupa.v3i01.1315.
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AbstrakCity Of Madness: Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan adalah sebuah upaya dalam memotret kehidupan ODMK khususnya yang terlantar di jalanan. Fotografi potret dalam City of Madness mencoba memberi penggambaran ikonik secara detail dari ODMK yang terlantar, gambaran tersebut mulai dari mimik wajah, bentuk tubuh, cara berpakaiaan, serta ciri-ciri fisik lainnya. Dalam rangkaian karya fotografi City of Madness, fotografer memotret orang gila yang ditemui di jalan-jalan kota Semarang –Yogyakarta secara tidak terduga. Foto orang gila atau lebih tepatnya ikon orang gila dihadirkan kembali dalam sebuah frame foto jurnalistik potraiture. Foto tersebut secara tersirat merekam secara detail ciri-ciri visual yang ada dalam diri mereka. Kata kunci : Fotografi Esai, Potret, Orang Gila Jalanan AbstractA Photographic Essay ODMK street is an effort in portraying the lives ODMK (People With Psychiatric Problems), particularly displaced in the streets. Portrait photography in the City of Madness try to give a detailed depiction of the iconic ODMK displaced, these images ranging from facial expressions, body shape, how to dress, as well as other physical characteristics. photographer portrays a madman who met in Semarang and Jogjakarta city streets. Photo madman or rather iconic madman reintroduced in a frame of photojournalism potraiture. The photos were implicitly recording visual icon of madmad. Keyword : Photographic Essay, Potraiture, Madman
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Ulmer, Jasmine. « Refocusing the Anthropocenic Gaze : A Photo Essay ». Journal of Posthumanism 1, no 2 (26 décembre 2021) : 235–43. http://dx.doi.org/10.33182/jp.v1i2.1727.
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In the process of bringing about the Anthropocene, humanity has become accustomed to taking up a considerable amount of space. This tendency can spill over into how we as humans take up space within our own photographs, too (such as selfies that fill the entirety of the image frame). As contrast, this minimalist photo essay offers alternative visual perspectives through posthuman photography. Alongside earth-tone photographs from the author in Belgium and the Netherlands, captions illustrate how we can refocus, rescale, and reframe everyday photographs that position (post)humanity within the contexts of our planet and the epoch in which we live. In photo essay form, text and images show how us how we can decelerate and refocus the Anthropocenic gaze.
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Eshaghi, Peyman. « To Capture a Cherished Past ». Middle East Journal of Culture and Communication 8, no 2-3 (2015) : 282–306. http://dx.doi.org/10.1163/18739865-00802007.
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This essay focuses on the genre of pilgrimage photography as it developed over the course of the twentieth century in the holy city of Mashhad, Iran. Photographs made during pilgrimages to the shrine of Imam Riza count among the most popular vernacular genres of Iranian photography. Pilgrimage photographs should be understood as sacred photo-objects, at once signifiers and carriers of piety. Once framed and taken home by pilgrims, they not only capture and memorialize the sacred encounter, but also carry the aura of the divine into the mundane space and time of the everyday. I focus on the particular visual language of these sacred photographic objects; a visual language achieved through costumes, gestures and body language, through painted backgrounds with symbolic themes. Second, I consider the kind of cultural work and pious affect they elicit as image-objects when placed in pilgrim’s homes. I end by briefly considering the recent changes and continuities brought about by digital imaging technologies.
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Allen, Joseph R. « Picturing Gentlemen : Japanese Portrait Photography in Colonial Taiwan ». Journal of Asian Studies 73, no 4 (novembre 2014) : 1009–42. http://dx.doi.org/10.1017/s0021911814000990.
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This essay investigates the conditions of portrait photography in Taiwan during Japanese colonization. After a brief introduction to the theoretical issues concerning the indexical nature of the photograph, I consider the Japanese colonial photographic industry and its products (portraits) in three contexts: the state of photographic technology in the world at that time, the ideological machinery of colonization in Taiwan, and the wider phenomenon of colonial mimicry. In this consideration, I offer a diachronic analysis of photo albums and commercial directories that contain formal portraits of politically and economically influential (almost exclusively) men. Bringing these considerations together suggests an aspect of the colonial ideological machinery that has been underrepresented in other studies: the colonial portrait as a mask in several forms.
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DARDA, JOSEPH. « The Exceptionalist Optics of 9/11 Photography ». Journal of American Studies 50, no 1 (28 novembre 2014) : 185–204. http://dx.doi.org/10.1017/s0021875814001881.
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During and after the 2001 attacks on New York City and Washington, thousands of photographs were taken. None, however, would become as iconic as Thomas Franklin's photo of three firefighters raising an American flag above the rubble of the World Trade Center. Franklin's photo, I argue in this essay, casts 9/11 in the familiar myth of American exceptionalism, screening out but still gesturing to the heterogeneous memories left unsettled and animate in amateur photographs, missing-person posters, bodies in pain, and performance. In considering the struggle over the visual memory of the attacks, I first consider how, in the wake of 9/11, the discourse of exceptionalism served to disavow the exceptions historically taken by the state and to rationalize the War on Terror. I show how this system of myths works in dialectical relation to other disruptive forms of cultural memory. I then read Franklin's iconic photograph as a screen by which traumatic memories are masked and onto which nationalist desires are projected. Finally, I analyze 9/11 photography that troubles the exceptionalist optics of Franklin's photo by evoking the visual legacy of the Vietnam War and so challenging the logic of righteous warfare.
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Luvaas, Brent. « Post No Bill : The Transience of New York City Street Style ». Fashion Studies 1, no 1 (2018) : 1–20. http://dx.doi.org/10.38055/fs010101.
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The sidewalks outside New York Fashion Week are lined with makeshift plywood walls. They are designed to keep pedestrians out of construction zones, but they have become the backdrops of innumerable “street style” photographs, portraits taken on city streets of self-appointed fashion “influencers” and other stylish “regular” people. Photographers, working to build a reputation within the fashion industry, take photos of editors, bloggers, club kids, and models, looking to do the same thing. The makeshift walls have become a site for the staging and performance of urban style. This photo essay documents the production of style in urban space, a transient process made semi-permanent through photography.
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Rawson, K. J., et Nicole Tantum. « Marie Høeg’s worldmaking photography : a photo essay ». Journal of Visual Culture 19, no 2 (août 2020) : 184–96. http://dx.doi.org/10.1177/1470412920941899.
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Marie Høeg, who lived from 1866–1949, was a Norwegian photographer and activist for women’s rights. In this photo essay, the authors feature six photographs depicting Marie Høeg in gender transgressive scenes. These photographs are a few of more than 30 that were recovered in the 1980s from a property where Høeg once lived with her female partner, Bolette Berg. Standing out from the traditional landscapes and portraits that were common for the professional studio of Berg & Høeg, these photographs provide a glimpse into Høeg’s playful self-expression at the onset of the 20th century. This photo essay explores not only the documentary value of these images, but also the important considerations of visibility, privacy, and the ethics of circulation that they elicit.
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Becker, Karin, et Geska Helena Brečević. « More Than a Portrait : Framing the Photograph as Sculpture and Video Animation ». Membrana Journal of Photography, Vol. 3, no. 2 (2018) : 48–55. http://dx.doi.org/10.47659/m5.048.art.
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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
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Szczypiorska-Chrzanowska, Magdalena. « „Wszyscy wyszliśmy z wody” ». Załącznik Kulturoznawczy, no 6 (2019) : 409–26. http://dx.doi.org/10.21697/zk.2019.6.21.
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This essay is an attempt of meditation over the phenomenon of photography, its philosophy and practice. Questions are put forward about the ontological status of the subject captured on the picture, about what is – and what might be – time in photography, what is a photographic moment, what is a photographic ‘reality’ and ‘fiction’. The starting point and the photo-literary background of the essay is a juxtaposition of a daguerreotype from the literary fiction (from One Hundred Years of Solitude by Gabriel Garcia Marquez) and a daguerreotype from the real photography (Boulevard du Temple by Jacques Daguerre). Selected philosophical motifs analysed in works of Susan Sontag, François Soulages, Hans Belting, Roland Barthes, Edouard Pontremoli, Giorgio Agamben and Henri Cartier-Bresson make the context of the academic analysis.
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Alizadeh. « ‘Daring, Unusual Things’ : Bertolt Brecht’s Photo-Epigrams as Poetic Inventions ». Humanities 8, no 2 (10 avril 2019) : 73. http://dx.doi.org/10.3390/h8020073.
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This essay explores the aesthetics of Bertolt Brecht’s compositions of poetry with photography in the so-called photo-epigrams of his 1955 book War Primer. The photo-epigrams have mostly been viewed and appreciated as interventions in photography; but in this essay I aim to show their novelty and efficacy as poetic inventions. To do so, I draw on Karl Marx’s and Walter Benjamin’s views apropos the decline of poetry under modern, industrial capitalism to argue that Brecht, in his photo-epigrams, is responding to—and attempting to counter—a specific problem at the heart of modern poetry: the crisis in perceptibility and accessibility. By coupling poems with photographs—in unique and uniquely politicised ways—Brecht provides a resonant critique of the deadly ideologies of the ruling classes engaged in World War II, as well as a method for addressing the decline in the readability of poetry in the modern era.
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Olaguez, Reyna. « Children of the Drought ». Boom 4, no 4 (2014) : 16–25. http://dx.doi.org/10.1525/boom.2014.4.4.16.
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New America Media asked young reporters in the Central Valley to capture how the drought has affected their communities in this powerful photo essay. Six photographs are presented here, each paired with thoughts from its subject or photographer.
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Magilow, Daniel H. « Cute Jews : Modernist Photographic Forms and Minor Aesthetic Categories in ‘Jüdische Kinder in Erez Israel. Ein Fotobuch’ ». Leo Baeck Institute Year Book 64, no 1 (2019) : 47–71. http://dx.doi.org/10.1093/leobaeck/ybz005.
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Abstract Jüdische Kinder in Erez Israel was the last overtly Jewish-themed photobook published in Germany before the Holocaust. Although it consists only of a six-page introduction by the scholar-activist Bertha Badt-Strauß, one page of captions, and twenty-one photographs by photographer Nachum ‘Tim’ Gidal of adorable young children in Mandatory Palestine, its propaganda mission transcends its diminutive size and surface superficiality. This article interprets this photobook as an example of the photo essay, a modernist form that emerged from Weimar Germany’s unique media environment, in which photographs assumed rhetorical and argumentative functions generally associated with written language. To encourage German Jews and particularly German-Jewish women to emigrate, Jüdische Kinder in Erez Israel creates an allegory of the children’s vulnerability by eliciting responses associated with the minor aesthetic category of ‘cuteness’. To this end, it draws on two important photo essay genres of interwar Germany: photobooks and illustrated magazine photostories about cute children and about Palestine. By synthesizing these discourses, Gidal and Badt-Strauß create a cultural artifact that aims to establish positive, affective relationships between German-Jewish readers and Mandatory Palestine, and to convince the former to visualize and embrace the latter as they might imagine their own children. In this way, Jüdische Kinder in Erez Israel broadens our understandings of both the media constellation from which photo essays emerged, and how this form helped broaden the visual lexicon and aesthetic strategies central to the project of Jewish cultural and political regeneration.
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Cassidy, Laurie. « Picturing Suffering : The Moral Dilemmas in Gazing at Photographs of Human Anguish ». Horizons 37, no 2 (2010) : 195–223. http://dx.doi.org/10.1017/s0360966900007258.
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ABSTRACTPhotographs of human suffering inundate everyday life in the United States. The camera lens brings the human gaze into the intimate anguish of state sponsored torture and “natural disaster.” This essay argues that photographs of suffering in contemporary culture present a nexus of ethical and moral issues. These issues arise from how photographs represent suffering “others” and how these images inform collective response to human anguish. This essay interrogates this intersection through the lens of Christian ethics' root metaphor ofimago Dei. First, the essay explores the power and privilege that are invisible in the act of gazing upon a photograph of human suffering. Second, Kevin Carter's 1994 Pulitzer Prize winning photo of a Sudanese girl-child is deconstructed through the use of visual cultural studies. This analysis illustrates that photographs are not a literal depiction of suffering but rather a cultural representation which deeply condition the knowledge of human suffering. Finally, the essay argues that the photo is an invitation for the viewer to become an agent, not a spectator whose morality is realized in the sociality ofimago Deiin suffering.
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Zervigón, Andrés Mario. « The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room ». October 150 (octobre 2014) : 27–48. http://dx.doi.org/10.1162/octo_a_00199.
Texte intégralRésumé :
The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the history of photography, or more specifically the history of its practical use. Displayed on sleek scaffolds that efficiently expanded the available exhibition surface, these prints hung in what may best be described as modernist salon style meets the printed page. A lower register seems strung near thigh level while a second row pushed toward the ceiling. The left-page/right-page and vertical/horizontal dialogues this arrangement afforded encouraged viewers to compare photographs taken from the spheres of science and industry to avant-garde prints inspired by the former. Above this series of exchanges ran a prominent sans-serif caption, a punning query that framed the entire show: “Where is photography's development headed?”
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Cronin, Anne M. « Researching Urban Space, Reflecting on Advertising ». Space and Culture 14, no 4 (19 septembre 2011) : 356–66. http://dx.doi.org/10.1177/1206331211412278.
Texte intégralRésumé :
This photo essay places into dialogue practices of photographing urban space and the market research practices of the U.K. outdoor advertising industry. It explores photography as a method for accessing understandings of cities, and it examines ways of analyzing the interplay between photographic practices and data gathered through ethnography. Through personal reflections on the research process, the essay considers the spatial practices of the outdoor advertising industry and how its billboards and panels act to space out cities and city imaginaries.
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Aguilar, Laura. « Human Nature ». Boom 5, no 2 (2015) : 22–27. http://dx.doi.org/10.1525/boom.2015.5.2.22.
Texte intégralRésumé :
Laura Aguilar’s Nature Self Portraits treat the human body as another feature in landscapes. In the series, Aguilar positions herself in the center of her photographs, nude, often with her back to the camera. The curve of her back echoes the rocks, her black hair in the wind recalls the thin fingers of desert trees. The photographs are at once playful and beautiful, peaceful and provocative. This photo essay includes work from Aguilar’s series, plus a similar work by California photographer Judy Dater, which influenced Aguilar.
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Grossmann, Rebekka. « Image Transfer and Visual Friction : Staging Palestine in the National Socialist Spectacle ». Leo Baeck Institute Year Book 64, no 1 (2019) : 19–45. http://dx.doi.org/10.1093/leobaeck/yby022.
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Abstract This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of the clashes between Arabs, Jews, and British troops during the 1930s and taken by German-Jewish photographers in exile became valuable commodities internationally and entered a plethora of national markets, including that of National Socialist Germany. Many of the photographers who had been banned from the German photojournalistic scene in fact remained part of the visual discourse negotiated in German illustrated newspapers. The experience of exile of the photographers and photo agents involved in the international image transfer of photographs from Palestine can be seen as a catalyst for the contingencies in international photo trade, the loss of control of news photographs, and ultimately the crossing of the aesthetic and artistic borders of National Socialist Germany, which were believed to be closed to outside influences. The various views and the ways in which they were used trigger questions about the nature of the photographic gaze and the possibility or impossibility of distorting visual content via textual frameworks in photo essays and newspaper articles.
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Edwards, Steve. « Apocalyptic Sublime : On the Brighton Photo-Biennial ». Historical Materialism 17, no 2 (2009) : 84–102. http://dx.doi.org/10.1163/156920609x436135.
Texte intégralRésumé :
AbstractBased on an account of the Brighton Photo-Biennial Memory of Fire: The War of Images and Images of War, curated by Julian Stallabrass in late 2008, this essay considers the photographic coverage of the recent imperialist interventions in the Middle East. Taking its cue from Stallabrass's event, it reflects on the decline of documentary and photojournalism since the Vietnam War and the current attenuated politics of the media. It argues that the problem of the sublime extends beyond the current genre of 'aftermath'-photography and asks what might constitute a more cognitively adequate politics of the image.
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Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe et Jeannine Tang. « Residues of a Dream World ». Theory, Culture & ; Society 28, no 7-8 (décembre 2011) : 358–89. http://dx.doi.org/10.1177/0263276411425834.
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The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines the public and public sphere of the High Line. However, these imaging practices have also taken increasingly regulated form, and endorse conservative forms of community, personhood and publicness. The new park’s imaging practices may be understood as supplementary to neoliberal forms of property accumulation, in fact diminishing public space even as they purport to represent it. Drawing from the historical avant-garde, feminist critiques of representation and anti-capitalist urban theory, the following photographic series critiques the High Line’s photographic apparatus, from within a practice of photography, and from a position within the field of contemporary art.
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Hernandez, Kortney. « Can the subaltern be seen ? Photographic colonialism in service learning ». Qualitative Research Journal 18, no 2 (8 mai 2018) : 190–97. http://dx.doi.org/10.1108/qrj-d-17-00051.
Texte intégralRésumé :
Purpose The purpose of this paper is to examine the unaddressed phenomenon of photographic colonialism using service learning to illustrate the way in which photos and visual imagery are allowed to go unchallenged within educational media and qualitative research. Design/methodology/approach This essay draws on Gayatri Chakravorty Spivak’s seminal essay to ask: “Can the subaltern be seen?” By so doing, it explores the manner in which photography produced from a Eurocentric gaze re-presents and speaks for the subaltern, particularly within the context of qualitative research and educational photos displayed in the colonizer’s image. Findings The colonizing impact of photographic methods also permits for the washing away of cultural, historical, and political responsibility for the plight faced by the subaltern. Originality/value This paper, moreover, seeks to challenge and disrupt the ways in which we accept, ignore, deny, and standby when photos of the subaltern are used to perpetuate the coloniality of power (Quijano, 2000), despite post-colonial claims.
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Gough, Maria. « Portrait Under Construction : Lotte Jacobi in Soviet Russia and Central Asia ». October 173 (septembre 2020) : 65–117. http://dx.doi.org/10.1162/octo_a_00404.
Texte intégralRésumé :
Traveling in Russia and Central Asia in 1932–33, the German-Jewish portrait photographer Lotte Jacobi produced an extraordinary archive of several thousand photographs documenting Soviet industrialization, collectivization, modernization, and, most profoundly, the revolution's human face. Yet she never assembled a photo book or other reflection about her experience. Based on a study of the archive in its entirety, this essay tells the story of Jacobi's journey through the lens of her photographs, building a portrait of the worlds in which she moved under the auspices of the Soviet photo agency Soiuzfoto. It discusses her portrayal of a diverse array of workers, collective farmers, peasants, street traders, intellectuals, and political figures, first in Moscow and Michurinsk and then in the newly established socialist republics of Tajikistan and Uzbekistan, where she was hosted by leading indigenous communists such as Abdurahim Hojiboyev and Fayzulla Xo'jayev. The essay theorizes some of the key problems that her corpus raises: the relative weight of political commitment and external control in its production; whether it operates in a realist or mythic mode; the extent to which it presents Soviet Russia's role in Central Asia as that of a modernizing state or colonizing empire, as its tsarist predecessor had been; and the critical status of what she called “types” with respect to the nineteenth-century racist “type” photograph. A coda considers Jacobi's belated return to her Soviet corpus for the first time in the late 1950s and early '60s, a period characterized by a post-Stalinist thaw and the nominal end of the Red Scare in the United States, to which she had emigrated in 1935 in the wake of Hitler's appointment as chancellor and Germany's subsequent transformation into a one-party dictatorship.
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Zhuk, Krystsina. « Pandemic Isolation in Belarus through the Perspective of Photographs ». Lidé města 24, no 2 (1 juillet 2022) : 325–53. http://dx.doi.org/10.14712/12128112.2405.
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This photo essay examines the process of isolation during the first period of the COVID-19 pandemic based on the quarantine photos of a family from Belarus. It illustrates how the content and form of the collected images visualized the invisible markers of the pandemic and reflected various stages of isolation, transformations of the notion of home, and changes in family dynamics and routines. To collect the photographs, a weeklong remote participatory project was conducted. The findings of this project thus pointed to a direct correlation between photographs and changes in the social world and individuals’ lives brought about by the coronavirus outbreak.
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McNew, D. « Photo Essay : Lookin' for Love Photograph ». IEEE Spectrum 42, no 8 (août 2005) : 22–23. http://dx.doi.org/10.1109/mspec.2005.1491222.
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Schaber, Bennet. « Fabrics of Dislocation ». Feminist Media Histories 3, no 1 (1 janvier 2017) : 103–39. http://dx.doi.org/10.1525/fmh.2017.3.1.103.
Texte intégralRésumé :
This photo essay is an attempt to register the complex political valences of certain shared formal preoccupations in the cinematic, photographic, videographic, and new media works/interventions of Shirin Neshat, Lalla Essaydi, Mona Hatoum, Ana Lily Amirpour, Amina Sboui, and Nadia El Fani. What is contested here is the so-called readability of images, especially those by Middle Eastern women, as these coalesced during the late colonial and postcolonial periods and as they continue today. The “photo-grams” that constitute the essay function neither as illustrations nor as counter-readings, but as frames of a lost or imagined film these filmmaker-photographer-new media activists might have made—despite or perhaps because of their political-geographical-temporal dispersion—as a kind of collective.
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Caraffa, Costanza. « The photo archive as laboratory. Art history, photography, and materiality ». Art Libraries Journal 44, no 1 (janvier 2019) : 37–46. http://dx.doi.org/10.1017/alj.2018.39.
Texte intégralRésumé :
Librarians, archivists, and curators today meet unique challenges when facing huge numbers of photographs accumulated in their institutions. Coming to terms with these masses in a responsible way means to reflect on cataloguing and digitization standards able to record their (material) complexity. It also means to constantly justify a series of investments: in cataloguing and digitization projects, but also in storage space, restoration, archival and conservation materials, not to speak of human resources. It means, ultimately, to reflect on the systems of value that one decides to apply while dealing with these holdings: the dematerialization rhetoric that often goes hand-in-hand with digitization campaigns tends to increase their fragility, on the other side we are confronted more and more often with the ‘contemporary repackaging of erstwhile ephemeral and disposable photographic prints' that acquire a new ‘archival value’.1 In this short essay I will focus on these systems of value. My aim is to offer some methodological tools to deal with documentary photographs in art historical institutions. These instruments derive from the intersection of photographic and archival theories and practices that shaped my experience as Head of the Photothek at the Kunsthistorisches Institut in Florenz, Max Planck Institute, for more than a decade.
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Farhi Neto, Leon. « FOTOGRAFIA E PÓS-FOTOGRAFIA : do controle ao descontrole ». Revista Observatório 4, no 1 (1 janvier 2018) : 220. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p220.
Texte intégralRésumé :
Entre as funções originárias da fotografia está a documental. A foto dá testemunho da verdade. Barthes, em 1980, chegou a encontrar na essência da fotografia o “isso-foi”. Na foto se manifestaria necessariamente a verdade de uma realidade do passado. Ora, o dito popular – uma imagem vale mais que mil palavras! – até há pouco parecia incontestável (hoje desconfiamos mais de uma foto do que há 30 anos atrás). Fotografia documental, medical, policial, foto de identidade, identificação, controle, de tal maneira que aquele dito popular se inscreve em uma série que nos leva a outra frase de nosso cotidiano, de formulação mais recente: sorria, você está sendo filmado! A essa função-verdade da fotografia, ligada ao controle, eu gostaria de opor uma outra: uma pós-função, uma função pós-verdade, no sentido de uma metaverdade, de um para além da verdade fotográfica. – Isso não é verdade! Não é isso o que eu vi! Não pode ser! – essas exclamações podem expressar duas coisas diferentes: seja a denegação da verdade, seja o afloramento na foto de um virtual imagético, de um inconsciente visual. O que me interessa aqui é a segunda alternativa: a de que, numa imagem fotográfica, faça irrupção algo que não tenha sido conscientemente fotografado.
PALAVRAS-CHAVE: Controle; virtual; incosciente.
ABSTRACT
Among the originary functions of photography there is the documental function. The photograph testifies to the truth. Barthes, in 1980, came to find the essence of photography in the “that-has-been”. A photograph would necessarily manifest the truth of a past reality. This explains why the popular saying – a picture is worth a thousand words! – until recently seemed incontestable (today we suspect more of a photo than 30 years ago). Documental photography, medical, identity photography, identification, control, in such a way that that popular saying is inscribed in a series that leads us to another sentence of our daily, in a more recent formulation: smile, you are being filmed! To this truth-function of photography, linked to control, I would like to oppose another: a post-function, a post-truth function, in the sense of a meta-truth, one beyond the photographic truth. – This is not true! That's not what I saw! It can not be! – these exclamations can express two different things: either the denial of truth, or the outcropping in the photograph of an imagetic virtual, of a visual unconscious. What interests me here is the second alternative: that in a photographic image something erupts that has not been consciously photographed.
KEYWORDS: Control; virtual; unconcious.
RESUMEN
Entre las funciones originarias de la fotografía está la documental. La foto es testigo de la verdad. Barthes, en 1980, llegó a ubicar la esencia de la fotografía en el “esto-ha-sido”. En la foto necesariamente se manifesta la verdad de una realidad del pasado. El dicho popular – una imagen vale más que mil palabras! – hasta hace poco parecía incontestable (hoy día sospechamos más de una foto que hace 30 años). La fotografía documental, medical, policial, foto de identidad, identificación, control, de modo que aquel dicho popular se inscribe en una serie que nos lleva a otra frase de nuestra vida cotidiana, de formulación más reciente: sonría, usted está siendo filmado! A esta función-verdad de la fotografía, conectada al control, me gustaría oponer una otra: una posfunción, una función posverdad , en el sentido de una metaverdad, de un más allá de la verdad fotográfica. – ¡Eso no es verdad! Eso no es lo que vi! ¡No puede ser! – estas exclamaciones pueden expresar dos cosas diferentes: o bien la negación de la verdad, o bien el afloramiento en la foto de una imagen virtual, un inconsciente visual. Lo que me interesa aquí es la segunda alternativa: que en una imagen fotográfica haga irrupción algo que no ha sido conscientemente fotografiado.
PALABRAS CLAVE: Control; virtual; inconsciente.
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Okereke, Emeka, et Mathangi Krishnamurthy. « An Afropolitan in South Asia ». Radical History Review 2022, no 144 (1 octobre 2022) : 218–27. http://dx.doi.org/10.1215/01636545-9847900.
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Abstract In this photo essay, the authors gather a set of photographs of only partially visible subjects to speak about the tense and unpredictable encounters between different postcolonial histories. Staged as a conversation between an anthropologist and a photographer, the essay touches on the necessary modalities of such encounters, be it surprise, friendship, location and dislocation, or sometimes even invisibility. Central to the essay are conversations about encounters between the authors themselves, mediated by the sights, sounds, and serendipities of the postcolonial city. Using the Invisible Borders Trans-African Project—a decade-long venture bringing together artists, photographers, and writers in road trips across Africa—as a starting point, the essay considers the implications of broadening this imaginary into other borders and postcolonial border beings and whether this might constitute a particular kind of utopian project.
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Zeng, Burong. « Non-Taster : A Photo Essay About a Loss of Taste and Breakfast ». Excursions Journal 11, no 1 (1 juillet 2021) : 147–53. http://dx.doi.org/10.20919/exs.11.2021.268.
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Non-taster is a photo essay exploring the elusive connections between the change of taste and the immigrant experience based on my story of losing taste at the beginning of the Covid-19 pandemic outbreak. The world, which used to be dirty, viscous, and alive has rapidly become hygienic, distanced, and virtual. I documented the packaging and food sauce for breakfast via a series of scanned images and photographs during the second and third lockdown in London. The photos of spicy sauce and food packaging reveal the desire to reconnect with the senses. Alongside apathy, nostalgia, and homesickness, Non-taster laments the changes of the senses and desires in the post-pandemic period.
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ZAHAR, IWAN. « A BRIEF CONCEPT IN LANDSCAPE PHOTOGRAPHY ». International Journal of Creative Future and Heritage (TENIAT) 4, no 1 (30 juin 2016) : 63–84. http://dx.doi.org/10.47252/teniat.v4i1.335.
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AbstrakDi Malaysia, tidak terdapat banyak perbincangan tentang landskap fotografi dan tidak ramai juru gambaryang berkemahiran dalam bidang ini. Penyelidikan ini menggunakan analisis kandungan dan analisis fotodaripada sumber yang berlainan termasuk monograf, buku, dan jurnal. Esei pendek ini menerangkanpengaruh seni Zen terhadap landskap foto, dan perkembangannya di Barat. Ia juga menerangkansecara ringkas tentang sejarah landskap fotografi di Malaysia. Selain daripada itu, esei ini tidak berhasratuntuk menerangkan semua teknik dan konsep landskap fotogafi, tetapi saya cuba menghubungkaitkanpengalaman saya dalam landskap fotografi dan mengintegrasi teori fotografi dalam penciptaan landskapfoto. Kesimpulan kajian ini menunjukkan ramai landskap jurugambar telah memperkembangkan konsepmereka daripada ideologi dan sumber lain seperti lukisan dan falsafah. Tiada pengaruh Zen atau Gestaltdalam landskap fotografi Lambert dan Thompson ditemui.
AbstractThere are not much discussions on landscape photography and also not many photographers in Malaysiaspecialize in this genre. The research uses content analysis and pictoral analysis from many sources,including monographs, books and journals. This short essay explains the influence of Zen art on landscapephotos, and the development of landscape photos in the west. It also briefly explains history of landscapephotography in Malaysia. Furthermore, this short essay does not aim to explain all the techniques andconcepts of landscape photography, but I try to relate to my own experience in landscape photographyand other integrated photograhic theories in making landscape photo. The conclusion of this studyindicates that many landscape photographers develop their concepts from the previous ideas and alsofrom other sources such as painting and philosophy. There are no Zen or Gestalt influences on Lambertand Thompson’s landscape photographies found.
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Vium, Christian. « Spectres of Undocumented Migration in Paris ». African Diaspora 11, no 1-2 (9 décembre 2019) : 101–22. http://dx.doi.org/10.1163/18725465-01101011.
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Abstract Based on recurrent ethnographic fieldwork with West African undocumented (im)migrants in Paris (France) since 2006, this photo-essay describes one particular housing complex inhabited by a vast West African diaspora. In addition to a descriptive analysis of my work with photography in the context of anthropological research in this particular setting, the article explores the notion of sacrifice as experienced and recounted by men who have undertaken the long and perilous journey to Europe to find means to support their families back home. Finally, I argue in favour of an approach to aesthetics that acknowledges the fundamental ambiguity of the photographic image and its use within the context of undocumented migration.
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Goodstein, Gerry. « Past, Present, Future Photography : An Essay and Photo Portfolio ». Theater 18, no 2 (1987) : 22–33. http://dx.doi.org/10.1215/01610775-18-2-22.
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Hahn, Peter. « Die regionale Waldentwicklung mithilfe von Fotografien dokumentieren (Essay) ». Schweizerische Zeitschrift fur Forstwesen 167, no 2 (1 février 2016) : 59–63. http://dx.doi.org/10.3188/szf.2016.0059.
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Documenting regional forest developments through photographs (essay) By lucky chance, there exists in Entlebuch, in the canton of Lucerne, a rich collection of photographs valuable for forest history. Modern photos are presented opposite the historical images to show the development of forests over the last 100 years. Intensive study of these photos has led the author to interesting discoveries. For this reason, he encourages today's practising foresters to document their own experiences in connection with the forest, for example through photographs.
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Stephens, Robert D. « Mumbai North : Contemporary Aerial Photographs of Mumbai’s Suburbs ». Urbanisation 3, no 2 (novembre 2018) : 131–38. http://dx.doi.org/10.1177/2455747118825423.
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‘Mumbai North’ features black-and-white aerial photographs of the city’s suburban ecologies—social and natural. Spanning from Sanjay Gandhi National Park to Gorai Creek, and from Bhiwandi’s Waral Lake to Powai, the series visually engages with the ecosystems of Mumbai. Juxtaposed against each photograph are excerpts from archival publications, such as the 1964 Report on the Development Plan for Greater Bombay and the 1965 Marg publication, Bombay, Planning and Dreaming. Together, these two art forms are interwoven into a photo-literary tapestry spanning decades, providing historical insight as to how policies and development plans of the past have shaped urban forms of the present. Air pollution levels, as monitored by the Maharashtra Pollution Control Board, record the contents of atmospheric contaminants such as sulphur dioxide, nitrogen dioxide and respirable suspended particulate matter. This photo-essay integrates multiple layers of information—visual, historical and anthropogenic—as a contemporary means of a new civic survey.
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Marn, Ricardo, et Joaqun Roldn. « Photo essays and photographs in visual arts-based educational research ». International Journal of Education Through Art 6, no 1 (1 juin 2010) : 7–23. http://dx.doi.org/10.1386/eta.6.1.7_1.
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Wei, Louisa, et Phil M. F. Shek. « An Encounter in Hong Kong Streets, 60 Years Apart ». Cubic Journal 5, no 5 (17 décembre 2022) : 110–23. http://dx.doi.org/10.31182/cubic.2022.5.54.
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Hong Kong has a history punctuated by waves of immigrants and influxes of expats, especially during years of wars, famine, and drastic social changes. The wide wealth gap among different classes contributes to the diverse cityscapes within walking distance of one another. Street photography in the international and multicultural metropolis has continued to fascinate photographers – some sojourning and others rooting. With two sets of photos – from British traveller Nick Howard and Hong Kong native Phil M.F. Shek – laid side by side, this essay questions the meanings generated through the juxtaposition of these images. Since the photo sets were taken in the 1950s and the 2010s respectively, does the time gap make a statement about Hong Kong today?
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Sheng, Jeff T. « Ethnographic Uncovering : Hidden Communities ». Contexts 19, no 2 (mai 2020) : 46–53. http://dx.doi.org/10.1177/1536504220920196.
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Macnab, Andrew John, Ronald Mukisa et Lynn Stothers. « The Use of Photo-Essay to Report Advances in Applied Science and Health ». GHMJ (Global Health Management Journal) 2, no 2 (30 juin 2018) : 44. http://dx.doi.org/10.35898/ghmj-22199.
Texte intégralRésumé :
Background: In the applied health and science disciples there is an expectation that project work is reported through a publication. The conventional papers written to do this follow a structure that includes sections providing background, methods, results and a discussion or conclusion, supported by figures and tables. Sometimes photographs are included, and with more on-line publications the opportunities have increased for these to be available in full color. Borrowing from the field of photojournalism photo-essays are now a publication option where a series of images are used to tell the story; these are often related to health and well-being.Aims: To summarize the methodology used to effectively combine a series of images with a brief text, and short reference list to create a visually engaging and informative short report.Guidelines: Images are taken throughout the project with consent obtained from those whose images will be recognisable. Creative licence is used to compile representative images into a sequence that conveys the background, method, results and outcome(s) of the project. Images need to be of high resolution; editing for light, colour and contrast, and cropping is allowed to increase their clarity and relevance. The ethics of photojournalism apply making inappropriate manipulation of images or erroneous captions unacceptable.Conclusions: Photo-essays are a novel and informative way to report on an applied health, social or scientific topic. The format is an excellent one to use for a brief report, or to prepare a research presentation for a scientific meeting.Keywords: Photograph, Photojournalism, Photo-manipulation.