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Articoli di riviste sul tema "Portrait photography"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Darmadi, Indra. "Tinjauan Visual Subyek Foto dalam Karya Fotografi Potret Henri Cartie-Bresson dan Richard Avedon." Magenta | Official Journal STMK Trisakti 1, no. 01 (2017): 83–91. http://dx.doi.org/10.61344/magenta.v1i01.10.

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Photography potrait is a photography field that highlight the character and traits of someone. In the world of photography there are two world leaders who are pioneers of photography in portrait photography, Henri Cartier-Bresson and Richard Avedon. Both have different theories in doing portrait photography. Conflicts that arise between the two is whether portrait photography should be done naturally or with posing. Of course, both have similarities photographic portraits, which portray someone in a work of portrait photography. This paper will discuss some of the work of portrait photography

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2

Allen, Joseph R. "Picturing Gentlemen: Japanese Portrait Photography in Colonial Taiwan." Journal of Asian Studies 73, no. 4 (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 o

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Kotliar, Svitlana, and Iryna Zaspa. "Female Portrait in Photography Art: from Authenticity to Modernity." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 84–96. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235094.

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The purpose of the research is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. The research methodology consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, history of female portrait development in

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Kotliar, Svitlana, and Iryna Zaspa. "Female Portrait in Photography Art: from Authenticity to Modernity." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 84–96. https://doi.org/10.31866/2617-2674.4.1.2021.235094.

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<em>The purpose of the research </em>is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. <em>The research methodology </em>consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, his

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5

Blanchard, Antoine. "Microhistoire des portraits composites: Le cas Arthur Batut (1846-1918)." REVISTA DE HISTORIOGRAFÍA (RevHisto) 27 (November 27, 2017): 287. http://dx.doi.org/10.20318/revhisto.2017.3975.

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Résumé: A partir d’une enquête portant sur le cas du photographe francais Arthur Batut (1846-1918) qui s’est emparé de la technique du composite portraiture de Francis Galton, nous révélerons dans un premier temps l’importance considérable du portrait photographique dans la constitution, à la fin du XIXe siècle, d’une nouvelle image de soi particulière correspondant à une identité “physicalisée”. Pour ce faire, nous mettrons à l’épreuve les questions et la méthode de la microstoria. Dans un second temps, nous envisagerons la possibilité que la technique historiographique de la microstoria elle

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Vogelsang, Helena. "A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.

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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabl

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Wulan, Evi Retno. "Written Approval for Commercialization of Portrai Photography: A Study of Law No. 28 of 2014 in the context of Improving the Distro Business in Indonesia." IJEBD (International Journal of Entrepreneurship and Business Development) 5, no. 4 (2022): 759–63. http://dx.doi.org/10.29138/ijebd.v5i4.1909.

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Purpose: The purpose of this research is to examine the rules of written approval for the Commercialization of Portrait Photography as contained in Article 12 Paragraph (1) of the Copyright Law No. 28 of 2014 in the context of Improving the Distro Business in Indonesia. Design/methodology/approach: The type of legal research used is normative juridical research. The approach used in this research is the statutory approach and the conceptual approach. The sources of legal materials used in this doctrinal research consist of primary legal materials and secondary legal materials. The collec

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8

Alù, Giorgia. "Order and otherness in a photographic shot: Italians abroad and the Great War." Modern Italy 22, no. 3 (2017): 291–314. http://dx.doi.org/10.1017/mit.2017.34.

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This article explores the meaning of photographic portraits of First World War Italian migrants, in terms of the tensions that emerge from their visual codes and the extent to which the subject’s interior reality and individuality might emerge from the reassuring surface imagery of photography and war. By analysing photographs of Italian migrants who either joined Italy’s army or enrolled in their adopted country’s army, we can see how the ‘otherness’ of the war – its artificial face of idealised glory, honour, and ordinariness, as presented through the portrait’s aesthetic codes – supplants t

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9

Shevchenko, Ekaterina Sergeevna. "Premonition of photography: About a strangeness in “The Portrait” by Gogol." Philology. Theory & Practice 17, no. 10 (2024): 3756–62. http://dx.doi.org/10.30853/phil20240531.

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The study aims to identify the characteristics of ekphrasis and intermediality in Nikolai Gogol’s novella “The Portrait”. The research is original in that it builds upon the chain “an icon – a painting” outlined by the researcher V. V. Lepakhin by adding a missing link, “a daguerreotype” (or “a photography”). Although the official date of photography’s invention is considered to be 1839, the image as an exact copy of reality, a certain premonition of photography, plays a significant role in the plot of Gogol’s novella. It was found that N. V. Gogol had a fear of photography as a complete liken

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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918." Text and Image: Essential Problems in Art History, no. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.

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The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial

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

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

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Dwika, Nurtati, Emmi Siregar, and Irda Pratiwi. "PERLINDUNGAN POTRET UNTUK PROMOSI TANPA IZIN PIHAK TERKAIT BERDASARKAN UNDANG-UNDANG NOMOR 28 TAHUN 2014." JURNAL RECTUM: Tinjauan Yuridis Penanganan Tindak Pidana 2, no. 1 (2020): 20. http://dx.doi.org/10.46930/jurnalrectum.v2i1.388.

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portrait are photography work with humans objects. And the portrait it self is regulated by copyright law. If a portrait is taken without the consent of the photographed, the photografer will be subject to law number 28 of 2014. if the portrait is used for promotion or published without the must permission of the photographer or the heir, the photografer must first ask permission of the photografer. If the photographer does not have permission to the photographed or the heirs to carry out commercial uses, procurement, distribution, etc., will be subject to article 115 of law number 28 of 2014

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13

Ensel, Remco. "Dutch Face-ism. Portrait Photography and Völkisch Nationalism in the Netherlands." Fascism 2, no. 1 (2013): 18–40. http://dx.doi.org/10.1163/22116257-00201009.

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This article takes its cue from an essay by Gerhard Richter on Walter Benjamin and the fascist aestheticization of politics. It examines the portrait photography of Dutch photographer W.F. Van Heemskerck Düker, who was a true believer in the ideology of a Greater Germany. He published a number of illustrated books on the Dutch Heimat and worked together with German photographers Erna Lendvai-Dircksen and Erich Retzlaff. When considering what type of photography was best suited to capture the photographic aesthetics of the fascist nation, the article argues that within the paradigm of the Great

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Prodanik, Nadezhda V. "Semantics and function of photography in the literary world of the novel “Idiot” by F.M. Dostoevsky." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2022): 74–80. http://dx.doi.org/10.20339/phs.4-22.074.

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The article examines the semantics and function of the photographic portrait of Nastasya Filippovna in the novel “The Idiot” by F.M. Dostoevsky’s; the symbolic nature and role of photography in the polyphonic world of the novel are determined. In the middle of the 19th century, this type of visual art was in the zone of increased attention and controversy; the reason for this was the possibility of replicating photographs and, accordingly, their non-unique nature. The purpose of the article is to understand how F.M. Dostoevsky responded to discussion about photography; to determine what meanin

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Gonzales-Day, Ken. "Analytical Photography: Portraiture, from the Index to the Epidermis." Leonardo 35, no. 1 (2002): 23–30. http://dx.doi.org/10.1162/002409402753689272.

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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 call

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Kupchynska, Larysa. "A portrait of Klymentii Sheptytskyi by artist Mykhailo Shalabavka." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 382–99. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-13.

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The article covers the life and creative development of one of the little known Ukrainian photographers and painters of the first half of the twentieth century, who was Mykhaylo Shalabavka. In order to disclose his biographical data in more detail, the information provided by modern researchers 399 has been supplemented with archival materials. Due to their analysis, first of all, M. Shalabavka’s letters to Metropolitan Andrey Sheptytskyi presented many new facts that characterize the artist’s participation in public life in the formation of the Ukrainian school of photography first in Lviv, h

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Korolija-Crkvenjakov, Daniela, Snežana Mijić, and Željko Mandić. "Portraits on canvas from photos as a 19th-century portrait making technique." Zbornik Akademije umetnosti, no. 10 (2022): 115–29. http://dx.doi.org/10.5937/zbaku2210115k.

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The relationship between painting and photography has been dynamic since its invention in 1839. Seeking its place among the arts, photography was a useful tool for many. In this way portraits were made, which before the invention of photography were the privilege of higher social strata, and their production required spending long hours in a painting studio. With the advent of photography, portraits of individuals and entire families have become much more accessible to ordinary people, and the new technique has gained immense popularity. The possibility of getting portraits from photos as a st

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Ermawati, Pitri. "ORIENTASI FOTOGRAFI PENGUNJUNG ANJUNGAN WISATA DI KAWASAN MANGUNAN: KAJIAN FUNGSI FOTO POTRET DI MEDIA SOSIAL INSTAGRAM." spectā: Journal of Photography, Arts, and Media 2, no. 2 (2019): 105–22. http://dx.doi.org/10.24821/specta.v2i2.2551.

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Abstrak Penelitian ini bermaksud menjelaskan orientasi fotografi pengunjung yang berfoto di anjungan wisata kawasan Mangunan dengan objek penelitian berupa foto potret di media sosial Instagram. Menerapkan metode penelitian deskriptif-kualitatif, analisis kritis dilakukan dalam pembacaan foto-foto potret menggunakan telaah fungsi foto potret Soeprapto Soedjono, serta telaah aspek teknis-fisik fotografi potret yang dikemukakan oleh Famous Photographers School. Mengambil sampel berupa lima foto dari lima akun Instagram yang berlatar di lima anjungan wisata di kawasan Mangunan, hasil penelitian m

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Ng, Roy. "Rumah Abu : Death and the Photographic Medium in Straits Chinese Ancestral Halls." Southeast of Now: Directions in Contemporary and Modern Art in Asia 7, no. 2 (2023): 3–45. http://dx.doi.org/10.56159/sen.2023.a916546.

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Abstract: This article seeks to establish ancestral photographs as objects of worship and examines the relationship between death and the photographic medium in Straits Chinese ancestral halls, also known as rumah abu , in the former British colonies of Singapore, Malacca, and Penang. Various scholars have argued for a conceptual link between photography and death, but the case for diasporic communities such as the Straits Chinese have been under-studied and rarely discussed in meta-physical terms. Portraits of Straits Chinese matriarchs and patriarchs are commissioned as not merely images of

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Thorlacius, Lisbeth. "The Good Portrait of the Academic Author." Nordicom Review 26, no. 2 (2005): 85–101. http://dx.doi.org/10.1515/nor-2017-0260.

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Abstract This article aims to give the reader a language with which one can discuss portraits of academics and their usage. Moreover the four most frequently used genres of portraits of academic authors will be introduced. And it will be argued why insight into, and knowledge of these genres is crucial in order to make the correct choice of portrait in the light of the context. The most relevant genres within photography of academics can be found within four categories: The classical portrait, the staged portrait, the situational portrait and the news portrait. When choosing a portrait whether

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Dorofeeva, Yuliya, and Aleksey Moiseev. "Systematization of theory and methodology for teaching advertising and portrait photography based on the Russian experience." E3S Web of Conferences 210 (2020): 18112. http://dx.doi.org/10.1051/e3sconf/202021018112.

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This article aims at systematizing the key methods, principles, and approaches that underlie the proprietary integrated methodology for teaching advertising and portrait photography. Summarizing the authors’ wealth of educational expertise and successful experiments in teaching photography in Russia has become the primary objective of this article. The main research methods we employed were as follows: comparative analysis and pedagogical experiment (ascertaining, searching, educational). Findings: Essential aspects of the proprietary integrated methods of teaching advertising and portrait pho

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Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations." Journal of Material Culture 22, no. 1 (2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.

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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and ae

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Moran, Leslie J. "A previously unexplored encounter: the English judiciary, carte de visite and photography as a form of mass media." International Journal of Law in Context 14, no. 4 (2018): 539–58. http://dx.doi.org/10.1017/s174455231800023x.

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AbstractStudies exploring the link between the representation of judges, photography and mass media tend to focus on the appearance of cameras in courtrooms and the reproduction of the resulting photographs in the press at the beginning of the twentieth century. But more than fifty years separate these developments from the birth of photography in the late 1830s. This study examines a previously unexplored encounter between the English judiciary and photography that began in the 1860s. The pictures where known as ‘carte de visite’. They were the first type of photographic image capable of bein

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Cornish, Emily. "‘Where is the suitable trail’: Politics and piety in portrait photographs of Emma Rooke, 1864–66." Journal of New Zealand & Pacific Studies 12, no. 1 (2024): 21–37. http://dx.doi.org/10.1386/nzps_00186_1.

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This article analyses how photographs of Queen Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke made between 1864 and 1866 were connected to her pursuit of a pono (proper, virtuous) path forward for herself and her people after the deaths of her son and husband. The article opens with the mele makena (lament) ‘No Waiʻaleʻale Ke Aloha’, which invites new ways of thinking about portrait photographs of Queen Emma in the wake of these tremendous personal and political losses. Following this it addresses the connections between photographs of Emma and Hawaiian mourning and memorialization before

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Suka Asih K.Tus., Desyanti. "Potret Sebagai Data Pribadi Yang Di Komersilkan." Jurnal Ilmiah Raad Kertha 2, no. 1 (2020): 81–100. http://dx.doi.org/10.47532/jirk.v2i1.154.

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Portraitis works of copyrighted photography with human objects. Personal data is data inthe form of personal identities, codes, symbols, letters or numbers of personal identifiers.Personal data includes personal life affairs including (history) someone's communication.Whereas in concept, personal data is not merely information about domestic sphere, but alsoinformation about professional history,professional and public life because a person'spersonal affairs also intersect with the relevant public affairs (interpesonal relationships andalso facts that occur in public spaces). Legitimacy of per

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Herbert, Stephen. "Animated portrait photography." History of Photography 13, no. 1 (1989): 65–78. http://dx.doi.org/10.1080/03087298.1989.10442169.

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Buryk, Ruslana, and Maryna Bratitsel. "HARMONY OF LIGHT AND SHADOW: KEY ASPECTS OF LIGHTING IN PORTRAIT PHOTOGRAPHY." Scientific Journal of Polonia University 61, no. 6 (2024): 38–49. http://dx.doi.org/10.23856/6105.

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The article analyzes the role of lighting in portrait photography, emphasizing how the harmony between light and shadow can affect the emotional depth and visual appeal of an image. Photography, presented as an art and science of light, requires not only professional skills, but also the talent and skill of the photographer. The skill of a photographer lies not only in technical execution, but also in the ability to convey life and emotions through the image, revealing the true character of a person. Thus, a portrait photographer should be able to capture the soul and inner world of the model,

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Vorontsova, T. A., and A. G. Artamonova. "Face VS Figures: Features of Constructing the Age of an Unfamiliar Person Based on the Perception of His Portrait and Height Photographs." Experimental Psychology (Russia) 16, no. 3 (2023): 34–52. http://dx.doi.org/10.17759/exppsy.2023160303.

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<p>The aim of the work was to identify the features of constructing the age of an unfamiliar person based on the perception of his face (portrait photography) and physique (height photography). The main method was the procedure of "Photovideopresentation of the appearance" by T.A. Vorontsova. Photographs of four women and four men of different ages were presented to the subjects of perception for age assessment; the eye movements of the subjects of perception were tracked using the Gazepoint GP3 Eye Tracker. The sample of perception subjects included 76 people &mdash; 38 men (M=28.84

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Wrona, Adeline. "Une madone à Fukushima. La condition numérique du portrait de presse." Sur le journalisme, About journalism, Sobre jornalismo 3, no. 1 (2014): 170–81. http://dx.doi.org/10.25200/slj.v3.n1.2014.137.

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 Cet submission analyse l’incidence des modes de circulation de l’image sur les pratiques de la photographie de presse. L’exemple choisi est celui d’une photographie qui représente une femme au milieu des décombres d’Ishinomaki, image achetée par l’Agence France-Presse (AFP) à un quotidien japonais, au lendemain du Tsunami de mars 2011. Reprise en couverture de nombreux journaux occidentaux, recadrée autour de la figure féminine, initialement saisie en plan large, cette photographie devient un portrait, rapidement désigné comme « la madone des décombres ». En décrivant les facteurs techn

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Abdullina, Darina Aleksandrovna. "Сhildin the Image or Image of Achild : Russian Child Portrait in Painting and Photography of the Late 19 th − Early 20 th Century". Secreta Artis, № 2 (12 серпня 2021): 68–83. http://dx.doi.org/10.51236/2618-7140-2021-4-2-68-83.

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The stylistics of the child portrait in Russia in the 1850s – early 20th century underwent significant changes due to the emergence of photography (light painting). From the very beginning of its era, the 1850s, early photography borrowed composition, means of expression, and attributes from painting. Towards the end of the century, artists began to pay attention to the achievements of portrait photography, striving to depict children not in a staged way, but rather in moments of play, studies and rest, taking heed of photographic effects, in particular, cropped and “blurred” compositions. Man

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Becker, Karin, and 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 cha

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Wulandari, Arti, and Zulisih Maryani. "FOTOGRAFI POTRET WANITA PENAMBANG PASIR DFOTOGRAFI POTRET WANITA PENAMBANG PASIR DI LERENG SELATAN GUNUNG MERAPI, DAERAH ISTIMEWA YOGYAKARTA." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (2017): 53. http://dx.doi.org/10.24821/rekam.v13i1.1578.

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Ketegaran dan kesabaran yang luar biasa, sebagai sesama wanita, dari para wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta menjadi inspirasi bagi penulis untuk diungkapkan dalam karya fotografi dengan bentuk potret hitam putih karena potret bisa mewakili keadaan sebenarnya dari objek. Penciptaan ini bertujuan mengungkapkan kehidupan wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta dalam fotografi potret hitam putih dikaitkan dengan aspek teknis kreatif dan fungsi nilai sosialnya.Proses perwujudan mencakup tahap-tahap penciptaa

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Yoon, Hyewon. "Lisette Model: Another Frankfurt School Photographer in New York." October, no. 185 (2023): 30–49. http://dx.doi.org/10.1162/octo_a_00491.

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Abstract This essay examines the portrait work of the Austrian-American photographer Lisette Model, with a special focus on her representation of the American lumpenproletariat in the Reflections series, Model's first after coming to New York in 1938 as an Austrian-French Jewish émigré, and in her Bowery portrait series. Within the history of American postwar photography, Model stands as a salient figure, a pioneer who located and defined the issues, options, and contradictions of photography as an artistic practice in the “New York School of photography.” Model's rendering of her subjects as

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Shpak, Larisa Yu. "Composite Portrait as a Method in Biological and Historical Anthropology." Vestnik of Saint Petersburg University. History 70, no. 1 (2025): 261–74. https://doi.org/10.21638/spbu02.2025.115.

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Galton’s method of composite portraiture is based on obtaining an integral image of a group based on images of individuals. Composite portrait and anthropological photography complement of standard descriptive and measurement techniques in ethnic anthropology. Anthropological photography and composite portraiture developed in Russia by objectifying of methods and obtaining photographical quantitatives. Currently, the method presented in the digital program allows one to obtain as increased clarity portraits and in the classical Galton’s technique, method has been verified and actively used in

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Gentet, Philippe, Yves Gentet, and Seunghyun Lee. "Holostereosynthesis: An Improvement to Louis Lumière’s Photostereosynthesis Technique." Applied Sciences 12, no. 24 (2022): 12524. http://dx.doi.org/10.3390/app122412524.

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In 1920, Louis Lumière, one of the fathers of Cinématograph, invented photostereosynthesis, a photography technique that could recreate three-dimensional images without a specific artifice. This method involved stacking six to eight photographs of the same subject, usually a portrait, recorded with a progressive shift in focus and observed together through transparency. This invention remained at the laboratory experiment stage, and only a dozen portraits of famous people from the time of Lumière are known. The final device is a complex assembly of glass plates mounted on a wooden frame, and i

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Fadia, Aqila. "ANALISIS KOMPOSISI FOTOGRAFI PADA FOTO FASHION EDITORIAL ‘SWARNADWIPA’ KARYA NICOLINE PATRICIA MALINA." JURNAL Dasarrupa: Desain dan Seni Rupa 4, no. 2 (2022): 6–18. http://dx.doi.org/10.52005/dasarrupa.v4i2.130.

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One of the activities to express yourself is through photography. Photography is not just an activity to take pictures or take pictures. However, expertise is also needed to be able to apply the basic techniques and composition of photography properly so that the resulting photos are more interesting. One Indonesian female photographer whose works are very interesting is Nicoline Patricia Malina. Nicoline is very famous for her Fashion Photography work. Nicoline's Fashion Photography works are usually used for editorial purposes. One of them is entitled 'Swarnadwipa'. In this photographic work

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McClellan, Kate. "Damascenes." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 374–97. http://dx.doi.org/10.1163/18739865-00802011.

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Based on research I conducted in 2005–2006 and in 2009, I examine in this article the production and use of digital photographic studio portraiture in Damascus. Following the material turn in the study of photography, I focus not only the content and look of digital portraits, but also their materialities, spatial dispositions and their uses once they leave the space of the studio. First, I explore the visual language of Damascene digital portraiture, paying particular attention to the capabilities of digital photography to produce new forms of embodiment, religiosity and social connection for

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Horta, Paula. "When the Landscape of the Face is Hidden from Us." Grimace, Vol. 2, no. 1 (2017): 68–71. http://dx.doi.org/10.47659/m2.068.art.

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How do we respond to the vulnerability of the Other when we do not see his face? How do photographer and viewers position themselves ethically in relation to the (hi)story of suffering they are called to witness? These are the questions that steer my reflection about Jillian Edelstein’s unpublished photograph of Archbishop Desmond Tutu. Taken shortly after the South African Truth and Reconciliation Commission (TRC) completed its work, the photograph evokes the moment during the TRC hearings when the Archbishop, Chairman of the commission, laid down his head and wept. Drawing on Emmanuel Levina

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Bajraghosa, Terra, Budi Irawanto, and Seno Gumira Ajidarma. "Family Photography as Object and Practice in Independent Comics in Indonesia." International Journal of Creative and Arts Studies 10, no. 2 (2023): 133–48. http://dx.doi.org/10.24821/ijcas.v10i2.11166.

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One small element that is rarely put in the comics’ scene setting is photographic imagery, commonly a portrait of a person or a family photograph. It is assumed that once a family photograph is presented in a comic, it definitely has a particular function. This study will examine how the family photograph as an object and practice is depicted and present the signification of the story meaning in independent comics. The research object is a drawing that represents a family photograph in a panel, or series of panels – consecutive or non-consecutive -in the independent comic "Pupus Putus Sekolah"

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Kobylińska, Weronika. "Carved by Light of Cities with a Chisel. Kraków Retable of the Dormition of the Blessed Virgin Mary Altar through Stanisław Kolowca 's Lens." Artium Quaestiones, no. 33 (December 30, 2022): 87–106. http://dx.doi.org/10.14746/aq.2022.33.4.

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On two occasions (around 1932–1933 and after the war, between 1946 and 1950), Stanisław Kolowca (1904–1968) undertook the task of creating the photographic documentation of the reredos of the altar of the Dormition of the Blessed Virgin Mary in Kraków (Poland). The stature of Wit Stwosz’s work – widely recognized as one of the key late Gothic masterpieces in Europe – could be the only factor legitimizing the status of Kolowca’s photographs. Nevertheless, the photographs seem to deserve a thorough analysis for other reasons as well. It should be underlined that in his project Kolowca did not fo

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Erlyana, Yana. "PERAN KOMPOSISI PADA FOTO EDITORIAL DISNEY DREAM PORTRAIT SERIES¬ KARYA ANNIE LEIBOVITZ." Jurnal Dimensi DKV Seni Rupa dan Desain 2, no. 1 (2017): 17–32. http://dx.doi.org/10.25105/jdd.v2i1.1875.

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Abstrak Dunia kreatifitas dalam fotografi adalah sebuah petualangan pencapaian visi dari sang fotografer. Setiap orang melihat dan mengartikan dunia secara berbeda-beda. Dalam fotografi bukanlah sekedar merekam sebuah sisi dari subyek atau sekedar menangkap momen yang tepat akan tetapi juga mengolah unsur-unsur estetik dari subyek dengan mengatur pencahayaan dan komposisi yang baik. Komposisi terdiri dari beberapa format elemen visual. Sebuah fotografi dapat dihasilkan dengan lebih efektif dan bermakna dengan pemahaman komposisi yang baik. Pada kajian ini penulis akan mengangkat Annie Leibovit

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Al Pratama, Onkky Wahyu, and R. Sulistiyo Wibowo. "KOMPOSISI PORTRAIT LANDSCAPE DENGAN OBJEK PEMANDANGAN PADA 12 LOKASI DI BALI." Jurnal Ilmiah Publipreneur 2, no. 1 (2014): 51–65. http://dx.doi.org/10.46961/jip.v2i1.124.

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Landscape portrait concept is not new, but in its application and use, including rare. In landscape photography, many photographers featuring views of the widest-shaped or landscape (horizontal) and rarely use the portrait (vertical). The research questions are how photographing landscape portrait composition, whether landscape portrait composition can enrich the composition of the landscape, and how the outcome of portrait landscape that can be enjoyed in general. The methods used are observation, exploration on the method of creation, experiment or improvisation, embodiment, and presentation

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Doni Fitri, Nofria, and R. Hadapiningrani kusumohendrarto. "Mengoptimalkan Window Ligthing untuk Foto Potret dengan Menggunakan Kamera DSLR 1000D dan 60D." AKSA: JURNAL DESAIN KOMUNIKASI VISUAL 2, no. 1 (2020): 188–202. http://dx.doi.org/10.37505/aksa.v2i1.15.

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Photography is a visual language that prioritizes the role of light. In photography there are several shooting formats, one of which is portrait or shooting vertically. Portrait photos are photos of a person's face that can reveal the character of the person, therefore the shooting exposure must be precise. In fact, the current portrait photos are not optimal because they do not consider the aspects of light and the correct shooting technique. Portrait photos can easily be done using window lighting techniques. This research was carried out on portrait photos with window lighting techniques pr

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Behle, Cary. "Portrait Photography for the Dentist." Journal of the California Dental Association 29, no. 10 (2001): 773–79. http://dx.doi.org/10.1080/19424396.2001.12223230.

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Sidorenko, Ewa. "‘A Portrait of Lower Silesia’: Researching identity through collodion photography and memory narratives." Methodological Innovations 12, no. 3 (2019): 205979911989078. http://dx.doi.org/10.1177/2059799119890787.

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In this article, I discuss a performance arts–based visual methodology based on the use of the archaic wet collodion photography. The collaboration between Street Collodion Art photography collective and myself, as a researcher, had two aims: to generate a large scale photographic and narrative portrait of Lower Silesia in Poland, and to explore identities in the region where nearly all of its inhabitants represent recent migrant populations. Data generated through this project include collodion portraits, their interpretations and narratives collected through unstructured interviews. Initial

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Ranu Putra, Rahmad Rian. "HOPE IN CONTEMPORARY PHOTOGRAPHY: THE PORTRAIT OF SELLERS OF GOODS AND SERVICES DURING A PANDEMIC." Matalensa: Journal of Photography and Media 4, no. 2 (2024): 80. http://dx.doi.org/10.26887/matalensa.v4i2.4169.

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It has been more than 2 years since the covid-19 pandemic struck the world, affecting many aspects ranging from economics to education. As time went on, new habits began to be implemented in people's daily activities, or what is known as the New Normal, such as the obligation to wear masks and wash hands during activities. Departing from here, there is a feeling of longing that arises when communicating and interacting with the community. The mandatory use of masks during the New Normal era makes it difficult to guess the expressions or facial expressions of the other person. The media, which

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YURGENEVA, Alexandra L. "Model, Character, Hero in the Photo." International Journal of Cultural Research, no. 1 (2024): 37–49. http://dx.doi.org/10.52173/2079-1100_2024_1_37.

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The article attempts to analyse how the concepts of model, character and hero relate to the practices of creating a photo portrait. Just as photography itself is able to change its meaning depending on the environment where its interpretation takes place, there is a situational use of words denoting the captured person in the scientific literature. The problem is marked by the ambiguity of the relationship between the photographer, the subject and the emerging image. Digital photography, being actively involved in the processes of virtual communication, forces us to pay more attention to the i

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Meier, Prita. "Beyond Multiple Modernities." Nka Journal of Contemporary African Art 2020, no. 46 (2020): 116–25. http://dx.doi.org/10.1215/10757163-8308234.

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This article explores how an oceanic perspective challenges still pervasive ideas about the constitutive link between place and culture in the study of the arts of Africa. Taking the rich and diverse photographs of nineteenth-century coastal eastern Africa as a springboard, the author considers how portrait photography was not an expression of a local modernity, in the way the concept is narrated in established studies of the cultural dimensions of globalization, but was an expression of the in-between. This can be described as a form of cosmopolitanism or creolization, depending on one’s inte

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Desintha, Siti. "CITRA VISUAL FOTOGRAFI POTRET PADA KEMASAN HERBANA." Serat Rupa Journal of Design 6, no. 1 (2022): 94–105. http://dx.doi.org/10.28932/srjd.v6i1.3906.

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Visualization of packaging is one of the main attractions in persuading consumers of the product. In addition to conveying the message can also lead to a sense of emotional attachment. The portrait photography displayed can represent the superiority of the product as a visual narrative. Balance Madia Menstrual Comfort has natural ingredients that are processed in a modern way to make herbal products PT. Deltomed Laboratories is a solution for menstrual relieving drugs. In this study, the field of visual communication design becomes the main step in the analysis process that leads to a discussi

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Micklewright, Nancy. "An Ottoman Portrait." International Journal of Middle East Studies 40, no. 3 (2008): 372–73. http://dx.doi.org/10.1017/s002074380808094x.

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This carefully composed portrait of a high-ranking Ottoman bureaucrat is striking for several reasons. First, at nearly 16 by 13 inches, it is at least four times larger than most portraits of this period and lacks the ornamental cardboard frame into which portraits were commonly placed, instead being pasted directly onto a cardboard support. Second, although there is a long tradition of documenting men at work or places of business in the photography of the late Ottoman Empire, these images tend to privilege traditional occupations (e.g., itinerant merchants or craftsmen) and sites of commerc

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