Analog Photography Research Articles

The hybridization of visual culture: The revival of analog photography in the digital age

The hybridization of visual culture: The revival of analog photography in the digital age

Analog(ue) photography

This encyclopaedia entry defines ‘analog(ue) photography’ as a construct of the digital age. After first situating the concept’s history in relation to that of the larger field of ‘the analog’, thereby exposing its connection to the American field of cybernetics, the entry describes how analog photography’s identity as a synonym for film was initially constructed and has subsequently evolved. Then it elaborates on the category’s formulation as a site of resistance to emerging technologies. Analog photography’s ongoing usage, the entry suggests, is a testament to the way that information-age epistemologies have organized the shape and scope of the photographic field.

Experimental Performative and Analog Photography

Experimental Performative and Analog Photography

Mengeksplorasi Praktik Personal Digital Archiving (PDA) dalam Fenomena New Analog Photography di Instagram: Membangun Personal Branding, Pencarian Autentisitas dan Detoksifikasi Digital

This article discusses the phenomenon of the rise of analog photography called new analogphotography on Instagram. Apart from discussing the phenomenon of new analog photography, this article also discusses the practice of personal digital archiving (PDA), which is applied to this phenomenon. Social media is a platform for storing personal digital archives, which has been done by all humans in the internet era and electronic devices have become an integral part of their lives. The method used in writing articles uses a qualitative case study approach. The aim of this article is to find the causes of the new analog photography phenomenon, namely the millennial generation and Gen Z who are very active on social media and have personal branding awareness. The exploration carried out by the millennial generation and Gen Z who have an interest in photography to search for the authenticity of digital presence images and rituals using analog cameras can be categorized as digital detoxification. The limitation of this article is that the number of respondents obtained in quantity is not yet representative. It is hoped that future research will be able to gather more respondents with more varied demographics to be able to map the distribution of this phenomenon. This article explains that photography, which is a form of visual archive, is related to the study of social, cultural and technological topics. So that it provides a new perspective for developing the field of archives, especially special-form archives.

Na styku mediów, na styku technik. „Foto-grafia” klasyczna i cyfrowa w polskiej poezji najnowszej

The aim of this text is to present the literary image of the breakthrough that occurred with the invention of digital photography. The article focuses on the most contemporary Polish poetry – mainly authors born in the 70s, such as Jacek Dehnel, Marcin Świetlicki or Bronka Nowicka. On the basis of their texts, the literary image of both traditional analog photography and photos created with the use of the latest techniques is reconstructed. In her interpretations, the author uses the tools she has developed herself, which include concepts such as “photo-graphemicality”, which is a combination of features linking text with photography, and “photo-grapheme”, which is its individual realisation.

Three Histories and Seven Lives: Investigating the Archives of South Indian Photo Studios, Tamil Nadu, 1880–1980

Abstract This article explores the diffusion and productions of commercial studio photography in South India (Tamil Nadu) from the time the first Indian-run studios opened in the 1880s up to the demise of analog photography—and thereby of many family-run studios—a century later. The particular focus of the article is on research carried out to constitute the stars.archive (Studies in Tamil Studio Archives and Society), the first digital archive of Tamil studio photography, which includes around forty-two thousand photographic images digitized inside studios, private homes, and secondhand shops all over Tamil Nadu. Through examination of the archive, the article suggests that a history of photography in this region needs to attend more closely to the specificities of appropriation of the photographic apparatus and its social uses by sourcing empirical data outside institutional archives. A closer examination of the content of the stars.archive reveals the diversification over time of the social uses of studio photography, far beyond the ubiquitous “studio portrait.”

Examining the nature of the photographic medium; a praxis and exploration into the obsoleteness of analog Photography

Examining the nature of the photographic medium; a praxis and exploration into the obsoleteness of analog Photography

Lippmann Photography: A Signal Processing Perspective

Lippmann (or interferential) photography is the first and only analog photography method that can capture the full color spectrum of a scene in a single take. This technique, invented more than a hundred years ago, records the colors by creating interference patterns inside the photosensitive plate. Lippmann photography provides a great opportunity to demonstrate several fundamental concepts in signal processing. Conversely, a signal processing perspective enables us to shed new light on the technique. In our previous work, we analyzed the spectra of historical Lippmann plates using our own mathematical model. In this paper, we provide the derivation of this model and validate it experimentally. We highlight new behaviors whose explanations were ignored by physicists to date. In particular, we show that the spectra generated by Lippmann plates are in fact distorted versions of the original spectra. We also show that these distortions are influenced by the thickness of the plate and the reflection coefficient of the reflective medium used in the capture of the photographs. We verify our model with extensive experiments on our own Lippmann photographs.

DIGITALISASI FOTO JURNALISTIK ANALOG HARIAN KOMPAS

Before in digital format like we have today, photographs were kept in celuloid film or what we called as analog photography. Beside the fact that celuloid films need storage space and have to be organized by content, analog photographs also have a limited lifespan before they fade, decomposed or damaged. Quality of images starts to decline after 45 years of storage. With such facts, film preservation and archival from analog photographs into digital is necessary to salvage these documents. Analog digitalizing is also important because it will allow old photographs to become accessible for public or wider audience. Kompas as a daily newpspaper has managed to digitalize their collection of analog photographs from 1965-2005. Digital archiving involves few stages: collecting photographs, selecting, scanning, inserting description, cataloging and storing. Up to February 2020, digitalization team has archieved 93,952 film envelopes (about 2 million photoraphs) into 340,965 photos uploaded to digital archive. There were 55,451 photographs left without caption. This research is to discuss Kompas’ film digitalization and its challenges as well as alternative model suggestion that may be used by other newspapers.

Análise comparativo da sombra com a fotografia, o corpo, o duplo e o arquétipo sombra

This investigation briefly analyzes the shadow as an origin of analog photography, giving examples of shadows that symbolically came to replace the bodies that ever projected them. We also analyze the shadow as a phenomenon of life, since it is an intangible trace that accompanies the body that projects it and, consequently, represents its presence in the world. Moreover, we study the relationship of the shadow with the soul in the culture of primitive peoples. Also, in the short story The Shadow, by Hans Christian Andersen, we compare the distorted and enlarged silhouette that projects the protagonist with the shadow archetype. Finally, we compare this archetype with the Lavater’s skiagraphias.

Electrosynthesis and Properties of Crystalline and Phase-Pure Silver Orthovanadate

Interest in silver-based semiconductors dates to the early years of analog photography. On the other hand, the recent discovery of new silver oxide-based ternary semiconductors has caused a resurge...

Violências cotidianas: a fotografia experimental como registro artístico de ações de empoderamento feminino

O presente artigo aborda questões geradas a partir da produção de uma série de fotografias experimentais com viés feminista. Tendo como tema central ações que visam acolher e empoderar as mulheres, levantam-se questionamentos sobre a construção social do feminino. Nesse processo, são utilizados recursos de fotografia analógica de forma experimental, propondo aproximações com o trabalho fotográfico de Adriana Lestido, assim como articular estudos das autoras Maria Lygia Quartim de Moraes e Simone de Beauvoir.

Of Stereoscopes and Instagram: Materiality, Affect, and the Senses from Analog to Digital Photography

Abstract This article addresses popular claims that photography has been “dematerialized” in the digital era. It engages a wide range of critical writings about photography from the early 19th to the 21st century to demonstrate that different versions of these claims have always formed an important part of photography criticism. However, rather than doing justice to photographs’ materiality or their complex entanglements with what has been considered material and immaterial, human and nonhuman, they have tended to somewhat limit our understanding of the medium’s material, sensory, and affective valences. This article argues that a sustained engagement between visual culture studies, sensory studies, and the new materialisms can help us understand more fully both analog and digital photography’s contingent position within the material world, varying sensory ideologies, and different subjectivities.

A Proposal for Updated Standards of Photographic Documentation in Aesthetic Medicine.

Summary:In 1998, DiBernardo et al. published a very helpful standardization of comparative (before and after) photographic documentation. These standards prevail to this day. Although most of them are useful for objective documentation of aesthetic results, there are at least 3 reasons why an update is necessary at this time: First, DiBernardo et al. focused on the prevalent standards of medical photography at that time. From a modern perspective, these standards are antiquated and not always correct. Second, silver-based analog photography has mutated into digital photography. Digitalization offers virtually unlimited potential for image manipulation using a vast array of digital Apps and tools including, but not limited to, image editing software like Photoshop. Digitalization has given rise to new questions, particularly regarding appropriate use of editing techniques to maximize or increase objectivity. Third, we suggest changes to a very small number of their medical standards in the interest of obtaining a better or more objective documentation of aesthetic results. This article is structured into 3 sections and is intended as a new proposal for photographic and medical standards for the documentation of aesthetic interventions:1. The photographic standards.2. The medical standards.3. Description of editing tools which should be used to increase objectivity.

The Pencil of Error: Glitch Aesthetics and Post-Liquid Intelligence

There is a strange inheritance between analog photography and digital images in regards to the confused agencies of their making. Both forms of visual technologies employ black box production methods, whether in the chemicals of the dark room or the obscure physical and graphical casements of computer operations. While these technologies significantly complicate the nature of artistic claims to authorship, they also engender new forms of technological and ecological relations. Reading one medium against the other, this paper examines the divide between the analog and the digital through Jeff Wall’s writing. It argues that much of the liquid intelligence of photographic chemicals persists in the material contingencies of digital image networks and their propensities for error. Focusing on glitch art, this paper argues that artists and theorists may need to relinquish a defense of the role of the artist in order to better recognize the material agency of the technology at hand. These unseen agential relations of codecs, silica, and electrons – that which I call post-liquid intelligence – stand to provide a deeper understanding of media formats, material flows, and ecological ethics.

Images of Equivalence: Exchange-Value in Andreas Gursky’s Photographs and Production Method

Contemporaneous with developments in information technology and digital photography, globalization has emerged as an economic, political and cultural process enmeshed with the spread of capitalism. Combining analog photography and digital image processing, Andreas Gursky’s large-format, vividly colored photographs are often discussed in relation to globalization. Despite these claims, there are no sustained, cohesive interpretations that account for his subject matter, form and production process. To investigate the relationship between images, production methods and socio-economic context, this article focuses on the role of exchange-value in Gursky’s practice. Drawing upon theoretical perspectives of late capitalism, and including an analysis of Gursky’s work from North Korea, this article argues that exchange-value pervades Gursky’s vision of the contemporary world. As a result, exchange-value is seen to subtend both the world of, and the world ostensibly beyond, late capitalism.

A impureza da imagem: estéticas intersticiais entre a fotografia analógica e digital

O texto faz uma análise crítica da imagem digital tendo em vista os percursos e desvios do processo de assimilação da fotografia analógica pela base técnica numérica. Parte-se da filosofia do aparato de Flusser e do conceito de emulação de Foucault para pensar a digitalização ocorrida, na década de 1990, como um projeto industrial que visava, sobretudo, à emulação do analógico pelas tecnologias digitais. Passado esse momento histórico de transformações tecnológicas, uma análise distanciada permite levantar a hipótese de que a imagem fotográfica digital passa a assumir uma posição intersticial, entre a fulguração indicial e os algoritmos computacionais. De acordo com tal perspectiva, esse estado de impureza da imagem se tornaria, então, um elemento potencializador da criação artística, na medida em que abre um novo campo de exploração estética.

From Photography to Ubiquitous Capture Systems

The invention of the charged-coupled device (CCD) lead to the development of digital cameras, which, in the last decade, have replaced nearly all analogue cameras for consumer use. The authors reflect on the move to digital photography and the implications of having a ubiquitous computing technology replaced an old product--in this case, analog photography. They explore how innovations in a single product (the camera) can affect the entire ecosystem (how to store, access, and share photos).

How Do Firms Develop New Capabilities? Leica’s Rocky Road from Analog to Digital Imaging

Organizational capabilities are generally considered one of the major sources for the generation of competitive advantages. But due to environmental dynamics, competitive advantages happen to dissolve, thereby challenging firms to reconfigure their capability architecture and to develop completely new capabilities. Empirical evidence from various industries however shows that these attempts in many cases fail. More has to be learned about successful capability renewal. By exploring an extraordinary case of an impressive capability renewal, we try to shed light on the underlying mechanisms and drivers. It is the case of Leica Camera, a classic analog photography firm that successfully managed to become a different type of company during the digital photography revolution. The Leica story highlights the role of implanting external capabilities, powerful entrepreneurial intervention, and overcoming path dependencies in building new capabilities. In conclusion, the paper makes the case for an alternative theoretical explanation beyond dynamic capabilities and the idea of resource reconfiguration. Thus, this study contributes to a better understanding of how firms can develop new capabilities in dynamic, possibly competence-destroying business environments.

Camera as Object and Process: An Interview with Victor Burgin

Using a number of his recent site-specific installations, conceptual artist and theorist Victor Burgin discusses the status and future of the camera from photography to moving image to computer-generated virtual works that combine both still and moving images. In the process he modifies Bazin’s question ‘What is cinema?’ to ask ‘What is a camera?’ These works extend and develop Burgin’s long-standing interest in the relationship of aesthetics and politics as rendered through visualization technologies, especially as it pertains to space. Burgin’s discussion constructs a genealogy of seeing, visualizing and image-making as technologically-determined and crafted. The ideology of vision and the ideological artefacts produced by and through visual technologies from perspectival painting to analog photography to computer imaging constitute, in Burgin’s argument, ‘the ideological chora of our spectacular global village’.