Photographic Studio Research Articles

Implementasi Framework Laravel pada Aplikasi Pemesanan Jasa Photography menggunakan Metode Rapid Aplication Development

The advancement of technology in the field of photography has become an increasingly growing trend over time. In the context of Indonesia, the history of photography began in 1840, in line with the discovery of photography by Juriaan Munich, a Dutch media officer. Photography has been a part of people's lifestyle for centuries, ranging from the use of simple digital cameras to sophisticated devices that require specialized skills. Lensa Photography, as a photography studio in Bengkalis Regency, also faces challenges in the booking process. Manual processes through telephone or direct visits often result in scheduling errors. To address this issue, this study has successfully developed a website-based Lensa Photography booking system using the Laravel framework and the Rapid Application Development (RAD) development method. This booking system has successfully met its objectives by providing the following features, More efficient schedule management, Improved scheduling accuracy, Time and cost savings, Increased customer satisfaction, This booking system has been adopted by Lensa Photography and has provided significant benefits for the company, including, More organized and organized booking schedules, Reduced scheduling errors, More efficient booking time and costs, Increased customer satisfaction.

The Work of Craft in the Age of Mechanical Reproduction: The Lai Xá Photography Village in Vietnam

In Lai Xá Village, Vietnam, studio photography is the village handicraft. Counter to Walter Benjamin’s characterization of the click of a button, privileging eye over hand, but typical of many craft traditions, photographers there describe painstaking apprenticeships through which they learned to master the tools and materials of their craft. They learned to compensate for the shifting properties of light, climate, humidity, and irregular supplies of electricity, chemicals and printing paper, and adapted to changing regimes of technique and labor organization. As in many other craft traditions, apprentices often acquired their most valuable knowledge by stealth. We argue that studio photography belongs within contemporary discussions of craft as a handed, adaptive, engaged, small-scale social practice, and that craft awareness enables a richer ethnographic understanding of the work of studio photographers, both material and social.

Studies on the Authorship of Albumen Vintage Photographs: A Combined Experimental and Chemometric Approach.

The differences in albumen photographs from vintage photographic studios were identified by energy-dispersive X-ray fluorescence spectroscopy and Fourier transform infrared spectroscopy. The results inspired the concept of finding common features characteristic of a given photographic studio. The obtained measurement data (i.e., positions of vibrational bands for characteristic groups of albumen and the mass contents of chosen elements) were analyzed chemometrically by employing the Principal Component Analysis (PCA). The PCA technique allowed us to reduce the number of relevant experimental parameters characterizing the unique features of the photographic objects. The two major components were able to distinguish the photographic objects in terms of their authorship and the time to produce a photograph. The method developed was examined for a selected group of photographs consisting of albumen prints from three Polish photographic ateliers. To validate ED-XRF measurements and, consequently, the chemometric findings, reference albumen photo samples were designed and prepared. The empirical functional relationships between the content of photochemically reduced silver particles on the photographic paper and several physicochemical factors, including time of exposure to UV light, AgNO3 concentration in a fixed bath, and concentrations of other additives, were proposed. These results can be used for the prediction of the experimental conditions under which the investigated photographs were developed.

Teknis Komunikasi Dalam Peluang Usaha Photography Di Prince Studio Photography Padang

This final assignment of scientific paper writing is conducted to understand the communication efforts that can be observed in a professional interaction. In this case, the author focuses observations with the title "Observation of Technical Communication in Photography Business Opportunities at Prince studio photography Padang". It is a final study of scientific work aimed at exploring and analyzing the communication interactions that occur within the photography business environment, specifically at Prince studio photography Padang. In this context, the AIDDA theory (Attention, Interest, Desire, Decision, Action) is used as a framework to understand the communication process that occurs between the photography studio and its potential customers. This scientific paper uses a structured participant observation method to collect data. The results of the scientific paper show that in efforts to build relationships with customers, the photography studio uses the AIDDA theory as a communication technique, starting from attracting attention, generating interest, creating desire, encouraging decision-making, to prompting purchase actions. Additionally, it was also found that aspects such as visual impression, personal interaction, and marketing strategies play a significant role in influencing the effectiveness of communication in the context of photography business.

IMPROVING FILM QUALITY USING SOFTWARE SOLUTIONS IN PHOTOGRAPHY STUDIOS

The purpose of this case study was to explore how software solutions can be utilised to improve film quality in photography studios. It focused on the issues faced by a photography studio located in Kangar, Perlis, such as dirty images and damaged films. A survey was administered to 51 working photographers to elicit important insights regarding user preferences and experiences, allowing for a more in-depth grasp of their needs and expectations. The findings revealed that software solutions can be utilised to enhance various aspects of film production, including image clarity, colour accuracy, noise reduction, and overall aesthetic appeal. It also addressed the issue of software flaws and application malfunctions, emphasising the need to use dependable software to avoid disruptions and improve photo editing quality. Photography studios are recommended to combine both high-quality equipment and software programs to optimise business operations, improve overall film quality, and ultimately increase client satisfaction.

Pietro Marubi - Founder of The First Photography Studio in Albania

This article aims to highlight the art of photography in Albania, which began at the end of the 1850s and is associated with the name Pietro Marubi (1834-1903). It deals with the origin of Pietro Marubi, who was Italian from Piacenza. For political reasons, he left Italy, sought refuge in Albania, and settled in the city of Shkodra. The scope is on his extraordinary work, including the founding of the first photography studio in Albania around 1855, which was a bold step at that time. Among his earliest photographs are those of Hamzë Kazazi (1858) and Leonardo de Martino (1859). He became a popular figure in Shkodër, photographing important events with the latest technique, immortalizing historical events such as the connection of Prizren (1878-1881), the uprising of Mirdita that was published in the international press as in the pages of the well-known magazines “La Guerra d'Oriente”, “The illustrated London news”. Pietro Marubi also took the first photograph in Montenegro. In the collection of Sultan Abdul Hamit II, there are photographs with a view of Shkodra or people in folk clothes, as photographed by Pietro Marubi. This proves the great fame that Marubi's photography studio gained in the Ottoman Empire. Pietro Marubi, therefore, brought Shkodra on the level with the first European cities representing the art of photography. The results give an original picture of the role and importance of the photography studio. Marubi and his vision are shown in passing on the profession to his sons. With the act of inheritance of his studio to Kel Kodheli, Marubi would lay the foundations for the continuation of the activity. With Kel Kodheli, the “Marubi Dynasty” was consolidated, where the next generations of photographers were formed, who today make up the collection of the Photo Gallery of the "Marubi" National Museum of Photography. The opening of the national museum “Marubi” in Shkodër, in addition to its extraordinary cultural and historical values, is also at the service of cultural tourism, which is visited by many local and foreign tourists. The article is based on research of the literature and sources published by the Marubi National Museum of Photography and the Library of the Academy of Sciences, as well as international publications and meetings with historians and other researchers. The conclusions provide another important aspect of this work, especially for the generation of young artists educated today who look up to Marubi as a model of inspiration, but also for the general public.

Design UI/UX e-commerce photography services using the Lean User Experience Model and System Usability Scale (SUS) Assessment

Studio Citarasa Fotography (SCF) is a photographer business that has been operating for 5 years since 2017 with a total of 87 customers. This number of consumers according to interviews with the studio owners is very small because the studio has not stopped promoting both inside and outside the city. The objective of this research is to design the UI/UX e-commerce Photography Services website in the Citarasa Photography studio and implement the Lean UX Model based on simple and responsive design, understanding user wishes and needs, informative, interactive, complete, sustainable, and personalized. Research results based on the test scenario respondents/participants successfully completed all UI/UX tasks for e-commerce photography services without significant restrictions, but in the scenario there is little information provided about the possibility of making changes for iterations to become more responsive in which the screen can be adjusted to an android or tablet screen. In addition, the test results obtained using the System Usability Scale (SUS) were achieved with an average score of 89.25. It can be said that the score is in the best imaginable category with a scale of A. This means that based on usability, the data obtains a judgment that is acceptable or acceptable.

Sopra un dagherrotipo conservato nel Museo di Antropologia di Firenze

The article tells the story of a daguerreotype conserved in the photo library of the Museum of Anthropology and Ethnology, SMA, of the University of Florence. It is the portrait of a young South American native, taken in a photographic studio in Tarija, Bolivia. The client was Paolo Mantegazza, founder of the Florentine Museum and the first scholar in Italy to establish the chair of Anthropology. After a historical reconstruction of the circumstances in which Mantegazza had the portrait executed, the theoretical assumptions underlying the scholar's convictions and writings are examined.

Yes. still. movement.

Abstract How does one attempt to look at a photograph that is not attached to an institutional archive and for which there is no known historical data? How does one attempt to look when all you have is the photographic object? Focusing on a circa 1893 tintype of a couple of bicyclists taken at an indoor photography studio, this essay offers a set of reading practices that position photographic subjects as coproducers with the photographer and argues for stillness as a form of movement, rather than the suspension of movement. Conceived this way, this stillness illuminates the connections between movement indoors and outdoors and imagines nineteenth century US-based photographic subjects as diasporic cultural producers. The tintype is part of a larger set of what this essay calls bicycling photographs that were popular in the late nineteenth century, through which individuals and groups remixed two of the most popular technologies — bicycles and photography — to create new material objects that they could frame and keep in a dwelling place and move within and between dwelling places. Moreover, through the coproduction of new material objects, the duo, and many others, gave themselves other mobile lives.

Mozgó fényképek. The scandal and debate around moving images in early Hungarian cinema

ABSTRACT This paper traces the Budapest staging of a very popular German play in Europe and US at the end of the 19th century that can be regarded as one of the earliest narratives of the cinematic experience in Hungary. Originally published with the title Hans Huckebein in 1897 and written by Oscar Blumenthal and Gustav Kadelburg, the play remained outside the horizon of early cinema scholars, although it is a rich inventory of different modes of using and interpreting moving images. The Budapest performance of the play incorporates the screening of a cinema program, including a hitherto unknown (Lumière?) film commissioned by the theatre. The characters and the theatrical audience become film viewers, and this experience is extensively debated on stage. Instantaneous photography and moving image recording allowed for trespassing the boundary between private and public, since the model’s consent was not technically required for the recording process. The ‘scandal’ staged by the play is the presentation of a (moving) image ‒ considered personal and private ‒ in the public space of the cinema. The debate around this scandal contributes to the redefinition of both personal identity, construed increasingly as an image, and the public sphere as a realm of censored images. The article sets out to map the variability of practices and cultural codes ‒ such as theatrical plots, practices of instant and studio photography, personal image protection, copyright ‒ that affected the interpretation and uses of moving images.

Photography Business in Urban Western Siberia in the Second Half of the XIX – Early XX Century

Photographic studios provide an excellent example of entrepreneurial activity, as well as a deep insight into the routine and innovations in West-Siberian cities and towns during the modernization period. This article describes the development of photography business in Western Siberia in the second half of the XIX – early XX century. The historiography analysis of this issue showed a rather poor scientific coverage. The study covered the regions of Tomsk, Tyumen, Novosibirsk, Kemerovo, Omsk, and Altai. The article introduces unpublished archival documents and photographs. Archival cases showed how the authorities licensed private photographic studios, the motivation behind the permissions, the number of photo salons, commercial rivalry, labor optimization, profits, and customer attitude. The author believes that photography catalyzed modernization of urban routine and democratized the local society: any citizen had the right to start a photographic studio, where they could serve any customers, regardless of their social status.

Beyond RGB 1.5: Improvements to a Free, Opensource, Spectral Image Processing Software Application for Cultural Heritage Studio Photography

Beyond RGB 1.5: Improvements to a Free, Opensource, Spectral Image Processing Software Application for Cultural Heritage Studio Photography

Colonial Legacies: Contemporary Lens-Based Art and the Democratic Republic of Congo by Gabriella Nugent

Colonial Legacies: Contemporary Lens-Based Art and the Democratic Republic of Congo by Gabriella Nugent

Typology of the Architecture of Photographic Studios in Croatia from the Second Half of the 19th to the Beginning of the 20th Century

Prijedlog tipologije arhitekture fotografskih atelijera koji se ovim radom donosi sintetiziranje istraživanjem temeljenim na dostupnoj stručnoj literaturi, sačuvanom arhivskom gradivu, starim fotografijama i novinskim člancima te je dopunjeno terenskim radom. Rad obuhvaća arhitekturu fotografskih atelijera u Hrvatskoj od onih najranijih iz 50-ih godina 19. stoljeća pa do prvih nekoliko desetljeća 20. stoljeća te donosi primjere za svaki podtip.

The World Through the Lens of the Photographer Ara Güler

The art of photography appeared in Turkey between the XIX and XX centuries. In the beginning, because of the high price of the service, only the rich could afford it. The first photography studio in the Ottoman Empire was established in the Bera district of Constantinople (presently, the Beyoglu district of Istanbul), where most of the population was Christian. Here, in 1857, Pascal Sebah of Armenian descent opened a photography center. He was one of the few to be awarded the Third-Class Order of the Medjidie by Sultan Abdulmejid. Unfortunately, all his photographic works were burnt in the great fire of 1881. The sons of Sarraf Mikayel Abdullahyan – Vichen, Gevorg and Hovsep Abdullah, also occupy an important place in the history of Turkish photography. They held a monopoly on dissemination of photography throughout the Empire. In 1836, the Abdullahyan brothers became special photographers fоr Sultan Abdul Aziz. In 1867, near the Russian Embassy in Bera, they opened a photography studio named “Abdullah Brothers”. A great number of photographers of Turkish and foreign descent, working in Turkey, namely, the Gulmez brothers, Ashil Samanj, Jerome Savajian, the Papazyan brothers, Antoine Zilipojian, Othmar Pfersci, Ismayin Nesmi, Ahmed Polat and others, furthered the development of Turkish photography. Ara Güler is one of those, who played a big part in the history of photography, having created with his outstanding works a whole new world in that field.

Fantasies of being somebody: Auto / biographic potential of posing conventions

The article examines the tension between the individual and the collective in current mainstream photographic practice, which is considered within the long-term historical context of commercial portraiture. The individualizing tendencies of this representational tradition as well as its status as (auto)biographical fiction were astutely analyzed by the Russian avant-garde thinkers Alexander Rodchenko and Osip Brik. Criticizing the persistence of “painterly” clichés in studio photography of their time, they saw these conventional elements as something that obscures and distorts reality, substituting for it a beautiful picture. For these leftist theorists, reality was primarily defined by the interplay of social forces, and isolating the subject within the picture frame was sufficient grounds for their disapproval. Taking up their notion of cliché applied particularly to posing, this article proposes to view it, instead, as an entry point into the usually invisible collective dimension of each individual portrait. The first section of the article discusses historical precedents to current mainstream photographic portraiture in terms of class- and gender-specific pressures on the sitters which have contributed to the homogenization of the genre’s visual canon. The suggestion to view stylistically similar images of individuals as expressing a latent collectivity is developed in the second part of the article, which analyzes Jana Romanova’s photographic series W through the theoretical framework borrowed from Lauren Berlant (“intimate public”, “female complaint”) and Gayle Letherby (“auto/biography”).

Photographs of the Descendants of Bedřich Smetana and Kateřina Smetanová, née Kolářová, in the Collection of the Bedřich Smetana Museum

The article summarises the results of research so far conducted and of the expert processing of photographs in the collection of iconography at the Bedřich Smetana Museum. It deals with photographs of the descendants of Bedřich Smetana (1824–1884) from his first marriage to Kateřina Kolářová (1827–1859). This involves likenesses of Kateřina Kolářová, her children, and her grandchildren. Not included are persons who married into the family, nor are likenesses of Bedřich Smetana himself covered. The survey is based on research of records in the acquisition and inventory records of the Bedřich Smetana Museum from 1931 to 2020 and on research of the original inventory of exhibits at the B. Smetana Memorial in Jabkenice. Relationships between family members are shown by simple genealogy tables. In many cases, comparisons of photographs have enable the recognition of previously unidentified persons and the specifying of dating, provenience, and locations of photographic studios. The article largely focuses on collections of photographs from the family along the line of descent from Žofie Schwarzová, Bedřich Smetana’s daughter from the most recent acquisition (2019–2020).

The Photographic Ateliers of Carlos Relvas

Photography studies have not always been dedicated to the analysis of photographic studios to better understand the works of great photographers. This essay focuses on the different photographic studios of Carlos Relvas (1838-1894) in Golegã, with a particular focus on the little-studied and littleknown transformations of his splendorous Photographic Atelier of Golegã into a residential space. In the 1870s, the paradigm shift of photosensitive emulsions to faster exposure times had an impact on the way Carlos Relvas looked at his studio, forcing him to rethink the investment made in a space that no longer corresponded to the new technical reality of photography. Understood as a light production machine, Carlos Relvas’ studio is a key piece in his photographic work. In this essay, through the analysis of his photographs, we recover details and aspects of his various studios that are revealing of his inventive spirit, as well as his desire to keep up with the evolution of photographic art.&nbsp

Comparing Practical Spectral Imaging Methods for Cultural Heritage Studio Photography

Two practical methods for implementing spectral imaging within the framework of museum studio photography were investigated. Imaging was carried out using a consumer RGB digital camera paired with either (1) colored glass filters and a broadband source or (2) optimized multichannel LED illumination, yielding five or six spectral image bands, respectively. Color targets were used to develop and verify profiles for transforming between the multiband camera signals and final color managed images. The filter-based and LED-based profiles were assessed quantitatively for color accuracy using color difference statistics, and several paintings were imaged and rendered using the profiles as a visual demonstration of the differences. While both were superior to conventional RGB imaging, the LED-based method outperformed the filter-based method for accurate reproduction of independent data. This supplements practicality and cost considerations that are informing the development of accessible spectral imaging strategies for highly color accurate museum studio photography.

Lederhosen, Dirndl, and a Sense of Belonging: Jews and Trachten in Pre-1938 Austria

In June 1938, only four months after the Anschluss [the Nazi annexation of Austria], the Nazi administration in Salzburg region announced a ban on Jews and other non-Aryans dressing in local Volkstrachten [folk costumes]. This “Trachtenverbot” highlighted specific forbidden garments and anyone in breach of the rules was subject to a fine of 133 marks or a period of two weeks imprisonment. Although at the time of the Anschluss the majority of Austrian Jews lived in Vienna and did not wear Trachten on a regular basis, the donning of these symbolically “German” garments played a central role in the lives of many. Countless surviving photographs from the late nineteenth and early twentieth centuries depict Austrian Jews attired in Volkstrachten while relaxing on holiday or else taken in urban photographic studios. With their multilayered, symbolic meanings, such forms of attire served as important tools of self-fashioning and identification among Austrian Jews—especially in the wider context of the question of “Austrian nationality” during the time of the multiethnic Dual Monarchy and post-1918 First Austrian Republic. Using visual and written sources, this article explores the function of folk styles in the process of self-fashioning and Jewish identification in the early twentieth century.