Photography Project Research Articles

Widely Project: Utilizing an Ultra-Wide Angle Lens in Photographing Museum Bahari Jakarta

An ultra-wide angle lens is an “abnormal” type of lens that is capable of capturing scenes with a super vast perspective. The strongest characteristic of this lens is its distortion. Often distortions are seen as imperfections and disasters. However, in the “Widely Project”, distortion is used to create a unique and aesthetic perspective. The aim of this research is to use an ultra-wide angle lens to photograph Museum Bahari Jakarta. The photography project was subsequently utilized to preserve objects in the museum and the architecture of its buildings, which contain the historical story of the archipelago. The results show that ultra-wide angle lens are able to: create an attractive, artistic, and aesthetic perception, a “real” feeling on miniatures, furthermore a majestic atmosphere on ships and buildings.

Peningkatan Akses dan Peluang Kewirausahaan Mahasiswa melalui Pembelajaran Fotografi Berbasis Proyek Industri di Sistem Pembelajaran Jaringan

The program to enhance student access and entrepreneurial opportunities through industry-based photography project learning in an online learning system aims to develop students' technical and managerial skills. This program combines theory and practice through real industry-relevant projects, providing a comprehensive and interactive learning experience. Results show significant improvements in students' skills and motivation. With continued support from various parties, this program is expected to sustain improvements in education quality and entrepreneurial opportunities.

Application of Digital Cameras Toward Children Development Domain

This research was carried out to create awaereness on the benefits of camera applications to young children development like social, language, and cognitive development. The initiative to introduce camera as teaching tool in preschool and home was one of fantastic ideas in effort of making children’s learning more interactived and improved. Digital cameras provide children with a medium to express their creativity, capture and share moments, and engage in storytelling. This studies proved that the digital camera seccussfuly encouraged children to observe and appreciate the world around them, enhancing their visual literacy and observation skills. Furthermore, digital cameras foster social interactions and collaboration as children work together on photography projects, share their creations, and connect with others who share their interests.

Project-based learning in basic photography learning: The effect on student learning outcome

This research aims to assess the impact of implementing the project based learning on enhancing student learning outcomes in photography sessions within the visual communication design program at Vocational High School. Additionally, the study intends to compare the effectiveness of this learning with conventional learning. The study used a quasi-experimental method using a non-equivalent control group. The study was carried out at Vocational High School Muhammadiyah 1 Kepanjen. The samples in this research were X-grade students in visual communication design. They were separated into two groups: the experimental group, consisting of 17 students, and the control group, also composed of 17 students. The data was gathered by assessing students' learning outcomes before and after using the learning strategies of each group. The research utilized a portfolio of photographic project outcomes as the instrument, which included specified evaluation criteria. The data analysis in the research included a normality test, homogeneity test, and independent samples t-test. The findings indicated a notable disparity in learning outcomes between the experimental and control groups. The study findings suggest project-based learning may enhance student learning outcomes in photography sessions.

Punctuated Land: An Exploration of Conflict Through Photographic Practice

Punctuated Land (2019-2023) is a practice-led research project that, through photography, explores the enduring legacies of conflict and the historical and political forces that enable and perpetuate its normalization. Recurring visits to Israel/Palestine, tracing Israel’s de facto borders, and spending time in the occupied territories of the West Bank, were methods of observing how conflict gets inscribed on the verges and in the overlooked; including trees and other natural entities. This paper examines how living in ongoing conflict filters into the ground and into language, and how this informs how we view and interpret images. Traces and their photographic representation become the means to make visible the impact of maintaining dominance over the land. Practices of control and discrimination that appear in the landscape are reflected in the use of language, the interpretation of local laws, and the exercise of power over access and restrictions. While the mechanisms of violence and occupation promote a vision of this land as desolate and barren, this photographic project explores poetic and subtle visual methods to capture the traces of human presence that highlight the multiplicity of narratives and the entangled coexistence of collective memories.

Citizens’ photography: a comparative analysis

Taking advantage of developments in digital technology and the transmission of information, citizens’ photography has become a common way that ordinary people, rather than exclusively professionals, now produce knowledge. It also represents the promise of a democratisation of information-making and distribution. After defining citizens’ photography, this article offers a comparative analysis of its performance in the spheres of media/journalism, the social sciences, and human rights organisations, and shows its role in each field and its intricate relationship with experts in those fields. The analysis in these fields is concerned with the historical formation of such photography, the source of citizens’ photography’s strength or fragility, and its conditions. While most scholars have considered this practice in a single, isolated field of knowledge, this article seeks to understand its centrality to a civil politics of visual participation via a comparative approach. The article concludes with a detailed description of one of the first citizens’ photography projects in Palestine: ‘Palestinian Diaries’ (1990), which is unknown to local residents because it was broadcast only in Europe.

Фантастическое в фотопроектах Мартины Франк 1970–1990-х годов

The purpose of this study is to discover the elements of fantasy in Martine Franck’s documentary photographs, as well as to analyse the completeness, intentionality, and persuasiveness of the created images of illusory existence. The object of the study is the projects of Martine Franck created in the 1970s‐1990s. What contributed to Franck’s creative method was education in art history, the artistic phenomena of the first half of the 20th century, and collaboration with her husband, a prominent figure in documentary photography, co‐founder and ideologist of Magnum Photos, Henri Cartier‐Bresson. Franck’s thematic repertoire is extremely diverse, which provides a sufficient array of images to identify patterns withing the stated research topic using mainly the method of comparative analysis. No other studies on the search for the elements of fantasy in Franck’s work have been found. The examination of Franck’s photographs has allowed systematizing the elements of fantasy in her documentary photography projects and analysing the master’s figurative language and selected technical solutions.

Picturing finitude: Photography of mountain glaciers as a multiple practice of dealing with environmental loss

In recent years, photographs and visualisations of glacier retreat have become emblematic images of climate change and its ecological consequences. This paper presents glacier photography as a subtype of environmental photography. I argue that photographs and photographic projects that focus on glacial retreat are best conceived not only as strategies for proving climate change or as visual rhetoric for social transformation, but also as a practice that potentially plays an integral role in dealing and coping with human-induced environmental loss. To this end, I draw on praxeological accounts in theory of photography and philosophy of art as well as some exemplary photographic projects to develop a framework to analyse glacier photography. With the help of this praxeological framework, multiple orientations in glacier photography are identified: epistemic, aesthetic, emotional and evocative, social, ethical, and political orientations. All these photographic orientations, I argue, point in their own way to the process and consequences of glacial disappearance and loss. The framework presented innovatively brings together scholarship on climate change visualisation, imagery and art, the theory of photography, and philosophical aesthetics.

Rewriting history: a conversation between Parham Taghioff and Hamidreza Karami

ABSTRACT This illustrated conversation between Parham Taghioff and Hamidreza Karami focuses on Taghioff’s profound engagement with history and the philosophy of history within his photographic projects. The dialogue explores how Taghioff’s work reveals the common tendency for individuals to unwittingly cast themselves as characters in the historical drama without a conscious understanding of their roles. Key projects, such as the ‘Hands On/Hands Off’ (2014) and the ‘Asymmetrical Authority’ series (2018), are discussed, emphasising the artist’s reliance on personal historical understanding and historical memory. Taghioff highlights the dynamic nature of historical comprehension, stressing that continual emergence of new facts, documents and narratives prevents a definitive understanding of the past. The conversation also touches on Taghioff’s perspective as a contemporary artist in Iran, highlighting the need to examine history to grasp one’s contemporary position. The conversation concludes with insights into Taghioff’s artistic methodology, involving the analysis and use of archival materials, texts and images to reconstruct and critically examine various historical perspectives.

DPIC OPEN CALL

The third edition of the International Drawing and Photography Contest (DPIc) 2024, a competition integrated in scopio Architecture, Art and Image - UTOPIA is directed towards the Identity of Universities spaces of teaching experience and work and open to all academic communities, both in Portugal and abroad.
 The contest has the joint coordination of the Center for Studies in Architecture and Urbanism (CEAU), the R&D Center of Architecture School of the University of Porto (FAUP), the Centre for English, Translation and Anglo-Portuguese Studies of the Faculdade de Letras da Universidade do Porto (CETAPS/FLUP), i2ADS – Institute of Research in Art, Design and Society is a R&D unit based at the Faculty of Fine Arts of the University of Porto (FBAUP) and Research Institute for Design, Media and Culture [ID+] and the Institute Arquitecture and Development (Arq.ID) based at University Lusófona of Porto. It also has he institutional support of U.Porto’s Rectorate and in partnership with AEFAUP, counting with the support of other Student Associations of U.Porto.
 The main ideas present in the contest Drawing and Photography Contest (DPIc) integrated in- Architecture, Art and Image – UTOPIA is to open the Universities to the Civil Society through Drawing and Photography projects, showcasing the multifaceted richness of activities, experiences and architectures related to the Learning institutions and its diverse spaces of experience and work.
 Deadline for the submission of projects: 31 of July, 2024

Flash

Genesis is a photographic project by Sebastião Salgado which resulted from a research startedin 2004. After its inauguration at the Natural History Museum, in London, in 2013, it was trans –formed into an itinerary exhibition curated by Lelia Wanick Salgado.This project follows two important works in Salgado’s career – “Workers” (1993) and “Migra –tion” (2000) – while at the time being associated with the release of the documentary “TheSalt of the Earth”, directed by Wim Wenders and Juliano Salgado, son of Sebastião Salgado whoclosely followed the shooting.
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Images from Exile

This roundtable discussion brings together the teams of two online participatory photography projects with exiled victims of the Colombian conflict, Tejiendo Vidas [Weaving Lives] in Spain and Fotodiásporas [Diaspora Photos] in the USA. Both projects were linked, in distinct ways, to the Colombian state’s efforts to provide recognition and reparations to victims of the country’s armed conflict as part of wider transitional justice and peacebuilding processes underway since the signing of the historic Colombian peace accord in 2016. The participants in these projects were some of the estimated one million people who have left Colombia as a result of the armed conflict between 1982 and 2020. They used photography as a means to process and make sense of their experiences, to heal through building connection and dialogue and to be seen. Bringing together the multi-disciplinary teams made up of photographic facilitators, psychotherapists and transitional justice researchers who ran these two projects, this roundtable discusses the responsive methods, logistics and dynamics of virtual and hybrid projects that fused participatory and therapeutic photography approaches. Reflecting on the outcomes, similarities and differences between the two projects, the conversation explores, in a context where economic and material reparations are slow to emerge, the role that participatory photography projects have to play in enabling symbolic reparations for Colombians whose lives have been permanently changed by conflict.

FOTOGRAFIAS QUE NARRAM HISTÓRIAS

Through a critical reading of the artistic procedures in contact-contagions and the relationship between body, photography and discourse in the Cuban photographic series Diecisiete (2009-2010), by Eduardo Rawdríguez, we analyze the aesthetic procedures and the overflows between the literary and the photographic, based on Freund (1976), Sontag (1983), Brizuela (2014) and Butler (2015). Then, we discuss sexuality as a central issue for the debate around the notion of biopolitics (FOUCAULT, 1988) and the control of sexualities and bodies as it emerges in the project. Thus, we discuss policies and practices that censor subjectivities, such as the abjection of bodies (BUTLER, 2000, 2002; GIORGI, 2014), since the photographic project presents the problematic about subjectivities, violence and power in a certain Cuban context of the last decades.

Migration, abjection and visibility: the photographic projects of Sam Ivin, Melanie Friend and Yetunde Adebiyi

ABSTRACT This paper examines the work of three photographers addressing the experiences of migrants awaiting decisions upon, or denied residency applications by the UK government. While Sam Ivin’s Lingering Ghosts portraits convey the emotional and embodied impacts upon migrants awaiting notification of asylum requests, Melanie Friend’s images of Immigration Removal Centres (IRCs) investigate the spaces of exclusion and detention within the UK border control system. The paper concludes by examining Yetunde Adebiyi’s images of protests outside Yarl’s Wood IRC, Bedford and alternative communities for “non-legal” migrants in Liverpool. These images are put in the context of a process of “social abjection” , whereby migrants have been increasingly marginalised through negative media and government policy, ultimately diminishing or denying citizenship to certain groups within society. This raises issues of mobility justice , in that individuals’ experience of mobility is in sharp contrast to that of UK citizens and impacted by multi-scalar entanglements of other (im)mobilities. Individuals’ bodily and spatial experience of, and agency over (im)mobility is related to their visibility, and agency over being visible. By exposing the relative experiences of mobility and visibility the photographs provide a potential site of advocacy for mobility justice but can also draw attention to the unequal experiences of citizenship of subject, photographer and viewer. By suggesting that photographs constitute and engender a social relationship between these parties, the paper proposes that photographic projects might offer a potential “civil contract” between those with very different experiences of mobility, visibility and citizenship.

Master’s Photo Art Project “Manifestations of the Sacred Zaporizhzhia”

The author’s idea of the master’s photography project was to recreate the unique atmosphere, sacred and historical spirit of Khortytsia Island, where the symbol of the Ukrainian Cossacks, the Zaporizhzhia Sich, was located. For every nation, its history is essential, and Khortytsia has been preserving the heritage of our people for many centuries. At all times, the island has been attractive not only for its beauty but also for its sacred meaning. Nowadays, Khortytsia is not often depicted in cinematic works. Therefore, the relevance of the work is due to the need to draw the cinematographic community’s attention to the historical and sacred heritage of this Cossack Island. The representation of Khortytsia does not always reflect the historical and cultural aspects of this sacred place. Often films portray the island as a beautiful natural area without paying due attention to its cultural and historical significance for the Ukrainian people. Audiovisual works can treat Khortytsia only as a landscape for filming, without resorting to a detailed study of the cultural heritage. The cinematography does not always succeed in accurately conveying the character and appearance of the island’s sanctity, which can cause misconceptions among viewers. The project aims to reflect the mystery, mysticism, and spirituality of these places through the language of photography. The photographs demonstrate different historical periods, starting from the Bronze Age (Braharnya sanctuary), the Cossack period (a series of Zaporizhian Sich images), and up to the present day, showing the evolution of humanity and its impact on the world. The photo art project “Manifestations of Sacred Zaporizhzhia” is an informative, emotional, and visually exciting journey into the past that will inspire viewers to a deeper understanding of Ukrainian culture. The aim of the project is to reveal the depth of sacred Zaporizhzhia through photography, allowing viewers to immerse themselves in its mysteries, spirituality, and history, to see the diversity of this region and its impact on the cultural heritage of Ukraine.

Finding Photographic Recognition in the City: The Chicagoland-in-Pictures Amateur Historical Photography Project

Cet article étudie un vaste ensemble de photographies de Chicago produites par des amateurs dans les décennies d’après-guerre et destinées à la recherche et la publication sur la ville. Il examine la façon dont des photographes de classe moyenne ont collectivement défini une forme de documentation urbaine entre des normes hétérogènes venant de la pratique historique et de la culture des camera clubs. Il contribue à une histoire étendue de la photographie documentaire telle qu’elle a été définie et pratiquée par divers acteurs individuels et institutionnels.

‘How Will We Be Remembered?’: Irene Shwachman’s West End Photographs

This article examines The Boston Document, a documentary photography project that chronicled urban renewal in Boston from 1959–1968. The project was created by a largely unknown yet crucial documenter of Boston, Irene Shwachman (1915–1988). A large portion of the document focuses on the demolition of the West End, a neighborhood home to lower-class and immigrant residents. In the early 1950s, the Boston Redevelopment Authority labeled the neighborhood a slum, and implemented a redevelopment plan. The West End’s ‘renewal’ resulted in the destruction of a vibrant, diverse neighborhood and the displacement of thousands of residents. This article argues that Shwachman reinterprets a documentary photography methodology to incorporate the perspectives and histories of city citizens in her chronicle of urban change. Through this approach, I argue that Shwachman’s photographs present a subjective, personal investigation into Boston, centering the perspectives of city residents and underscoring how people shape and activate their urban landscape. In examining The Boston Document in this renewed context, this article reclaims histories and perspectives removed from Boston’s landscape through redevelopment.

The Grace Project—A Photography Project Revealing the Courage, Beauty, and Grace in the Face of Breast Cancer

The Grace Project is a series of portraits by fine art photographer Charise Isis capturing the courage, beauty, grace, and the scars, both inner and outer, of those who have had mastectomy surgery as a result of breast cancer. Charise uses her project to advocate for and to empower those affected by breast cancer and to illuminate the disparities that exist. The portraits are inspired by Hellenistic goddess sculptures that have survived the trauma of history, such as the Venus de Milo. Although broken, these cracked and scarred relics are celebrated as beautiful, their brokenness revealing the delicate nature of life, endurance, and the inherent beauty that still radiates.

Forced Fallow Fields: Making Meaningful Life in the Myanmar Spring Revolution

ABSTRACT Women’s everyday work is critical to revolutionary projects yet is often written out of war stories. This article draws on a participatory photography project with rural women in Myanmar to show how, in the face of extensive violence, women’s productive and social reproductive labour sustains both individual households and revolutionary projects writ-large. We highlight the everyday acts of love and labour that generate affective and productive ties to rural landscapes, enabling people to endure violence and imagine a better future. Our work shows how making meaningful life has become both more difficult and more urgent during the Myanmar Spring Revolution.

Amphibious Media Histories

Abstract Film and media circulation between India and cities on the Persian Gulf can be traced back to the 1940s. This article excavates the histories of media goods that made their way to the strictly regimented and highly taxed regimes of India, examining how these mobilities were enacted and what networks were activated in the movement of these goods. The article explores the dhow as an important media infrastructure for the acceleration of media modernity, and it analyzes infrastructure as a poetic object. It takes up and revitalizes infrastructure as aesthetic form, and it subjects visual texts ranging from mainstream commercial movies to independent cinema and photographic projects to closer analysis, through the assembly of infrastructure and aquatic elements. Combining textual analysis with accounts from divergent sources such as customs department personnel, distributors of audio and video, shipping agents, and contemporary periodicals, the article resurrects a history of confluence of media technologies, ocean movement, and coastal media markets. Through tracing such practices and the infrastructural narratives of the dhow, this article argues for a history of film and media in the Indian Ocean littoral that is more than the flow of texts.