Photo Studio Research Articles

Philippine people and landscapes in the photographs from Pranciškus Baltrus Šivickis’ photoarchive

The photoarchive of Pranciskus Baltrus Sivickis (1882–1968), one of the most prominent Lithuanian biologists of the 20th century, is very large containing about 3 000 photos. This has been the first attempt at investigating the photoarchive. In the article, photos from the period 1922–1928 when P. B. Sivickis was professor at University of Philippines are published alongside with their analysis. The analysis of his photoarchive repeatedly reinforces the image of a personality of varied attainments. He liked to photograph and had a variety of interests: Philippine nature, landscape, architecture, historical monuments, traditions and customs, sketches of everyday life, engineering equipment, etc. This makes his photos of great value to historians who investigate the period of time (1922–1928) in general and the history of the country, ethnography and University of Philippines in particular. The majority of photos are portraits of his students and of University’s staff which shows that not only scientific activity but also pedagogical work has been very much to his liking. Many localities in Philippines have been photographed with the emphasis on Puerto Galera where P. B. Sivickis has established Marine Biology Station. In the photos we identified part of P. B. Sivickis’ assistants and students and the professorship of University of Philippines: President Rafael Palma, Dean of Liberal Arts College Maximo M. Kalaw and others. Of course, there is quite a number of artistic photos, however, in technical terms the quality is often far from satisfactory. The fact that sometimes photos have been glued in full to album pages or on Whatman paper is a great deterioration; besides, it aggravates the deciphering process – makes the reading of inscriptions on the reverse impossible. Apart from photographs taken by P. B. Sivickis the photoarchive also contains portraits of Philippine people taken in photo studios and given to him as a present. The gift portraits reveal the trends in photography of those times and allow us to make some suppositions about his personal life in Philippines.

Building Lean Startups at the Bottom of the Pyramid (Innovations Case Narrative: YouthBank and Generation Enterprise)

Valley. But Lagos, not San Francisco, is where we went in 2009 when we decided to launch our startup. After years of economic development research, strategy consulting, and engagement with at-risk youth, we, Clara Chow and Lily Rubin, had gone from friends, colleagues, and fellow social enterprise nerds in Washington D.C., to excited (and apprehensive) founders of a youth-run photo studio in Lagos, Nigeria—one of the world’s fastest-growing megacities. Our photo studio not only would develop headshots for aspiring “Nollywood” stars, it would give the street youth of Lagos—the infamous “Area Boys”—work experience, skills training, and, for top performers, access to microfinance, putting them on the path to becoming independent entrepreneurs and socially responsible community leaders. We raised over US $25,000, developed the business model and rotational training program, interviewed some 200 local youth to gather baseline data, and conducted extensive market research. We had a plan. Of course, nothing went according to plan. Years later, on Clara’s first day in Steve Blank’s Lean Launchpad class at Stanford, she’d be reminded that no startup business plan survives its first contact with reality. The only way to find out what works is to get out of the building and test it with real customers. Fail fast and cheaply. And adapt (“pivot” in startup speak) until you hit upon a model that the market wants, and can scale. This is the story of how we tested, failed, learned from our failure, and adapted the model for our youth organization over four years, 40 trips, and thousands of volunteer hours. What started as a quest to help a Nigerian activist bring microfinance to urban youth became a photo studio that provided on-the-job training

Photogenic Flies—A review of Chyb and Gompel's Atlas of Drosophila Morphology: Wild-type and Classical Mutants

Photogenic Flies—A review of Chyb and Gompel's Atlas of Drosophila Morphology: Wild-type and Classical Mutants

Obraz odzyskany. Fotograficzne portrety ocalonych

Fotografie identyfikacyjne wykonywane więźniom obozu Auschwitz-Birkenau to jedna z ikon Zagłady. Fotografia, przede wszystkim właśnie ta identyfikacyjna, użyta w kontekście Zagłady, wydaje się wyjątkowo nieoczywista, a sposób jej stosowania i późniejszego konceptualizowania wyjątkowo problematyczny. Tym bardziej zastanawiające są ślady powojennej praktyki fotograficznej obecnej wśród byłych więźniów obozów koncentracyjnych – praktyki polegającej na portretowaniu się w pasiaku w profesjonalnym studio fotograficznym. Kilkanaście zdjęć wykonanych w latach 1945–1947 przedstawia ocalonych, którzy zdecydowali się utrwalić swój wizerunek jako byłego więźnia/byłej więźniarki, nawiązując do przedwojennej tradycji portretowej, powtarzając gest założenia obozowego ubrania oraz (być może) doświadczenie bycia fotografowanym/fotografowaną w obozie. Portrety te, zestawione z praktyką wykonywania zdjęć identyfikacyjnych, okazują się materiałem, którego interpretacja problematyzuje kwestię skrajnie różnych sposobów używania fotografii jako z jednej strony instytucjonalnego narzędzia opresji, z drugiej zaś narzędzia indywidualnej konfrontacji z traumatycznym doświadczeniem. Zestawienie zdjęć identyfikacyjnych i fotografii portretowych jest okazją do refleksji nad sposobami używania fotografii w kontekście Zagłady, a tym samym nad kondycją fotograficznego medium

A Photograph of Four Orientalists (Bombay, 1885): Knowledge Production, Religious Identities, and the Negotiation of Invisible Conflicts

Abstract By analyzing the history of a photograph taken in a Bombay photo studio in 1885, this article explores notions of the production of knowledge on India and cultural dialogues, encounters, appropriations, and conflicts in colonial British India in the late nineteenth century. The photograph was taken after a Hindu religious ceremony in honour of the Italian Sanskritist Angelo de Gubernatis. Dressed as a Hindu Brahman, he is the only European photographed next to three Indian scholars, but what the image suggests of encounter and hybridity was challenged by the many written texts that reveal the conflicting dialogues that took place before and after the portrait was taken. Several factors were examined in order to decide who should and who should not be in the photograph: religion, cast, and even gender were successively discussed, before the category of “knowledge” became the bond that unified the four men who studied, taught, and wrote on India.

개항기(1876~1894) 서울의 자본주의 도시화와 사회적 갈등

Seoul had become a center of modernization policy that the government carried out, and an aggressive foothold of foreign power after open port to foreign vessel in 1876. Modern urbanization had been advanced at the same time, in Seoul. <BR> Urbanization of Seoul that was proceeded under capitalistic world system caused big change in traditional city structure, and constructed base that was reorganized into capitalistic urban space. The modernization policy of government had been proceeded in<BR>Bukchon(北村, north village) that was the center of politics, economy and society in Seoul. On the other hand, foreign nation legations was located in Namchon(南村, south village) that was the unimportant area of Seoul. Namchon started arising as the center of politics, diplomacy and economy by depending on foreign power.<BR> The resistance and conflicts of Seoul residents about capitalistic urbanization had been mixed with the anti-modernization and anti-aggression. The first modern city project was discontinued in opposition of the residents and political attacks. When the army insurrection in 1882 and Gapsin coup. in 1884 happened, Seoul residents attacked the Japanese legation, Vaccinia place, photo studio, newspaper office, etc. The conflict of capitalistic urbanization was concentrated in the central part(中部) and Namchon. <BR> Other various resistance that had happened in seoul at that time was concentrated to central part and east part(東部). It was because that central part was badly damaged in economy, east part was estranged thoroughly from modernization and urbanization process.

Re-Presenting Self: Reading Some Van Kalker Studio Photographs

The photographic implement, from the earliest days of its invention in Europe, in 1839, has been used to document events considered as real. However, notions of ‘reality’ could be ambiguous as objects or sceneries intended to be photographed are sometimes constructed to represent an imagined stereotypical reality. In South Africa, as well as in other parts of Africa, earliest documented photographs of indigenous peoples, by many Europeans, usually depicted cultures that were ancient and, in their opinion, needed to be studied. Photography however, was subsequently used by the apartheid government in South Africa to control movement of blacks through identity (passport) photographs that classified people based on race. It eroded the dignity of blacks by presenting them in public media as being inferior, poor and violent. Nonetheless, photography has equally been appropriated by the people to project their dignity in contrast to the images widely represented. These photographs of how the indigenes saw themselves were often kept in private collections, such as family albums. This essay attempts to look at how photography was employed by the Van Kalker Photo Studio in Cape Town to depict the Blacks and ‘Coloured’ peoples in South Africa as responsible and enlightened people whose image of self representation deconstructs that upheld by the apartheid state.

The Preservation of Terror

The Preservation of Terror Eric Gottesman (bio) After the 1974 arrest of Emperor Haile Selassie by the Marxist opposition-prompted in part by public outrage over photographs in the international media showing the emperor feeding meat to his animals while rural Ethiopians starved-political factions angled for control. Not coincidentally, it was around this time, specifically in 1977, in the midst of the Red Terror, that the Soviet-supported communist government in Ethiopia (known as the Derg) unofficially outlawed photography. These officials were afraid that someone might use images to expose their regime's abuses of power. As a result, during that time, Ethiopians could only have their images made in official "photographing studios" set up by the government to make photographs used as official documents of identity. The Derg collapsed twenty-one years ago, but its psychological legacy continues to mystify identity and politics in Ethiopia and terrify those old enough to remember it. Of course, Ethiopians are now permitted to have cameras; but people continue to visit photography studios and carry around passport photographs of their loved ones. On holidays, families still line up to have their pictures made. I have visited friends and neighbors in Ethiopia, and in the United States, and have asked to see the images they preserved in their homes, in photo albums, in forgotten boxes, on cluttered desks. I asked people to allow me to re-photograph these images and the marks left on them over the turbulent intervening years. Many of these photographs depict people lost during the Red Terror or in its wake. Some are made more recently with this photographic history in mind. The photograph "Mother and Son Reunited . . ." was brought to me by someone who used the darkroom to combine an old image of a boy, missing since 1982, with a new image of his mother who still carries his photograph with her to try to find him. I have also begun to explore the pictures people in the Diaspora have carried with them, as well as the "ones that got away"-photographs that Eritrean and Ethiopian refugees remember but, for some reason, had to leave behind. The verbal descriptions of these inert photographs (gone, but not forgotten) testify to the power of the printed photograph in a time of digitization. As well, they reveal fragments of previously normal lives. These nearly two-dimensional rectangular objects seem fleeting, yet they have endured war, flight, and physical decay, as well as love and banality. I am interested in what these images say about the elision of personal and official histories. What do disintegrating government-sanctioned images say about the legacy of an authoritarian regime? What do old monochromatic images recall of the subjects, of what they endured, or of their memories? And how do these images inform the new, full-color national self-image Ethiopians are busily creating? [End Page 155] Click for larger view View full resolution Figure 1. Banded Passport Photographs (2007) by Eric Gottesman. C-print (h: 20" x 24"). [End Page 156] Click for larger view View full resolution Figure 2. Every page of Amsale Shiferaw's Photo Album (2007) by Eric Gottesman. Inkjet print (h: 80" x 42"). [End Page 157] Click for larger view View full resolution Figure 3. Mobile Orphan Photo Studio (2007) by Eric Gottesman. Gelatin silver prints (h: 30" x 40"). [End Page 158] Click for larger view View full resolution Figure 4. Hanna Mesfin's Mother's Photo Album (2007) by Eric Gottesman. C-print (h: 24" x 17") [End Page 159] Click for larger view View full resolution Figure 5. Backs of Passport Photographs, Amharic (2007) by Eric Gottesman. C-print (h: 16" x 20"). [End Page 160] Click for larger view View full resolution Figure 6. Photograph of Hanna Mesfin's Mother, 1996 (2008) by Eric Gottesman. C-print (h: 9" x 12"). [End Page 161] Click for larger view View full resolution Figure 7. Photograph of Hanna Mesfin's Mother with Woman, 1996 (2008) by Eric Gottesman. C-print (h: 17" x 24"). [End Page 162] Click for larger view View full resolution Figure 8. Photograph of General's Engagement Party (2004) by Eric Gottesman. Gelatin silver...

The Work of Play at American Girl Place

For a number of years, my colleagues and I have inhabited American Girl Place in Chicago, a host of other public venues to which the ceaseless procession of trade marked red shopping bags drew us, and the intimate play spaces of children's rooms, pars ing our findings across genres of publication in an effort to understand the brand.1 The cover photo documents one of many revela tory incidents we captured ethnographically. Comfortably seated in a sales area themed as a library?such other micromerchandised areas as the Cafe, Theatre, Museum, Salon, and Photo Studio host other emplacing tableaux?and flanked by the ethnically diverse yet thematically unified chronicles of American Girls of yore, a child steeped in conversation with her grandmother illustrates a point by tapping an unpurchased volume. This image of an intergenerational exchange mediated by the brand can be found on the SPQ website, www.asanet.org/spq. Nestled into the child is a surfer-girl doll from the brand's contemporary line, with (and as is often the case, to) whom the child had just been reading yet another unpurchased book. The dramatic juxtaposition of historical eras, with many of which the grandmother has had either direct or proximate experience, further validates and makes relevant the values her own life encompasses in the eyes of her grand daughter. The nesting of teaching moments captured in the photograph is integral to the store's appeal. Grandmothers are curators, conservators, and concelebrants of a heroic femininity pro moted by the brand. They (are seen to) embody the traits of integrity, perseverance, fidelity, and wisdom enshrined in the brand

Why Are Themed Brandstores So Powerful? Retail Brand Ideology at American Girl Place

Although there is growing interest in themed brandstores, we still know very little about the source of these retail environments’ power to affect consumers profoundly. Utilizing an ethnographic study of American Girl Place, a culturally rich and highly successful retail environment, we find that effective retailing in these contexts is an intensely ideological affair. In our participant-observation of, and on-site interviews with, consumers at American Girl Place we find that the ideology of the brand manifests powerfully through a variety of different and distinct areas within the store: the Museum, the Library, the Café, the Salon, the Theater, and the Photo Studio. Ideological expression is central to each of these places. Tracking the influence of brand ideology through consumers’ retail experiences, we theorize about the centrality of retail place in ideological branding. Although the confluence of ideology and retailing has been referenced in prior research, this paper focuses on and systematically develops the theoretical interconnection between the two. The physical immediacy of themed brandstore experience acts as a quilting point that links together related cultural concepts into a strong retail brand ideology. The implications of this theory draw our attention to ideological and morally-bound retail brand expressions, emphasize the importance of a variety of retail formats within a single store, and provide practical guidelines for retailers eager to build successful brands of their own.

Digital images in museums: Doing the DAM: Digital asset management at the Metropolitan Museum of Art

Digital images in museums: Doing the DAM: Digital asset management at the Metropolitan Museum of Art

Life of Photographer and Sociocultural Meanings of Photo Studio

Life of Photographer and Sociocultural Meanings of Photo Studio

明治・大正期における「熊野百景」と風景の生産―新宮・久保写真館の実践―

明治・大正期における「熊野百景」と風景の生産―新宮・久保写真館の実践―

Home Away from Home: Photographs from the On Char Collection

The On Char collection consists of more than 90,000 negatives donated to the Bishop Museum in Hawai'i by the Chinese American photographer. Born in 1889, On Char ran the City Photo Studio in downtown Honolulu from 1911 to 1954, except for a two-year period during which he went to New York and Chicago to study photography. The On Char collection consists of his life's work. —Editor A Family Portrait The first print was a photograph of Lum Choy taken by On Char, a Honolulu photographer, in his Chinatown studio. In the second print, Lum Choy is joined by his wife, Lum Chu She, and their infant son, Lum Sai Wong. Examining Lum Chu She closely, one can see a light shadow around her head. Her feet do not look as if they are supported by the ground, and they appear to be floating. The image of mother and son was shot in China and was superimposed upon the original photograph of Lum Choy. This type of doctored photograph was one way that families separated by the Pacific Ocean could be reunited. The Lum family portrait and other such photographs represent an important part of the Chinese historical experience in Hawai'i and the continental United States. The Lums were one of thousands of Chinese American families that suffered untold hardships due to the forced separation of parents and sons, wives and husbands, and fathers and children. By the beginning of the twentieth century, thousands of Chinese men in Hawai'i and the U.S. had wives and children in China. Many men married on return visits to China; it was common for parents to arrange marriages for their sons on these visits. Often the chosen brides were very young. When the men returned to Hawai'i, these young wives were left behind to raise children and to carry out their obligations to their husbands' parents, destined to live their lives in painful solitude, separated from husbands who became virtual strangers. These families, separated by the Pacific Ocean, were often apart for years, decades—sometimes for a lifetime. [End Page 99] Despite thousands of miles of ocean and extended periods of separation, many of the families, like the Lums, still thought of themselves as a family. Although not physically together, they kept in contact through letters. Photography provided another vital link. Family portraits were created by placing suitably proportioned photographs of family members against a studio backdrop and re-photographing the images as if everyone were together. It was through such innovative photography that family members could each have a family portrait to enjoy in the years when they were apart. The impetus for these photographic reunions was legislation passed by the U.S. Congress. On April 30, 1900, the U.S. Organic Act officially created the Territory of Hawai'i. Consequently, American laws such as the Chinese Exclusion Acts, which prohibited the immigration of laborers into the U.S., applied to the Hawaiian Islands. As a result, these exclusionary Acts had a profound impact upon the Chinese community in Hawai'i, as they had on the Chinese community on the mainland U.S. The Chinese responded to these laws and the anti-Chinese movement in numerous ways. Thousands returned to their homeland. Others were able to circumvent the exclusionary laws using paper names, the fraudulently purchased identities of persons who could legally establish American residency. Some immigrated to the U.S. and the Territory of Hawai'i under exempt categories: teachers, ministers, physicians, bankers, and merchants. However, between the years 1852 and 1940, the majority of Chinese men still came as laborers, often leaving loved ones back home. Lum Choy and Lum Chu She In 1880, Lum Choy was born in a simple clay house in San How Village, Sun Wui County, China. Lum was an only child, and in 1896, he left his mother, Lum Lai She, and migrated to Hawai'i. Lum's first...

Mediated marriage: internet matchmaking in provincial Russia

were corresponding with American, Western European and Australian men who had obtained their addresses through internet matchmaking agencies. Sometimes they asked me to translate difficult passages, such as one in which an American man wrote that he had walked by ‘Victoria’s Secret’ in the ‘mall’ and wanted to know his friend’s ‘measurements’ in order to buy her a present there. Another acquaintance, the 20-year-old son of one of my colleagues, showed me photographs taken on a summer trip to the US, which included several pictures of suburban couples in their kitchens or in front of their cars. After working at a summer camp, he had been able to travel around the Midwest by visiting several female relatives and friends of his family who had married Americans, and was obviously very favourably impressed with the conditions in which he found them living. I seldom heard people in Yoshkar-Ola discuss the issues that I, having lived and studied in Frankfurt-on-Main, associated with the mail-order bride business: women abused and forced into prostitution, locked into brothels or prevented by immigration laws from getting a divorce. In Yoshkar-Ola internet matchmaking agencies were a ubiquitous presence, 2 and many women considered the possibility of looking for a husband abroad as one potential way of coping with post-socialist life. During the year I worked at Mari State University three students in the foreign language department married men from the US or Mexico, with the expressed approval of older faculty members. The agencies also provided a welcome source of income to people with foreign-language skills. Several of my students and colleagues worked for them

Photography Recording the Japanese Modernization-Centering on the Tomishige Photo Studio

Photography Recording the Japanese Modernization-Centering on the Tomishige Photo Studio

Visions of modernity in Ghana: Mami Wata shrines, photo studios and horror films

This paper contends that modernity is not a monolithic historical phenomenon but rather has many different representations and its own internal contradictions. Visions of modernity as shaped and staged in studio photography differ from those evoked in the Mami Wata shrines of Nigeria, as well as from those in the more recent horror films. In the Mami Wata cult, modernity appears as an allegory. It afflicts people, and their diffuse fascination with the modern is something dangerous which has to be channeled through images and rituals and eventually will be transferred into the sphere of the sacred. Studio photography, on the other hand, celebrates and idealizes modernity. It is much more concerned with making people participate in modernity and in providing them with modern likenesses. In Ghanaian horror cinema, finally, the audiences obsessively confront what their modern mind has not been able to bury or to explain away fully. Here modernity appears as a horrifying and horrific tale, illustrating the price one has to pay for participating in modernity.

ディジタル写真館 高品位ディジタル写真の実際 高品質アミューズメントフォト

ディジタル写真館 高品位ディジタル写真の実際 高品質アミューズメントフォト