Genre Of Photography Research Articles

Genesis of Street Photography in the Context of the Specificity of Digital Age

The purpose of the article is to reveal the peculiarities of the development of the genre of street photography in the context of the digitalisation trend. Research methodology. The logical-analytical, subject-analytical, system-analytical, typological and historical-cultural method, as well as the method of cultural analysis, were applied in order to comprehensively and objectively study the problems of the development of the genre of street photography. Scientific novelty. The genre of street photography is studied through the prism of the features of digital photography; the influence of surrealism, documentary cinema and humanistic tendencies of photo art on the genre of street photography is analysed; the development of the genre of street photography is traced in historical retrospect and at the present stage in the context of the digitalisation trend; little-known foreign language sources of a cultural nature were introduced into scientific circulation. Conclusions. The main characteristics of digital photography are plasticity (the ability to integrate with other media, close connections and interactions between the camera, mobile phones and social networks in the context of the photo sharing process) and the ubiquity of mobile devices (the ability to easily take a photo with a mobile camera), which the specifics of the creative thinking of a modern person and affects the transformation of the genre of street photography. The study found that the main factors influencing the development of street photography in the digital age are: the emergence of smartphones, social media and online sharing, mirrorless cameras and additional functions, artificial intelligence and computational photography. The ubiquity of digital devices and their relationship with various media significantly transforms the genre, which throughout its history has been characterised by a significant reaction to internal (documentary style, surrealism, humanism) and external interventions (for example, consumer culture, popularisation of other genres of photography, lack of control). At the current stage of the development of the genre of street photography, the main influencing factor is the ubiquity of digital photography – access to the camera and urban space create prerequisites for creativity in the genre of street photography, which gradually leads to the levelling of boundaries between professional and amateur photography. The gravitation of the genre of street photography to documentary or art is determined by the author's approach of a particular photographer, the style he follows, the specifics of the environment and technical means. Thanks to the huge amount of photo equipment, the digital age is changing street photography, creating new trends and influencing the organic development of traditional features of the genre, and its adaptive nature allows us to talk about further transformational processes, in accordance with the development of the socio-cultural space.

Analisis Penggunaan Lighting Dalam Fotografi Konseptual Human Interest

Lighting is the main element in the world of photography, without light photography will never exist because light can create character in a photo. With light, you can determine whether a photo is true or not. Light itself is the most important element in photography as is the meaning of photography itself, namely painting techniques using the medium of light, that's why we must understand the meaning and procedures for using lighting to make or produce good photos. good. In every genre of photography we will definitely deal with lighting, be it sunlight or artificial light, of course an understanding of lighting is very much needed to produce photos that have aesthetic value. This journal will discuss or analyze the use of lighting or lighting in photos - photos related to the concept of human interest photos, this journal can also be your guide to create works that have meaning in a work of photography and value beauty in the future.

Community-Based Photographic Archives and “Potential” Histories of the Cold War in Eastern Europe

The article proposes to look at the recently emerged online photographic archives in Eastern Europe as a form of digital commons. The bulk of the collected photographs in these archives are vernacular, family or amateur photographs, the sort which obstinately resists being included in the histories of photography. The online archives under scrutiny here, Fortepan in Hungary and Karta/CAS in Poland, disregard the established divisions between the photographic genres, allowing the reconfiguring of the hierarchies and values perpetuated by other archives and museum collections. Most significantly, by being accessible and relying on the contributions of its users, the online archives also forge a new public. The aim of this article is to investigate the affordances of these archives in constructing new photographic histories of the Cold War. Looking at selected photographs showing collective manifestations and street protests, the article will demonstrate the realignment of the private and the public in these archives.

The Photo Manipulation from the Perspective of Photographers: Study from Jordan

From both positive and negative perspectives, photo manipulation has an impact on all areas of photography. Although the effect of photo manipulation is a personal matter, the effect of its application is reflected in the type of audience that consumes the image. Therefore, the research aims to study photographers' understanding of image manipulation and its ethics, in addition to identifying image manipulation techniques from the photographers' professional point of view. A total of 228 responses were obtained using the online questionnaire. The results of the study indicate that photographers consider photo manipulation as one of the elements responsible for losing the credibility of photography and the image. However, the respondents agreed that unethical photo manipulation is an issue of increasing importance in the photography community, and they identified the need for ethical conduct in all genres of photography in order to reduce wrong practices. The results also show that manipulation techniques that do not harm the content of image are acceptable to photographers.

Portrait and Mugshot: Metonymical Foundation of Photographic Genres

This article focuses on the genre distinction between artistic and legal photographs of faces: while the artistic portrait tends to express the singular soul of the person pictured, the biometric mugshot aims to scan singular physical traits without any psychological expression. How do these photographic genres allow us to identify the represented person? What do each of them seek to recognize? To grasp our metaphysical expectations of photographic technology, and thus to bridge the gap between discursive styles of these two photographic genres, I revise Derrida’s deconstruction of the law of genre. Further, I argue that Derrida’s and Nancy’s subversive readings of Kant’s concepts of parergon and schema help us to understand the rhetorical setting of the human mind, which organizes the photographic work of framing fragments. Finally, I explain the metaphysical conditions of possibility for both photographic genres by situating their opposite goals in the interval of personal recognition constructed by metonymical schematism.

Notes on historiography of photographs from India

AbstractDespite its long and layered histories, critical analyses of photography in India began rather late and remain comparatively limited in number. However, the burgeoining scholarship in the field illuminates photography's role in conditioning modern South Asian experiences, while also highlighting the global character of the medium that complicate the unmarked history of photography. Three intertwined historiographical threads are influential in narrating the colonial Indian camera cultures. The first thread emphasized descriptive histories, the second thread debated cultural essentialism, while the third thread inquired into myriad photographic genres to rethink colonialism. An inquiry into these three threads helps reflect on the intellectual scope of photographs from colonial India, while also directing to future archival and analytical possibilities.

The Night Albums: Visibility and the Ephemeral Photograph

The Night Albums: Visibility and the Ephemeral Photograph

Мобилография – медиадағы жаңа құбылыс

Today's media not only spread information, but also create interesting news that we can watch, listen to and read by viewing our audiovisual creations using our small mobile devices. This trend usually coincides with modern searches in the media sphere. Therefore, mobile journalism is gaining momentum not only abroad, but also in Kazakhstan. Young journalists who are passionate about the possibilities of new media, and those who want to work in the field of media in the future, react especially to this. They prove that, as before, there is no need to sit in front of large portable computers, monitors. Through their small mobile devices in their hands, they can shoot, edit and create high-quality media products. Our article says that mobilography is one of such modern phenomena. We can say that this is a new direction in electronic journalism. At first it appeared as a genre of photography and in a short time gained popularity among millions of amateur photographers. And this was followed by skeptical interest, creating an image among photography professionals. Now, in this process, television filming has also begun to be done.

Souvenir Photography: Documenting a Foreign Culture for the Western Audience

Photographer Felice Beato (1832-1909) was a pioneer of souvenir photography, a genre of photography that depicted foreign cultures for an unfamiliar audience. A type of photography that was popular in the 19th century, particularly in Japan, souvenir photography was created to export images of foreign cultures to people in the West. This article explores the historical implications of souvenir photography, the influence of Felice Beato on the genre, and how he represented Asian culture to people in the West. Beato’s work in Japan, China, and India allowed him to experiment with different types of photography, such as architectural, panoramic, and war photography. His photography was characterized by the use of panoramic and colorization techniques, which allowed him to capture the essence of the places he visited. His work contributed significantly to the emergence of souvenir photography as a genre, and his ability to convey the beauty of his subjects was widely recognized. Beato’s photography brought a part of Asian culture to the western population, and his images often portrayed what the westerns perceived as the exoticism of these cultures.

Photographic Archives and the Anthropology of Communism in Albania

Abstract The communist period in Albania was a time of intense photographic production. Much more than in previous periods, photography was perceived by those in power as an indispensable tool while at the same time becoming accessible to almost the entire population. Many photographs from the time survived the end of the communist regime and can now be used to study the history and memory of that period. To be of historical value, however, the diversity of photographic genres and practices, as well as the history of the constitution of photographic archives demands consideration of the context of the production and circulation of photographs, and that is a primary objective of this article. The author shows how he conducted an ethnography of photography based on presentation of the current state of public and private collections, and how such investigation constitutes a contribution to the anthropology of communism in Albania.

Revisioning the Ethnographic Photograph

ABSTRACT This paper attempts to destabilise the ethnographic photographic genre through an exploration of some of the photographs contained in the Pauline Ingle Photographic Evaluation and Realisation (PIPER) project. By locating the collection alongside contemporary recuperative attempts to refigure the archive, the paper explores both the mutability of photographic genres and the ways in which the approaches and techniques of her photography in a rural area complicate an ethnographic reading.

Exhibition Review: The New Woman Behind the Camera

Exhibition Review: <i>The New Woman Behind the Camera</i>

Domestic Spaces as Showcases: Interior Photography in the beginning of twentieth-century Istanbul

Domestic Spaces as Showcases: Interior Photography in Early twentieth-century Istanbul Ece Zerman (bio) keywords Domestic interiors, late Ottoman Empire, photography, self-representation, visual culture At the beginning of the twentieth century, paintings, reproductions of paintings, and photographs of family members, relatives or of “great men” crowded domestic interiors. On the walls, historical scenes were intermingled with landscapes, and often combined with family photographs. The diffusion of photography and the development of new techniques allowing for the faster reproduction of images facilitated their circulation, which had, in turn, effects on the ways in which the interiors were decorated.1 Novels narrated these new trends; etiquette books gave advice on the arrangement of photographs in interiors, or on the decoration of the walls of a room. This constantly changing imagery provides clues to understand the ways in which contemporaries represented themselves in a period of profound transformation, from the late Ottoman Empire to the early Republic of Turkey. Following this path, this short paper explores through a variety of case studies the images displayed on the walls of late Ottoman domestic spaces, and considers these interiors as a space of self-representation. Complementing visual documents with textual ones helps to give insights into the ways in which the images circulated and served to display multiple identities and social affiliations within interior spaces. The principal object of this paper is both interior photography and the images exposed on the walls, as observed through this genre of photography. In other words, I focus on interior photographs to analyze what notions of self-representation the images on the walls may reveal. The “class” dimension of these photographs has to be underlined: interior photographs, compared with those produced in a studio, required the possession of a camera or a photographer [End Page 325] to come specifically to a home. This was hardly an easily affordable practice. This explains the fact that interior photographs for this period come, almost exclusively, from relatively wealthy families. With cameras being expensive and requiring long exposure times at the beginning of the twentieth century,2 we may assume that interior photographs from this period correspond to an intentional representation of a personal space.3 According to Sarah Anne Carter, “interior photographs documented a process of personalization within the home, arranging individual possessions and spaces as part of a unified, aesthetic composition.”4 We may pursue her line of argument here and assert that it was not a random part of the house that was photographed, but a space carefully defined by the photographic frame and chosen by the inhabitants or the photographer. It was probably no coincidence that these places reflected, in many cases, imagery to which the inhabitants seemed to have a personal connection. The family archives of Said Bey (1865–1928), an Ottoman high official and teacher living in Istanbul, provides my first case study.5 An undated photograph (Figure 1) shows a living room. It is framed to depict the space in its entirety. In front of the window, we see two men sitting, barely visible because of the overexposure. This is most likely Said Bey’s konak [mansion] in the old neighborhood of Aksaray. If so, the photograph must have been taken before 1913, since it was during this year that the family moved to an apartment in the fashionably modern district of Şişli. The two sides of a large open door are decorated with small rugs, and each is topped by a rectangular frame, probably bearing a calligraphic inscription. On the left, above the carpet and the calligraphy, there is a painting placed in a prominent position. We have some hard data on this painting (Figure 2) as it was in the possession of Said Bey’s great-granddaughter, Hatice Gonnet Bağana. According to her testimony, the [End Page 326] Click for larger view View full resolution Figure 1. SALT Research, Said Bey Archive, AFMSBTH035. Click for larger view View full resolution Figure 2. Portrait on the wall in Figure 1. Oil painting on canvas. From the personal archive of Said Bey’s great granddaughter, Hatice Gonnet Bağana, donated to the Sadberk Hanım Museum, Istanbul (SHM 19554-E.50). [End Page...

Eugenics and photography in Britain, the USA and Australia 1870–1940

This essay traces the main ways in which photography was taken up and used by supporters of the eugenics movement, from the time that Darwin's cousin, the British polymath Francis Galton, first used it to demonstrate the role played by heredity in human intelligence, to the early 1940s, when the eugenics movement lost much of its appeal. It is argued that Galton's composite photographs of the socially “fit” and “unfit” members of British society only broadly determined the pattern for how American and Australian eugenicists deployed photography, and that each country's differing social tensions caused them to evolve their own diverse set of photographic practices aimed at promulgating the eugenic cause. Using photographic examples drawn from Britain, the USA and Australia, the essay identifies the leading persons and eugenics organisations that deployed photography, the different kinds of photographic genres they used and the different ideological and statist ends to which their images were put. It concludes that compared to Britain where class differences were highlighted, the USA and Australia's strong respective histories of slavery and colonisation led to a more robust emphasis on race and in particular the preserving of racial purity and expansion of the white population.

Features of Street Photography and Its Similarities with Cinematography

The purpose of the study is to analyze the visual features of street cinema photography and techniques for its implementation; establish the role of light, colour, composition and historical features of the street genre of photography; to prove the importance of conscious departure from the established laws of photocomposition for the implementation of creative ideas. The research methodology consists in the application of the following methods: theoretical – for the study and analysis of scientific publications, articles and photo albums of street photography masters; empirical – to observe and compare visual elements between cinema and photography. Scientific novelty. The detailed analysis of the main compositional methods designed to simplify the composition and analysis of the main components of a spectacular visual image that enhance the visual impact of cinematic photography on the viewer were conducted. Conclusions. The article describes in detail the visual features of creating cinematic street photography. The elements of street photography, the affinity of style with cinematography are generalized, the components for creating a strong visual effect on the audience are identified.

Female Portrait in Photography Art: from Authenticity to Modernity

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 photography, empirical – study of relationships between female portraits of different times, comparative – comparison of modern and authentic portraits. In the course of cognitive synthesis and generalization of distinctive and similar features of female photo portraits of different times, special features of the female portrait were determined. Scientific novelty. For the first time, the history and formation of female photo portrait from authenticity to the nowadays were analyzed. The analysis was conducted based on photo portraits researches of different times. A detailed analysis of factors influencing the formation of this genre of photography was carried out. With the help of the theoretical analysis, the factors influencing the development of the female photo portrait were determined, its specifics and features were outlined. Conclusions. In the course of the article, we analyzed female portrait in photography and the concept of female beauty in different periods. With the help of the analysis of the history of development and formation of the female portrait photography genre, its role in the art of photography has been established. Peculiarities of female photo portrait as a genre of the art of photography were determined. Its peculiarity and importance have been proved. The factors influencing the concept of female beauty in photography, the development of female portrait and its features have been generalized.

ВИЗУАЛИЗАЦИЯ ПАМЯТИ В ПРОЕКТАХ УРАЛЬСКИХ ФОТОГРАФОВ А. БОГОМОЛОВОЙ И С. ПОТЕРЯЕВА

The article is devoted to the problem of memory visualization in the language of photography. Photography is presented as a sign system and a communicative tool of culture, as one of its mnemonic and memorial techniques. An image archive is created through a photo. It becomes a refuge of memory and material for the reconstruction and reinterpretation of memory. The author explores the nostalgic, retrospective genre of photography. The appearance of this genre demonstrates an increase in the demand of culture, society and personality for memory, to assert themselves in the present through a search for a connection with the past. The purpose of the article is the analysis of the visual language of photographic projects related to the theme of memory, the analysis of visual rhetoric, and the identification of a set of "visual toposes" and metaphors of memory. This article reviewed the projects of two young Ural photographers Anastasia Bogomolova and Sergey Poteryayev. Their work connects the theme of memory, the problem of reconstruction, reinterpretation and retranscription of the past. These projects are a kind of visual research of personal and collective memory, the development of the problems of places of memory and mythology of the place. The theme of memory in projects is directly related to the problem of identity. In the course of the study, the author of the article relies on materials from creative projects and exhibitions, information from copyright sites. The author also uses materials interviews in which photographers talk about themselves, about the history of project creation, conceptual ideas and creative orientations. Creativity of Anastasia Bogomolova appears as a performative act, as "unpacking the archive". For a photographer, memory becomes the basis of individual and family identity. In the exposition space, photographs are complemented by objects, video and sound installations, and performances. The projects of Sergey Poteryaev represent photo stories about real places and people. The photographer refers to the relationship of the fate of the disappearing settlements and their inhabitants. Using a collage technique, the photographer connects the past and the present, creates pictures of memory. The analysis of the visual language of the photo projects was carried out, the conceptual bases of the projects and creative techniques were investigated. The article identifies the key methods and techniques of working with photography, the basic metaphors and images through which personal, family, and collective memory became visible. The author shows that both photographers apply a topographical approach to memory in accordance with the nature of photography. Project photos convey such memory characteristics as paradox and surreality, multi-layered and collage, selectivity, fragmentation, and construction. The events of the past are distant from us, but images of memory exist in the present. Images of memory can fade; overlap each other like images in a photo. At the same time, they are overloaded and insufficient. Just as memory is changeable, mobile, its images can be fluid, distorted, but they help us comprehend the past for the present.

Sistemas de recuperación de información en bancos de imágenes comerciales. Eficacia de la búsqueda inversa de imágenes

El objetivo principal de este estudio es analizar la eficacia en la recuperación de imágenes en los bancos de imágenes comerciales en internet al realizarse una búsqueda inversa (de una imagen mediante otra previa). Para ello se analizan los sistemas de recuperación de imágenes que incluyen, se selecciona un conjunto de imágenes sencillas de los géneros fotográficos paisaje, bodegón y retrato y se procede a su búsqueda en una selección de bancos de imágenes. Los resultados se comparan con las imágenes de referencia atendiendo a los atributos de textura, forma y colores predominantes. Por último, también se realiza una búsqueda textual complementaria a efectos comparativos. Se concluye de los resultados y su análisis que la búsqueda inversa solo es ofrecida por los bancos comerciales de pago, que funciona mejor en imágenes de unos géneros que de otros y que, en general, la búsqueda mediante imágenes de ejemplo puede ser útil y efectiva para una primera consulta no semántica.

Ilse Bing: A Frankfurt School Photographer in Paris and New York

Ilse Bing was one of those Weimar photographers whose work was recognized or rediscovered later than that of many of her more famous female peers. Her photographic project sprang largely from her persistent subversion of the stylistic oppositions of New Vision photography and New Objectivity. Just as complex was the work she produced after moving to Paris, defined as it was by her cross-cutting of Weimar socialist and French Surrealist photographic mentalities. Comparable in her precise socio-political analysis to the Frankfurt School's critiques of emerging mass-cultural and political formations, Bing's work in the United States, where, barred from publishing in magazines, she was able to pay witness to photography's functioning as a new ideological- and cultural-industrial medium—acquired the melancholic features of a mordant critique of traditional photographic genres such as the portrait.

Dramatization of Visual Communication Messages In Macro Photographic Genre

Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).