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Artykuły w czasopismach na temat „Photograph”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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

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

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Heriwanto, Heriwanto, Muhammad Faiz Bolkiah, and Oky Mauludya Sudradjat. "Photo Arts Concept as Alternative Photography Works." Jomantara: Indonesian Journal of Art and Culture, Vol. 4 No. 2 July 2024 (July 30, 2024): 136–43. http://dx.doi.org/10.23969/jijac.v4i2.13509.

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The development of photography so far has encouraged the birth of various forms of new concepts in the field of photography. The birth of digital photography technology has provided various conveniences and encouraged photographers to develop photography more widely. Currently, the concept of photo art has been widely used by photographers or photo artists through the development of new ideas and concepts in the form of photographic works. Fine art photography can be an assessment and representation for the photographer who created the photograph. Therefore, the time has come for photographers

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

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

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

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

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Bragalini, Luca. "Buddy Bolden’s Photo." Journal of Jazz Studies 14, no. 1 (2023): 90–119. http://dx.doi.org/10.14713/jjs.v14i1.227.

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In their 1939 monograph Jazzmen, Frederic Ramsey Jr. and Charles Edward Smith presented the photograph of a sextet from New Orleans which prominently features a cornet player identifed as Buddy Bolden. From the time of its publication, this photo has been the subject of controversy and many unanswered questions. What is the correct orientation of the photograph? What are the mysterious spherical objects that are seen on the edge of the photograph? Who is the leader of the band? This article presents a detailed photographic analysis of this so-called first jazz photo, proposing a solution to an

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

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

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

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

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

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

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

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

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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.

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AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements withi

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

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

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Redmond, Eden. "Radiant Traces." Departures in Critical Qualitative Research 3, no. 4 (2014): 418–26. http://dx.doi.org/10.1525/dcqr.2014.3.4.418.

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Photography is a referent medium. While a photograph is a physical object with its own ontology, the image depicted references a moment that has already ended. The mobility of a photograph relies on the divide between presence and absence, the material and the ephemeral. This photographic essay considers the tensions and parallels of such divides in photographing and photographs of sadhus, holy men who wander throughout East Asia. Sadhus relinquish worldly possessions in the name of spiritual pursuits, surviving on whatever the divine provides. The following images illustrate both their radian

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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people o

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Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.

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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic

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

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

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Kmetyk-Podubinska, Khrystyna. "PHOTOGRAPHIC WORK AS AN OBJECT OF LEGAL PROTECTION." Visnyk of the Lviv University. Series Law 74, no. 74 (2022): 50–57. http://dx.doi.org/10.30970/vla.2022.74.050.

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The article analyzes a photographic work as an object of legal protection. The author researches the peculiarities of legal protection of photographs, characterizes their legal nature, analyzes the peculiarities of the exercise of copyright in photographs. It is established that a photographic work can exist in various forms, but as of today photography is created and exists mainly in digital form, which determines the peculiarities of the exercise and protection of rights to it. It is highlighted that the national copyright law does not contain a definition of a photographic work, a photograp

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

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

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

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

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

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

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Wang, Chao, Xiang Li, and Hua Jin. "Photograph taking in the classroom impairs memory of learned material." Social Behavior and Personality: an international journal 53, no. 1 (2025): 1–8. https://doi.org/10.2224/sbp.13687.

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College students commonly take photographs with cell phones rather than making longhand notes during classes. Previous studies have found that this negatively impacts memory, with photographed objects being less well remembered compared to observed objects. This study examined the effect of taking photographs on college students’ classroom learning and the mechanisms of this effect. Experiment 1 examined whether taking photographs with cell phones during class negatively impacted the learning outcomes of college students, that is, whether this behavior led to the photograph-taking impairment e

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Side, Katherine. "Grimaldi’s iconic photograph: Bloody Sunday, Derry 1972." Irish Journal of Sociology 26, no. 1 (2017): 71–93. http://dx.doi.org/10.1177/0791603517741072.

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This article examines the concept of photographic iconicity in relation to Italian press photographer, Fulvio Grimaldi’s photograph of the evacuation of Derry-born marcher, John [Jackie] Francis Duddy, at Bloody Sunday, 1972. This historical photograph continues to instigate remembering and forgetting among nationalists and unionists in the context of Northern Ireland. Its uses, in state-led government inquiries, among nationalist communities and in the form of artistic intersessions, are demonstrated to be consistent with the hallmarks of iconicity, particularly the ability to situate viewers

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Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.

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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terha

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

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

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

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

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Browning, Kathy. "Scotland." Diversity of Research in Health Journal 1 (June 21, 2017): 144. http://dx.doi.org/10.28984/drhj.v1i0.62.

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I spent 14 days of intensive photographic research taking 10 000 photographs while travelling around the coast of Scotland. This includes the incredible architecture in ancient cities; amazing, magical landscapes of heather shrouded moorlands, expansive glens with grass covered hills and lowlands, and black and red mountains; and magnificent castles. Scotland is a part of my cultural heritage. This series of photographs is a merging of my artistic and academic skills as a visual arts researcher. It is similar to grounded theory (Glaser & Strauss, 1967) used for my academic research wherein

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

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

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Morgan, Nicholas C. "Photographic Process as Desire." Afterimage 50, no. 1 (2023): 24–48. http://dx.doi.org/10.1525/aft.2023.50.1.24.

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Between 1986 and his death from AIDS-related causes in 1989, the Boston- and Jersey City–based photographer Mark Morrisroe produced a series of cameraless photographs with heterogenous material including fabric, pornography, and X-rays. This essay argues that these photograms move away from a dominant understanding of photography that celebrates stasis, legibility, and indexicality in favor of one concentrating on activity. Morrisroe’s photograms cast the photograph as a process: the image unfixable and always under development, its matter flexing, sputtering, and shifting over time. For Morri

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Homburg, Ernst, Danielle Fauque, Peter J. T. Morris, Franco Calascibetta, and Santiago Alvarez. "IUPAC in Brussels in 1921: A Historical Photo." Chemistry International 41, no. 3 (2019): 11–15. http://dx.doi.org/10.1515/ci-2019-0305.

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Abstract During a search of photographs and documentation on the Belgian photographer Benjamin Couprie, who took the well-known pictures of the Solvay Conferences during the first half of the twentieth century, Santiago Alvarez [1] came across an image in “La Digithèque des Bibliothèques de l’Université Libre de Bruxelles” with the title “Réception de l’Union Internationale de Chimie Pure et Appliquée, photographie de groupe” (Figure 1) [2]. It is a high-resolution copy of a very sharp photograph of a group of 86 people. On the frame of that photo one can read two inscriptions noted in pencil

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Latto, Richard, and Bernard Harper. "The Non-Realistic Nature of Photography: Further Reasons Why Turner Was Wrong." Leonardo 40, no. 3 (2007): 243–47. http://dx.doi.org/10.1162/leon.2007.40.3.243.

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The authors discuss the limitations of photography in producing representations that lead to the accurate perception of shapes. In particular, they consider two situations in which the photographic representation, although an accurate reproduction of the geometry of the two-dimensional image in the eye, does not capture the way human vision changes this geometry to produce a three-dimensionally accurate perception. When looking at a photograph, the viewer's uncertainty of the camera-to-subject distance and the fact that, unnaturally, a photograph presents almost exactly the same view of an obj

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

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

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Samarkina, Mariia. "Ekphrasis in Photography Lyrics: Methods of Representation." Slavic World in the Third Millennium 14, no. 1-2 (2019): 206–18. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.13.

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The article deals with ekphrasis (verbal description of visual artworks) in lyrics about photography. The purpose of this article is to clarify the possibility of using the term “ekphrasis” in relation to photographic lyrics and to divide the phenomena of photopoetics and photoekphrasis. The difference becomes obvious as we analyze the following texts: “Photograph from September 11” and “Hitler’s First Photograph” by Polish poet Wislawa Szymborska, “A Snapshot” by Russian poet Bella Akhmadulina and “From the Album” by Russian poet Genrikh Sapgir. The four texts are characterized by a special t

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Duncan, Margaret Carlisle. "Sports Photographs and Sexual Difference: Images of Women and Men in the 1984 and 1988 Olympic Games." Sociology of Sport Journal 7, no. 1 (1990): 22–43. http://dx.doi.org/10.1123/ssj.7.1.22.

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This paper develops a theoretical framework for understanding how and what sports photographs mean. In particular, it identifies two categories of photographic features as conveyors of meanings. The first category is the content or discourse within the photograph, which includes physical appearances, poses and body positions, facial expressions, emotional displays, and camera angles. The second category is the context, which contributes to the discursive text of the photograph. The context includes the visual space in which the photograph appears, its caption, the surrounding written text, and

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Sikora, Adam. "Possibilities of utilising perpendicular1 and oblique photographs of vehicles to determine dimensions2 and post-crash deformation using photogrammetric transformations." Issues of forensic science, no. 319 (2023): 31–37. http://dx.doi.org/10.34836/pk.2023.319.4.

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The article presents the issue of measuring traces on vehicles by experts directly from photographs. Tests were carried out, including an analysis of the dimensioning accuracy of perpendicular and oblique photographs, and the possibility of using a photogrammetric transformation of a single oblique photograph to restore its perpendicularity1 to the photographed object was examined, so that the photograph was cartometric again.

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Nicklaus, Krista M., Xiomara T. Gonzalez, Koushalya Sachdev, et al. "What Does “Dr. Google” Show Patients Searching for Breast Reconstruction Outcomes Photographs?" Plastic and Reconstructive Surgery - Global Open 10, no. 5 (2022): e4331. http://dx.doi.org/10.1097/gox.0000000000004331.

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Background: Many women with breast cancer search the internet for photographs of their potential reconstruction outcomes, but little is known about the quality, variety, and relevance of images patients are viewing. Methods: Breast reconstruction outcome photographs identified by a Google Images search were assessed based on the American Society of Plastic Surgeons/Plastic Surgery Foundation photographic guidelines. Information such as source metadata, breast reconstruction procedure information, and subject demographics was collected from the photographs. Additional analyses were conducted to

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Tee, Sim-Hui. "Transparency, Photography, and the A-Theory of Time." Problemos 93 (October 22, 2018): 177–92. http://dx.doi.org/10.15388/problemos.2018.93.11761.

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 [full article, abstract in English; only abstract in Lithuanian] Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the depicted object situated from the space

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

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

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Burleigh, Peter. "Photogenic Intensions." Magic, Vol. 5, no. 1 (2020): 60–65. http://dx.doi.org/10.47659/m8.060.art.

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What is a photograph? What a spurious, redundant start! After all, a photograph is clearly an image, a technical image of something. What a photograph is – such a stupid question! Yet, the casual announcement of the photograph as signification relies on an a priori truth that orients our thinking, our identities, our institutions. For it is “in terms of this self-apparent image of thought that everybody knows and is presumed to know what it means to think.” Collaging Deleuze and Bergson, intuition teaches us that an image is a nexus of force in itself, or as Anne Sauvagnargues suggests, what i

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Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II." Prospects 30 (October 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.

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Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them

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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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Wolfreys, Julian. "‘The look that gropes the objects’: Derrida's Photographs." Derrida Today 10, no. 1 (2017): 21–37. http://dx.doi.org/10.3366/drt.2017.0140.

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In his introduction to Copy-Archive-Signature: A Conversation on Photography published in 2009, Gerhard Richter observes that while photography is concerned, ‘like deconstruction’, with ‘questions of presentation, translation, techné, substitution, deferral, dissemination, repetition, iteration, memory, inscription, death, and mourning’, relatively little attention has been given to those texts of Derrida's that specifically address photography and the work and thought of the photograph: ‘Aletheia’, Rights of Inspection, Athens, Remains, to name the most obvious. Things have changed a little s

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Aksenova, N. V., N. V. Denisova, and N. O. Magnes. "COUNTERFACTUAL SOVIET PHOTOGRAPHY THROUGH THE LENS OF AMERICAN AND BRITISH ART CRITICS: EVALUATIVE DIMENSIONS OF ART DISCOURSE." Voprosy Kognitivnoy Lingvistiki, no. 1 (2023): 40–51. http://dx.doi.org/10.20916/1812-3228-2022-1-40-51.

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The paper studies the axiological interpretation of Soviet photographs in British and American art reviews by examining the basic concepts STATE, ARTIST, and WORK OF ART. The analysis draws on the methods of cognitive discourse analysis, narratology, pragmatics, and semantics. Accepting R. Barthes’ view of the photograph as “a message without a code”, we hold that the main goal of art discourse is to construct an intermediary code to facilitate communication between the Operator and the Spectator, especially in the presence of a time/culture gap between the two. Through aesthetic distancing, a

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Bakker, Roelof. "A Boy’s Own Trauma: Revisiting a Photograph Recorded in a Nazi Concentration Camp First Encountered as a Child." European Journal of Life Writing 9 (July 6, 2020): LW&D198—LW&D222. http://dx.doi.org/10.21827/ejlw.9.36907.

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Photographer Roelof Bakker revisits a George Rodger photograph recorded in a Nazi concentration camp, Bakker first encountered as a child growing up in the Netherlands forty years ago. Finally developing this image, which registered in his mind yet remained unprocessed, Bakker actively engages with the photograph as a photographer, investigator and spectator, but also as a human being, integrating thought and feeling into an ethical and responsible process of analysis. Responding to critical texts by Ariella Azoulay, Ulrich Baer, Susie Linfield, Werner Sollors, and others, Bakker looks beyond

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Molloy, Caroline. "The Studio Photograph as a Conceptual Framework." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 38–47. http://dx.doi.org/10.47659/m5.038.art.

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In her essay, Caroline’s draws from her PhD thesis that looks the visual habitus of transcultural photography. She concentrates her writing on the genre of studio photography, specifically early English studio photography and argues that the conceptual framework established in early photographic studio practices still has its legacy in contemporary digital photographic studio practices. To illustrate this argument, she draws from a contemporary case-study in her local, digital photographic studio in North London and discusses a selection of photographs in relation to early photographic studio

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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (1987): 510–18. http://dx.doi.org/10.2307/1159896.

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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa.

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Schulze Tanielian, Melanie. "Defying the Humanitarian Gaze: Visual Representation of Genocide Survivors in the Eastern Mediterranean." Humanity: An International Journal of Human Rights, Humanitarianism, and Development 14, no. 2 (2023): 186–211. http://dx.doi.org/10.1353/hum.2023.a916996.

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Abstract: This article is a critical encounter with the genre of humanitarian photography through the case study of images of women survivors of the Armenian Genocide. Viewing photographs taken as part of the American humanitarian campaign in the Eastern Mediterranean, the article exposes the universalizing modality of humanitarian photography while exposing mass atrocities as perpetuating the silencing of victims by reducing them to symbols of suffering. Through an indexical, forensic, and critical fabulatory engagement with the humanitarian photograph, the article aims to unsettle the univer

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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.

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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.

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Yurchuk, Olena. "PHOTOGRAPHY AS A FORM OF STATEMENT AND MEANS OF FIXING PRESENCE IN A. PEREZ REVERTE’S BATALIST." CONTEMPORARY LITERARY STUDIES, no. 19 (March 15, 2023): 63–68. http://dx.doi.org/10.32589/2411-3883.19.2022.274082.

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Modern literary criticism pays much attention to the theme of photography in fiction. R. Barth and his followers emphasize the active interpenetration of the two arts, which results in a play with imprint, blur, and image. Photography turns out to be a point of reference for reconstructing the past. The photographic image claims to be an archival document necessary for reconstructing the past, and the photograph claims to be completely objective, though limited by a subjective position. In the plot of A Perez Revert’s novel «The Battler» the camera, as well as photography itself, occupies a sp

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Román-Gallego, Jesús-Ángel, María-Luisa Pérez-Delgado, and Sergio Vicente San Gregorio. "Convolutional Neural Networks Used to Date Photographs." Electronics 11, no. 2 (2022): 227. http://dx.doi.org/10.3390/electronics11020227.

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Nowadays, the information provided by digital photographs is very complete and very relevant in different professional fields, such as scientific or forensic photography. Taking this into account, it is possible to determine the date when they were taken, as well as the type of device that they were taken with, and thus be able to locate the photograph in a specific context. This is not the case with analog photographs, which lack any information regarding the date they were taken. Extracting this information is a complicated task, so classifying each photograph according to the date it was ta

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Lane, S. N., K. S. Richards, and J. H. Chandler. "Developments in photogrammetry; the geomorphological potential." Progress in Physical Geography: Earth and Environment 17, no. 3 (1993): 306–28. http://dx.doi.org/10.1177/030913339301700302.

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Current emphasis in geomorphology recognizes the need for the accurate representation of topographic form, reflected in the growth of digital terrain and elevation modelling. A key requirement of such strategies is the efficient acquisition of information in an appropriate form and at an appropriate resolution to the landform under consideration. The traditional use of photographs in geomorphology has been for interpretation, but developments in photogrammetry may allow the full advantages of the photograph as a means of acquiring and storing quantitative information to be used. The photograph

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