Photographic Medium Research Articles

Semiótica photostory Mertidusun as a noble value for environmental sustainability

Mertidusun semiostic photostory is the focus of this research. The aim is to illustrate how photostory can provide the Mertidusun ritual visual meaning in maintaining the noble value of environmental sustainability. Symbols of the noble value of the Javanese tradition can still be felt today. This perception can be built through the medium of photography that can build a visual language. The research method used is a visual methodology with a semiotic analysis of Roland Barthes. In the form of photostory semiotic exposure, the results of this study show that there is a relationship between visual photography with noble values of environmental sustainability.

An ethnography of deletion: Materializing transience in Solomon Islands digital cultures

This article demonstrates the fragility of digital storage through a non-media-centric ethnography of data management practices in the so-called Global South. It shows how in the Lau Lagoon, Malaita Province, Solomon Islands, the capacity to reliably store digital media is curtailed by limited access to means of capital production and civic infrastructures, as well as a comparatively isolated tropical ecology that bedevils the permanence of all things. The object biography of mobile phones, including MicroSD cards, typically short, fits into a broader historical pattern of everyday engagements with materializations of transience in the Lau Lagoon. Three types of visual media are exemplary in this regard: sand, ancestral material cultures and digital visual media (photographs and videos). Ultimately, Lau experiences of transience in their visual media are located in their visual technological history and the choices they make about which materials to maintain or dispose of.

Exploring human-nature interactions in national parks with social media photographs and computer vision.

Understanding the activities and preferences of visitors is crucial for managing protected areas and planning conservation strategies. Conservation culturomics promotes the use of user-generated online content in conservation science. Geotagged social media content is a unique source of in situ information on human presence and activities in nature. Photographs posted on social media platforms are a promising source of information, but analyzing large volumes of photographs manually remains laborious. We examined the application of state-of-the-art computer-vision methods to studying human-nature interactions. We used semantic clustering, scene classification, and object detection to automatically analyze photographs taken in Finnish national parks by domestic and international visitors. Our results showed that human-nature interactions can be extracted from user-generated photographs with computer vision. The different methods complemented each other by revealing broad visual themes related to level of the data set, landscape photogeneity, and human activities. Geotagged photographs revealed distinct regional profiles for national parks (e.g., preferences in landscapes and activities), which are potentially useful in park management. Photographic content differed between domestic and international visitors, which indicates differences in activities and preferences. Information extracted automatically from photographs can help identify preferences among diverse visitor groups, which can be used to create profiles of national parks for conservation marketing and to support conservation strategies that rely on public acceptance. The application of computer-vision methods to automatic content analysis of photographs should be explored further in conservation culturomics, particularly in combination with rich metadata available on social media platforms.

Empiricism of the Medium of Photography and the Interflow of Realities of Vision

Empiricism of the Medium of Photography and the Interflow of Realities of Vision

Muslim Cultures beyond the Aperture: An East African Photo-Story Illuminated by First-Hand Accounts

Abstract This paper is an exploration of Indian Muslim culture in East Africa through pre- and post-independence eras via the medium of photography. It examines the art and craft of photographic practice, the training of photographers, their social networks and those of their patrons, as well as the personal context of photographs. It also discusses the dispersal of archives and personal collections. It is based upon first-hand accounts from professional photographers, their family members as well as patrons, whose ancestors travelled from India via Indian Ocean trade routes. Fareh te chareh is a Gujarati proverb meaning ‘A person who roams advances.’

Experiencias y experimentación fotográfica en la Argentina de los setenta

A pesar de que el experimentalismo fotográfico en Latinoamérica, y en particular en Argentina, ha sido constantemente desplazado de las líneas de investigación histórica y sociocultural sobre las artes y la cultura visual, en los últimos años este fenómeno estético ha adquirido mayor relevancia en las investigaciones sobre el medio. En este artículo propongo analizar los discursos y las prácticas sobre la experimentación de las imágenes técnicas en la Argentina de los setenta. Durante esta década se llevaron adelante exposiciones del medio que pusieron en evidencia el interés de diversos grupos fotográficos por explorar las posibilidades materiales de la imagen fotográfica en clave de un anticonvencionalismo estético. Para llevar adelante este trabajo, se indagará primero en los debates sobre el experimentalismo fotográfico, entendido desde diversos ángulos como un modo de comprensión específica del medio, para luego determinar los vínculos entre estas concepciones de la fotografía y los casos del Manifiesto del Grupo Fotográfico Experimental, las tomas directas del Grupo Beta presentadas en Lirolay y los fotogramas expuestos en Experiencias visuales con medios fotográficos en la Galería Odín. Finalmente, se examinará el lugar de la técnica en tanto sustrato material que posibilitó la puesta en juego de las experimentaciones fotográficas en este contexto.

The memory struggle: archives of postmemory in contemporary Korean photography

This essay elucidates works of ‘the generation after’ Korean artists whose photographs reveal crevices of the modern and contemporary history of Korea. Using the medium of photography, Kwon Soon Kwan, Oh Suk Kuhn, An Jung Ju, Im Jong Jin, and Lim Anna look back and take issues with memories of then Korean War and the Gwangju Democratization Movement of May 18. I examine how their postmemory works visualize ghostly presences, dramas of anxiety, bodies as sites for trauma, and consumed and celebrated memories. I analyze ways in which they explore cultural, historical, and political transformations in collective memories based on Marian Hirsch’s theory of postmemory. Their works further pose questions on official records of the past traumatic events that were modified, edited, distorted, and even deleted for political purposes. I claim that, by giving the individual victims permanent presences, their photographic impulse is to recover what is no longer visible in society and history. Photographs in their work are places of lasting return that bring about ghosts that have disappeared in the archive. I argue that focused on the tension between national and individual memories, the artists’ imaginative horizon and creative appropriation recover specific local histories of the political violence embedded in oblivion.

Citizens of photography: visual activism, social media and rhetoric of collective action in Cambodia

ABSTRACT We are living in the age of photography. Photography and visual social media flood our communication channels and become embodied in our daily activities. People who can afford the medium of photography – people who are described here as ‘citizens of photography’ – use these channels to articulate and represent their grievances. These exemplify a form of visual activism and articulation that have long been discussed in social movement studies, yet the links between photography and social movements could benefit from further examination. Drawing on a socio-environmental movement case in Cambodia, this article interrogates how photographic and visual representations and social media shape the outcomes of collective action by discontented citizens. I argue that the ubiquity of visual devices and digital access to visual social media facilitates underprivileged citizens in grassroots movements to aesthetically exert influence on their targets in order to leverage their demands effectively. Beyond considering images as messengers and mediatization, the power of visual images inspires and provokes action: participation in the protest, and re-production and re-circulation of the images on social media. The power of visual images – produced by ordinary citizens – is the performative force that brings about change in the era of social media.

A portrait in pieces: Félix Nadar’s La main du banquier D.

Invoking the notion of the fragment discussed by Linda Nochlin, Henri Zerner, and Charles Rosen, this article examines how Félix Nadar’s La main du banquier D. exploits the body fragment to comment on identity and representation in the modern period. Exploring the limitations and devices of conventional portraiture, Nadar’s photograph of a banker’s hand suggests that one’s likeness and character can be read from a single body part. Nadar presents this hand as a portrait, but also as a ‘study in chirography’, an assertion that further situates the photograph in the interstice of word and image. As an exploration in both handwriting and hand-reading, La main du banquier D. looks to the medium of photography to reveal how personality manifests beyond the face. This article reframes Nadar’s image as a response to discourses on palmistry, physiognomy, and photography in 1860s France and considers how the photograph both deploys and complicates these empirical practices. Ultimately, through Nadar’s photograph, the hand emerges as cipher, synecdoche, and metaphor for the self, and this article argues that the image is symptomatic of what Zerner and Rosen have identified as a preference for metonymic representation in the modern period.

Okinawa Ritual Archives with a Focus on Photographic Media:

Okinawa Ritual Archives with a Focus on Photographic Media:

An Analysis of the Characteristics of Cross-Media Photography Based on Visual Communication Design

Under the high-speed transporting of information in network information, new values and opportunities constantly surge among multiple cultures. This article discusses the formal language of visual communication design, explores the methods of decomposing, fusing, and interpenetrating multiple art forms across media, deeply analyzes the connotation and creative methods of cross-media photography art, and explores the cross-media from the perspective of visual communication design. The artistic features behind media photography clarify the relationship between visual communication design and cross-media photography and analyze the commonality and individual expression of the two.

The Psychosocial Impact of Modifying Face and Body Photographs in Social Media

Social media usage has become widespread in the past decade, and studying its far-reaching impacts requires an interdisciplinary approach. This pilot study takes the first step in discovering the psychosocial impact of specific media content, modified face and body photographs, and the act of modifying in this context with a mixed-method assessment. The analysis is based on structured interviews with ten social media users with various demographic traits (such as gender, age, or education) who were presented eight pairs of "before-and-after modification" photographs and completed the Beck Depression Inventory (BDI) to assess a possible relationship between modified face and body photographs in social media and depression. All the participants encountered such face and body photographs that they considered "modified". The definition of modification was "retouching, editing, using filters or any kind of digital altering mechanism". Seventy per cent of users admitted that they took the opportunity to modify photographs of their face and body. The average Beck score of the image modifiers was 7.14, while non-modifiers' was 2.33. Thirty per cent of the interviewees probably had mild depression or were in a mildly depressive state during the data collection based on their Beck scores; all were image modifiers exposed to modified pictures. Besides the fully structured interviews with social media users, half-structured interviews were also recorded with four experts – a social psychologist, a clinical psychologist, a plastic surgeon, and a professional photographer – to gain a deeper understanding of this complex topic and contribute to further, more extensive research on this area.

PREMENSTRUAL SYNDROME DALAM FOTOGRAFI EKSPRESI

Premenstrual Syndrome is a symptom experienced by women before menstruation arrives. Many stories in the form of complaints from female friends. Based on this, ideas emerged to create photographic works of expression about the effects of Premenstrual Syndrome that were packaged with anaglyph technique. The impact to be visualized is a physical, psychological, and emotional symptom in the period before and until menstruation is over. Premenstrual syndrome information that has been collected through observation will be displayed visually by the medium of photography and using the object of a professional female model, as well as the addition of supporting properties to reinforce the message to be conveyed so as not to develop the meaning that comes out of the ideas that have been made. The work of photography created is a work of expression photography. This creation has an embodiment concept that displays visuals from the development of three-dimensional photographs, namely anaglyph and how to see this work must use anaglyph glasses, in the first glasses using a red colored glass lens and the second glasses using a blue lens glass and then how to view works using these glasses in turn. As for the obstacles that were experienced in the presentation of the embodiment of works including akat, place and time. The place is very influential on the atmosphere that appears in the photo, so the choice of place must be really in accordance with the concept to be appointed.Keywords: Premenstrual Syndrome, anaglyph, fine art photography.

Hydrodynamic Analysis of a Stormwater System, under Data Scarcity, for Decision-Making Process: The Duran Case Study (Ecuador)

Urban flooding is a major problem in many coastal cities around the world, mainly caused by factors such as poor urban planning, outdated sewer capacity or high frequent extreme events. In developing countries such as Ecuador, lack of monitoring, financial constraints and absence of proper policies exacerbate flooding problems. The use of the Stormwater Management Model (SWMM) helped to identify zones that are flooded even with a 2-year precipitation event at Duran city. Since there are no flood monitoring stations across the study area, model calibration was performed against unofficial records (people complaints, media photographs, and water marks on walls). Model results fairly agreed with those unofficial record. However, a validation process is not achievable yet due to lack of enough flood data even in flood prone areas. To further increase city resilience, authorities and stakeholders should engage in climate actions to raise flood hazard-risk awareness, monitoring hydro-meteorological factors, complement drainage operations with nature-based solutions, and improve hydrodynamic modelling to develop a flood early warning system for the city.

Retrospect

When Kodak released its mass-produced box camera in 1888, it introduced the medium of photography to a new class of users. With its simplicity of operation and catchy advertising slogan, “You press...

Album Uspomen na Zagreb Ivana Standla – prvi trag svjetlotiska u hrvatskoj fotografiji

U članku su predstavljeni rezultati analize albuma Uspomen na Zagreb Ivana Standla iz 1871. godine. Taj je album – osim iznimne kulturno-povijesne vrijednosti za Zagreb i hrvatsku fotografiju općenito – važan i zbog tehnike izrade u njemu okupljenih otisaka. Snimke su naime umnožene postupkom svjetlotiska, uvedenim u praksu svega nekoliko godina ranije, što taj album čini pionirskim ostvarenjem fotomehaničkoga otiskivanja na hrvatskom prostoru. Rezultati istraživanja rekonstruiraju kontekst nastanka Standlova albuma, povezuju ga s Prvom općom hrvatskom učiteljskom skupštinom u Zagrebu te novim spoznajama obogaćuju povijest fotografije u Hrvatskoj. Istovremeno nedvosmisleno potvrđuju i otprije poznatu važnost njegova autora kao najistaknutijega protagonista fotografskoga medija u Hrvatskoj u 19. stoljeću.

Indexical Realism during Socialism: Documenting and Remembering the ‘Everyday Realities’ of Late Socialist Romania through Photographs

This paper focuses on photography of everyday life in late socialist Romania, analyzing the photographic production of artists and vernacular photographs from private scrapbooks and collections. On a theoretical level, it disentangles questions concerning the production of ideological images; the political dimension of the act of photographing/documenting everyday life; the relationship between photography and cultural memory; the question of the forbidden gaze and the ‘reality’ of the visual document. The argument is that realism can be seen as a proclivity of certain kinds of photographs rather than inextricably associated with the medium of photography as such (the so-called ‘indexical realism’). Supported by an in-depth analysis of visual sources and semi-structured interviews with visual artists active during those years, this paper highlights the relationship between photography and cultural hegemony and zooms in on the photograph’s mnemonic abilities.

Potret Sebagai Data Pribadi Yang Di Komersilkan

Portraitis works of copyrighted photography with human objects. Personal data is data inthe form of personal identities, codes, symbols, letters or numbers of personal identifiers.Personal data includes personal life affairs including (history) someone's communication.Whereas in concept, personal data is not merely information about domestic sphere, but alsoinformation about professional history,professional and public life because a person'spersonal affairs also intersect with the relevant public affairs (interpesonal relationships andalso facts that occur in public spaces). Legitimacy of personal rights is regulated asconstitutional rights as regulated in Article 28G paragraph (1) of the 1945 Constitution ofthe Republic of Indonesia. Portrait in which there are human beings as objects is part ofpersonal data. Portrait is part of human identity that must be protected. The use of unlicensedportraits for commercial purposes can be detrimental to portrait owners not onlyeconomically, this action injures self-identity which can cause a bad image for that person.The use of portraits as personal data without permission for commercial purposes can besubject to criminal sanctions (Copyrights Law) and civil claims (Law on ElectronicInformation and Transactions). This paper discusses how portrait settings are as commercialdata. The purpose of this writing is that the output of the purpose of this paper is as the outputof the Beginner Lecturer Research compiled by the author with the title "CopyrightProtection on Portrait Photographs in Social Media".

Review: How to Do Things with Affects: Affective Triggers in Aesthetic Forms and Cultural Practices, edited by Ernst van Alphen and Tomáš Jirsa

Book Review| June 01 2020 Review: How to Do Things with Affects: Affective Triggers in Aesthetic Forms and Cultural Practices, edited by Ernst van Alphen and Tomáš Jirsa How to Do Things with Affects: Affective Triggers in Aesthetic Forms and Cultural Practices, edited by Ernst van Alphen and Tomáš Jirsa. Brill Rodolphi, 2019. 279 pp./$96.00 (hb). Stephanie Amon Stephanie Amon Stephanie Amon is the associate editor of In the In-Between: Journal of New and New Media Photography. For more information visit www.stephanieamon.com. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2020) 47 (2): 93–96. https://doi.org/10.1525/aft.2020.472017 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Stephanie Amon; Review: How to Do Things with Affects: Affective Triggers in Aesthetic Forms and Cultural Practices, edited by Ernst van Alphen and Tomáš Jirsa. Afterimage 1 June 2020; 47 (2): 93–96. doi: https://doi.org/10.1525/aft.2020.472017 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search In their introduction to this useful essay collection, Ernst van Alphen and Tomáš Jirsa schematize affect as “a stage in a process of triggering” (4). They understand affect as an ontologically unstable potentiality that can be formally provoked through artistic, literary, and social forms. Form sparks affect—this is the claim made in Eugenie Brinkema's influential formalist polemic, The Forms of the Affects (2014). When affect is activated by form, it unfolds and operates; it does things. Affect begets cognitive outcomes such as thoughts, emotions, ideology, and identity. It can therefore do ethically and politically consequential things. Thirteen scholarly contributions are organized into sections corresponding to these three stages: form, affect, effect. As contributor Jan Slaby points out, this basic yet sturdy framework accords with the view of affect in cultural theory as a “forceful processuality” that territorializes in social arrangements and cultural practices (61). Bernd Herzogenrath harkens back to... You do not currently have access to this content.

Can Desire and Wellbeing Be Promoted in Adolescents and Young Adults Affected by Cancer? PhotoTherapy as a Mirror That Increases Resilience.

PhotoTherapy represents a recent psychotherapeutic intervention which, through the medium of photography, has the objective of helping a patient reach a higher self-knowledge and explore thoughts, desires, and intimate perceptions that would otherwise remain hidden. Because of this, it may help people overcome their cognitive and emotional boundaries and bring out their interiority, even when exploring some of the most distressing themes. The objective of the present research was to demonstrate that the elaboration and expression of inner desires, fears and needs of wellbeing among adolescents and young adults, who were either sick or had been cured of cancer, could be facilitated through the use of PhotoTherapy. Their responses were also compared with those of healthy young adults, in order to be able to explore the kind of impact such a pathology can have on those who are affected by it and highlight eventual differences in the kind of desires and needs expressed instead by those who never had a diagnosis of cancer. A qualitative research design was adopted. 45 people took part in the study, aged between 12 and 25 (mean age 19). The participants were divided into three groups: those currently being treated for cancer, those with a history of cancer and those who had no experience of cancer (third group). From the data analysis, different preferences and attitudes toward the presented pictures and themes emerged among the participants, depending on the specific group they belonged to. The article discusses these preferences and considers how PhotoTherapy can help treat psychological distress caused by cancer.