Art Photography Research Articles

Scanography: photographic art between the realms of sight and touch

ABSTRACT Scanographs are photographs made using a scanner, and they have become increasingly present in contemporary photographic art in the expanded field. In this article, I examine the artistic processes of three artists working with scanners and analyze their works through their relationships with the senses of sight and touch. These works open up spaces for a haptic gaze, where the tactile qualities of the working processes of the artists are mediated through the images. I use theoretical sources centering on sight and touch, presence and absence, analogue and digital to suggest ways of considering these qualities not as opposing characteristics but rather as simultaneous polarities.

Realizing An Inclusive Policy For Persons with Disabilities in Indonesia Through The Art of Expressionism Gesture Photography

Inclusiveness of people with disabilities is a global issue related to equal rights and opportunities for active participation. The art of gesture photography is a medium to realize this. So, how to make it happen? Using descriptive qualitative research methods and an ethnographic approach, as well as the implementation model of Van Meter and Van Horn as the basis for data analysis. The results of the research show that there is quite a lot of potential for photography artists with disabilities in Indonesia, the absence of a specific policy has resulted in less than optimal implementation. The mistake of forming the KND, which was non-structural and independent, was to make it part of the Ministry of Social Affairs. The government needs to involve people with disabilities in making policies and not only focus disability issues on social issues, but more broadly on human rights issues.

Photographs that repulse or entice: Sense-making and emotional experiencing of artistic photographs.

Photographs that repulse or entice: Sense-making and emotional experiencing of artistic photographs.

‘Luxuries of the mind’: Contextualising Art Photography, Eroticism and History of Medicine in the Social tableaux vivants of Lejaren à Hiller's Sutures in Ancient Surgery (1920s–1940s)

Abstract In 1927 Lejaren à Hiller (1880–1969) produced a series of black and white art photographs entitled Sutures in Ancient Surgery evoking scenes from the distant past of surgery and medicine. Commissioned and distributed in North America by Davis & Geck, Inc. to promote sales of its surgical sutures (stitches), several depictions were erotic owing to the centrality and poses of nude female models. The first series appeared as ads in professional technical journals, then as packets assembled in paper portfolios distributed to doctors who were primarily men. The creation of Hiller's oeuvre in different forms over almost a century – journal advertisement, portfolio, book, exhibit, magazine features and textbook illustration – highlights his enduring broad appeal, although his work has since been subject to criticism because of its perceived sexism. At its root, Sutures was an advertising medium that connected a seller to a potential buyer. The content and presentation of the project also connected medicine present with medicine past, which also may have helped physicians to connect with the then blossoming field of medical history. The appeal Sutures may have had for a past male medical culture would not resonate with the more gender-inclusive and less overtly sexist medical profession of today, which also prompts discussion of the associations across art, obscenity, medicine and society. My reassessment of Hiller's work based on analysis of his artwork, contemporary interviews, published critiques, Hiller's own writings and DG company records extends previous analyses as it is more comprehensive in scope and also considers more fully works by Hiller antecedent to Sutures that probably greatly influenced it, such as photopoetry books, other advertising projects and his silent movie films.

STRAIGHT PHOTOGRAPHY AND THE MODERNIST USE OF PREVISUALIZATION

This essay recharacterizes Edward Weston, Paul Strand, and others’ use of ‘straight photography’ as a deliberate modernist strategy that invites the viewer to distinguish between what the photographer foresaw in their photographs and what they intended. As such, ‘previsualization’ is shown to be a method that engages genre conventions inherited from fine art painting and not a necessary quality of art photographs. The first portion of this essay illustrates how versions of previsualization and foresight informed the aesthetic theories of John Ruskin and Peter Henry Emerson. Then, it shows how ‘straight’ photographers pushed against this tradition, inviting viewers to distinguish between photographic foresight and artistic intention. I conclude by suggesting ways the separation of foresight and intention could ramify into our understanding of other arts.

Experimental Photography Study by Kurnia Ngayuga Wibowo “Memory Lane”

The work Experimental Photo Memory Lane by Kurnia Ngayuga Wibowo is a notable piece that has been featured in various prestigious exhibitions, such as "Permata Youth Photostory" organized by Permata Photojournalist Grant and Pannafoto Institute, Bandung Photography Triennale, Bandung Photography Month, and SEA Reading Photobookdummies in Taiwan. This work is considered a masterpiece by Kurnia Ngayuga Wibowo and serves as a compelling example of experimental photography. The appreciation of such a work is often conducted through art criticism, which plays a crucial role in interpreting and appreciating the underlying content of a photographic work. Understanding and interpreting each photograph can vary significantly, depending on the perspective of the critic or the photographer. The purpose of this research is to explore and analyze the artistic elements and intentions behind the Memory Lane series through the lens of art criticism, specifically using Feldman’s art criticism theory. This qualitative study utilizes Feldman’s four-step approach to art criticism-description, formal analysis, interpretation, and evaluation—to gain a deeper understanding of the photography series. The findings of this research reveal that Memory Lane represents a form of experimental photography, which navigates various challenges inherent to the medium, particularly in terms of storytelling through images. The study demonstrates how art criticism can provide diverse perspectives on a single work of art and how these perspectives can be integrated with other art forms to enrich the overall interpretation. The implications of this research extend to the broader field of art criticism and photography, highlighting the importance of critical analysis in understanding the multifaceted nature of photographic art and its capacity to convey complex narratives.

HOPE IN CONTEMPORARY PHOTOGRAPHY: THE PORTRAIT OF SELLERS OF GOODS AND SERVICES DURING A PANDEMIC

It has been more than 2 years since the covid-19 pandemic struck the world, affecting many aspects ranging from economics to education. As time went on, new habits began to be implemented in people's daily activities, or what is known as the New Normal, such as the obligation to wear masks and wash hands during activities. Departing from here, there is a feeling of longing that arises when communicating and interacting with the community. The mandatory use of masks during the New Normal era makes it difficult to guess the expressions or facial expressions of the other person. The media, which is rife with reports about the spread of covid-19, is also a factor that makes people wary of one another, which makes caring for others not like it used to be. In this case, the worker makes the seller of goods and services an object of work, which is the party that has been negatively affected by the covid-19 pandemic in the economic sector. Portrait photography is a representation of the similarity of human figures in a two-dimensional form. Portrait photography provides a personal indication of both the portrait owner and the portrait subject. Portrait photography is used as a media approach in the cultivation of works for sellers of goods and services in Bukittinggi. With the medium of portrait photography, it brings the artist closer and lets him know how life and problems are felt by sellers of goods and services in Bukittinggi, which are then presented in the form of contemporary photography works. Contemporary photography is part of art photography that is influenced by modernization and is not bound by conventional rules.

Art and science of dental photography: suggested photographic protocol with cellular device

Photography is characterized as the science and art of producing and creating images. With the evolution of technology, photography has permeated medical sciences, becoming an effective tool for different areas, such as Dentistry. For this reason, the aim of this study was to understand and discuss the importance of photography in the dental field, through a narrative literature review, and to produce a suggestion for a basic photographic protocol using a mobile phone, equipment available to a large portion of dental students and dentists. This article reviews dental photography through an advanced search in the PubMed and Virtual Health Library (VHL) databases. In addition, produce basic technical content, through a protocol, aimed at Dentistry students about the use of photography with cell phones. It has been found that photographic production depends on numerous factors: knowledge of basic photographic concepts, understanding of light manipulation techniques, and the use of equipment suitable for each case. From 1840 to the present day, photography has deeply permeated the dental context. However, there are different photographic protocols with distinct settings for intraoral and extraoral photographs. The protocol suggested in this study aimed to facilitate and standardize photographic documentation performed in the office, using a mobile phone, making the process simple and feasible for dental students and dentists. Photography plays a central role in contemporary Dentistry, being useful in different areas and facilitating the storage of patient data and treatment predictability. However, there is a necessity to promote the teaching of dental photography.

Photo Arts Concept as Alternative Photography Works

The development of photography so far has encouraged the birth of various forms of new concepts in the field of photography. The birth of digital photography technology has provided various conveniences and encouraged photographers to develop photography more widely. Currently, the concept of photo art has been widely used by photographers or photo artists through the development of new ideas and concepts in the form of photographic works. Fine art photography can be an assessment and representation for the photographer who created the photograph. Therefore, the time has come for photographers who may or may not have unique characteristics in creating photographic works, to make photographs into works of art with a combination of new concepts in photographic work.

Penciptaan Produk Eksklusif Melalui Aplikasi Material dan Tekstur Pada Karya Fotograf

This research is an effort to synthesize, explore and experiment to formulate photographic products of applied art by combining aspects of photographic art and aspects of painting. Concretely, through this research, digital photo printing will be carried out on paper and canvas media which in the next stage will be applied with painting materials and techniques to get an exclusive impression. The physical consumption of photography is now increasingly focused on meeting domestic and artistic needs. The results of observations show that the texture in the painting has its own visual strength, which is not found in photographic works. The main question of this research is how to select, digitally print photos on certain media, and apply materials and painting techniques to produce unique, exclusive, and characteristic photo works through the application of materials and painting techniques. The innovation resulting from this research is a working model to increase the value of photo prints in society by adding textural elements resulting from the touch of a hand. The creative method for creating works refers to Graham Wallas in The Art of Thoughts which consists of stages: preparation, incubation, illumination and verification. The product will be analyzed by using Otto Ocvirk’s theory in Art Fundamentals Theory and Practice. He discusses that texture gives the illusion of a touch effect so that the surface character looks real. It is found that applying resin to photos printed on paper has a positive impact and corresponds to the illusory effect to be achieved. Keywords: texture, photograph, exclusive product

Aesthetic Trends and Evolutions in Photography Art in the Digital Era

In recent years, the rapid development of digital technology has not only changed people's lifestyles but also brought new opportunities for industry reform. Under the context of the digital era, the creation methods, dissemination methods, and aesthetic trends of photographic works have all undergone varying degrees of change, bringing new opportunities and challenges to the development of photography art. The widespread application of internet technology and digital processing technology, as well as the popularization of photographic equipment, has brought more new possibilities for the creation and expression of photography art. This can appropriately expand the aesthetic field of photography art and endow it with diverse, personalized, and instant characteristics. Therefore, in the new era context, the fusion of reality and fiction, and the combination of art and technology will become aesthetic trends in photographic technology. Photographers, based on the actual development situation, should explore and innovate in a targeted manner to fully display the unique charm and profound connotation of photography art, meeting the various requirements of the new era.

COLOUR and SPACE

Monica Billger, in her doctoral dissertation, states ‘The feasibility of working consciously with colours is limited by our knowledge about how the appearance of coloured materials varies with context, that is, how a coloured surface is affected by its spatial situation’ (Billger, 1999, p. 5). In association, however, we can also seek to understand how the application of colour provides the spatial context and/or potentiates our experience of spatiality. Within this paper, I will discuss some of the issues involved in our understanding and interpretation of spatiality. These include firstly, space and its relationship to colour; secondly, colour education in relation to colour and space, and thirdly, the potential of paintings or photographs of artists’ work in understanding colour and space. The two dimensional work of artists (such as Mark Rothko, Bridget Riley, Claude Monet, and Wassily Kandinsky) is a valuable source of information for emerging designers in the field of colour as a consequent of investigating and/or observing the work. Key relationships may be understood and applied to three dimensional spaces abstractly, and in practice, to environmental projects that are relevant to Interior Design and Architecture. Finally, I will explore the way I, in association with the tutors, have raised the students’ awareness of colour as a tool to assist in the moulding of three dimensions or space. This will include the discussion of one student’s work as an example of the process undertaken before summarising the link between three dimensional investigations and two dimensional observations and/or practices.

Авторское право на фотографические произведения в Российской Империи XIX–XX веков

Article analyses emergence of copyright law on photography in Russia and achievements of its prominent figures in early stages of formation and evolution of this art in the 19th — early 20th centuries. Copyright on photographic works in the Russian Empire was first regulated in 1857 by naming photography among other artistic property rights, and only in 1911 a separate chapter “Copyright for photographic works” was introduced in Copyright Law. Lack of legislation, as well as complex procedure for obtaining rights for photo production and registration of photographic works significantly impaired photographers rights. Originally photo studios could function only by obtaining privileges “for crafts, trade and inventions in crafts and arts” as well as permission “to engage in photographic craft”. De facto copyright on photographic works started developing right after new photo technology was introduced, even before it was enshrined in legislation. Authors emphasise significance of this historic period of Russia for legislative initiatives in copyright law in general and copyright on photographic works in particular which was also facilitated by the achievements of prominent representatives of photographic art, whose works and technologies serve to preserve cultural heritage.

Photojournalism: Values and Constraints, Aestheticism, and Aftermath Photography

This article delves into the essence of photojournalism, focusing on values and constraints and scrutinizing specific works by Yannis Kontos through the prisms of aestheticism and aftermath photography. Drawing on photojournalist methods, personal experiences, and literature, the authors articulate the nuanced nature of photojournalism at the convergence of aesthetics and aftermath. The core value of photojournalism, resembling forensic documentation, is explored, emphasizing the gathering of evidentiary material in adherence to practical mandates of objectivity, detachment, and neutrality. The discussion extends to practical dimensions, addressing challenges in environments such as war zones concerning time, logistics, technology, and ethics. Contemplating the potential artistic dimensions of photojournalism, the article explores the interplay between aesthetic concerns and the preservation of journalistic and ethical integrity. The author’s self-identification as a documentary photographer with a penchant for the aftermath movement underscores a nuanced approach. While acknowledging artistic exhibitions, the ultimate ambition is for contributions to be a lasting reference, inspiring future generations. In a critical engagement with the broader discourse on photojournalism, the paper situates the practice within both documentary and art photography. It offers a succinct exploration of the inherent values and constraints of photojournalism in diverse contexts, revealing its dynamics at the crossroads of aesthetics and documenting aftermaths.

Membangun Citra Destinasi melalui Kreativitas Visual: Workshop Fotografi Landscape di SMKN 7 Bandung

Formal education at Vocational High School (SMK) plays a crucial role as the final stage of secondary education, providing vocational education and skill training for students. The target partner of this Community Service activity is the students of SMKN 7 Kota Bandung, who face a lack of education in landscape photography, a skill increasingly in demand in the current digital era. The art of photography serves as a primary attraction, especially in the context of tourism that relies on visualization to enhance public interest. Students of SMKN 7 Bandung, representing the Generation Z as the nation's successors, play a crucial role as ambassadors of 'Wonderful Indonesia's tourism. In this era of information and technology, Generation Z has the potential to become the main drivers in promoting the natural beauty and cultural richness of Indonesia through photography. Through this workshop, it is expected that students, as Generation Z, can understand the importance of their role as tourism ambassadors. They are anticipated to harness their creative potential in landscape photography, utilizing social media as a platform to share the beauty of Indonesia's nature and cultural wealth. Thus, SMKN 7 Bandung becomes not only a center for vocational education but also a key pillar in shaping the image of 'Wonderful Indonesia' through the creative and innovative eyes of Generation Z.

The Dual Nature of Diana Arbus's Photographic Art

Diana Arbus is a photographer to be criticized for unethical practices, yet her unique photographic style has left a lasting imprint on civilization. She's good at capturing marginalized societal groups, confronting the harsh realities and ugliness. Her work influenced people's contemplation of photographic art, while simultaneously subjecting her to significant ethical controversies. Arbus's photographs evoke feelings of terror and discomfort, but at the same time, she shed light on the people and experiences hidden in the shadows, revealing the greatness and sacredness of suffering and its essence. This gave rise to an aesthetic of alienation that contradicts traditional aesthetics. In Arbus's photographic works, there is a juxtaposition and fusion of oppositions between art and morality. Traditional aesthetics pursue happiness, harmony, and beauty, whereas Arbus's photographs present pain, distortion, and ugliness. Consequently, some argue that Arbus violates the moral principles of beauty. However, on the other hand, Arbus's works also bring visibility, attention, and understanding to marginalized groups, achieving a fusion of art and morality in a divergent way.

Aesthetic of Light and Time: An Intellectual History of Pictorialism from India

Pictorialism emerged in the last quarter of the nineteenth century as a global aesthetic movement that argued for photography’s artistic status on par with other plastic arts more powerfully than ever. Archives from South Asia demonstrate the movement’s thriving life in the subcontinent with Calcutta emerging as a centre and its bilingual amateur photographer-writers as major participants simultaneously engaging in globally circulating specialist discourses on pictorialism and popular discussions of their practice aimed at public pedagogy. By looking into Bangla periodical press this paper investigates how Bengali pictorialists used popular Bangla magazines in the early twentieth century to establish their distinct voice regarding what counted as artistic photography as they engaged with a non-specialist mass readership. Mass-circulated Bangla articles were not vernacular translations of knowledge and practices produced in metropolitan locations and disseminated in transregional languages like English. Vernacular was an extension of Bengali amateur photographers’ participation in global photography, as they remained grounded in their historical specificity. These amateur photographers were bilingual intellectuals who wrote in English for a global public and in Bangla for a Bangla-reading publics and refraining from translating culture as they moved across languages. Indeed, articulations in vernacular didn’t mean a venularization of practice; they indicate plurality of belonging and affiliation that crafted the pictorialist aesthetic of the Bengali amateurs. By unpacking this intellectual history, this paper decenters the Euro-US-centric history of pictorialism towards writing an interconnected history of the artistic movement, while also complicating the category of modern Indian art.

Brothers/soldiers: trauma and wartime Ahwaz in the art of Sadegh Tirafkan

ABSTRACT This essay explores the significance of a series of posthumously discovered, staged, colour photographs of twin boys holding rifles, as well as a short screenplay entitled ‘Tulips Bloom’, that the internationally-recognized artist Sadegh Tirafkan (1965–2013) created as a youth in Ahwaz, Iran, in 1982. Taking into consideration the context of the Iran-Iraq War (1980–1988) and the related culture of martyrdom that so strongly affected the region and the artist's imagination reveals a subtext of trauma that may – the author proposes – explain the prominence of visual motifs, symbols and themes that recur throughout the artist's subsequent 30-year career. The author relies upon visual analysis of the artist's photographic art, published interviews, comparative visual analysis involving Iranian visual culture from the era (Balaghi; Chelkowski and Dabashi; Saramifar; Varzi); art history (Daneshvari; Foster; Keshmirshekan; Nazari; Porter); and theories of trauma from psychology (Herman), literary theory (Caruth) and sociology (Alexander; Erikson), in order to provide a new understanding of the artist's work throughout his career, from 1982 to 2013, and how the Iran-Iraq War shaped notions of Iranian post-Revolutionary identity in terms of military sacrifice and death.

Pseudophotographs in Children’s Literature: A New Object for Photoliterature Studies

This article proposes to theorize the study of pseudophotographs as a subtype of photoliterature studies. Pseudophotographs are any illustrations understood within the context of a picturebook or graphic novel to be representations of photographs. This article attempts to define this undertheorized graphic object, to discuss its various functions, and to analyse what pseudophotographs can tell us about how real photographs and photography are considered in children’s literature. Because pseudophotographs appropriate some of the conventions of photography and yet are unlike real photographs in many ways, they are, we argue, a significant place for implicit discourse about the art and practice of photography and about affective encounters with photographs.

VISUAL CULTURE OF DIRECTING AN AUTHORʾS FILM

The purpose of the article is to define the director's toolkit of frame design in the visual culture of the author's film. A comprehensive approach was used in the development of the topic, methods of systematization, comparison, verification, comparative and textual analysis were used. The analytical method and the method of figurative and stylistic analysis in their unity were directed to the consideration of the art history aspect of the problem. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. It has been found that the researchers are inclined to the opinion that the directors of author's films carry out experiments in the field of pictorial form. The relationship and mutual influence of photographic and audiovisual art is considered. It was found that images in screen arts are the result of collective work and have collective authorship. The features of the visual culture of the author's film are traced on the example of the films of Yuriy Illenko. It has been proven that the visual culture of an author's film directly depends on the worldview of the director. The characteristic features of an author's film are identified, the dominance of the attention of the directors-authors to the artists' specific view of the world, the creation of their own subjective picture of the world, the search for their own visual language, and the presentation of the author's screen form is substantiated. The visual culture of the author's film is analyzed and it is shown that the image, frame design is the main carrier of cinematic expressiveness. It is clarified that the system of expressive means and methods of visual culture of the author's film consists of: compositional construction of the shot; dynamics of motion of the film camera; filming angles; assembly steps; sound, light, color solutions; subject-material environment of the frame; mise-en-scеne; frame design. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of the visual culture of frame design and became the subject of a special study for the first time; the appropriateness of using the system method in studying the features of the author's plastic film language has been proven; a comprehensive analysis was carried out and the features of frame design in the author's film work were revealed.