Potential Of Photography Research Articles

The Power and Potential of Photography as a Therapeutic Modality for Children with Life-Impacting Illnesses.

Objectives: Art is being increasingly appreciated for its healing capacity in pediatric medicine. However, while mediums like music and painting have already been widely integrated into children's health institutions across the nation, photography is an artform that is greatly understudied in its application to medicine. As a non-profit organization with a 17-year history of providing free in-hospital/in-hospice photography sessions to the families of children with life-impacting illnesses, we set out to evaluate the therapeutic capacity of this intervention. Methods: Individuals having received Moment by Moment Photography's services from June 2022 to January 2023 were invited to complete a five-question survey assessing the nature and quality of their photography session and the resulting photographs they received. Results: All but one of the 177 participants found the photographs impactful, and the overwhelming majority (95.5%) of participants rated the value of the photographs as high as possible (5/5 on a Likert scale). Further, a dozen themes, including love, share, connect, and fight, among others, were identified that articulate the diversity of ways that "impact" manifested in families. Conclusion: Together, these results clearly support the benefit of photography as a legacy making and therapeutic medium.

The Old Toponymy and New Topography of Zion: Utah, Photography, and Daniel George's Series God to Go West

The Old Toponymy and New Topography of Zion: Utah, Photography, and Daniel George's Series <i>God to Go West</i>

PHOTOGRAPHY: THE POTENTIAL OF IMAGE AS ILLUSTRATION TOOL IN CHILDREN'S LITERATURE BOOKS

From the conception of photographic art as a visual text, which narrates, informs and promotes interactions, this article aims to reflect on the potential of photography as an illustrative tool. Thus, it is understood that a literary work illustrated from photographic images allows the expansion of interpretative and dialogical limits between the reader and the work. Adele Enersen's work When my baby dreams was chosen for the investigation, a narrative composed of scenarios created manually using homemade artifacts and captured through the photographic record. Under a qualitative approach, the bibliographic research methodology was chosen, which took place through an interpretative analysis that allowed us to observe the means and instruments used in the composition of the work. As a theoretical basis, it relies on the studies of Santaella (2012), Flusser (2000) and Manguel (2001) on materiality, photography and literature as well as other authors that contemplate the themes. In this perspective, we seek to expand the principles of photographic materiality and identify the potential of its use as a literary illustration. It is concluded that storytelling combined with photographic illustrations contributes significantly to the reading comprehension and involvement of the reader, highlighting the materiality of the photographic image as an important characteristic of the literary illustration technique.

SOCIAL WORK AND PARTICIPATORY METHOD OF EMPOWERING –PHOTOVOICE

This article is the overall review of photovoice, the strategy of participatory action research hat relies on potential of photography. Therefore, the history, inspirations and application examples are discussed. The notion of the article is the argument that photovoice is a valuable method that could be applied in social work, which is focused on empowering people and supporting them in life challenges.

Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture

The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.

Art made for pictures

Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the world about which we communicate. Increasingly, we are making a world that’s worth depicting, using the tools we now possess. This paper will unpack one example of this phenomenon, trompe l’oeil street art. More and more of this seems to be produced with the intention that it is seen primarily in pictures. It makes sense that anything someone makes, and wants to be seen, would be made with decent photography potential in mind. You want photos to be able to, as they say, do justice to your work no matter what kind of visual work you make. In these cases, however, the pictures of the work are reliably more interesting than the pieces seen in the flesh.

“Ten Articles, Fifteen Images, and This is the Truth”: On Cristina de Middel's Photobook Publishing

[ILLUSTRATION OMITTED] In 2014, Foreign Policy Magazine singled out Spanish photographer de as a Leading Global Thinker. She currently has more than 20,000 followers on Instagram and nearly 10,000 people have liked her page on Facebook. Google turns up about 150,000 results (0.44 seconds) when you search for Cristina de Middel and about 37,800 results (0.43 seconds) when you add to find her statistically most popular book, The Afronauts (2012). If you want to read an interview with her online--which I recommend doing, for she is refreshingly down to earth and speaks with uncommon clarity--you can choose from about 25,700 results. Having been invited by the Visual Studies Workshop (VSW) to reflect on de Middel's prolific publishing practice in view of her participation in the VSW PhotoBookworks Symposium in June 2016,1 was faced with the question: What could I possibly add that wouldn't be an entirely pointless exercise in creating more of the same, however brilliantly written? With this slightly unnerving prospect, I trawled interviews and articles online, hitting mostly on the known knowns. Disappointed and also bored with the repetitive iconography of photojournalism, de decided to employ the tools of fiction to convey a reality that felt closer to how the world manifests itself to us. Poly Spam (2014), de Middel's staged portraits of the shady characters promising astronomical amounts of money and relating larger-than-life stories of illness, death, and misfortune in email scams, is an early example of her fictional approach. It was by accident that she stumbled on the actual on which The Afronauts was based. Sparsely documented, this ignited her imagination to retell the tale of the short-lived Zambian space program from 1964, engendered by the euphoria over the country's newly gained independence. The book would jump-start her career, much to her own surprise, as she has expressed on numerous occasions. Since 2012, de has produced a steady trail of artist books: along with Poly Spam, there are Party. Quotations from Chairman Mao Tse-Tung (Quitonasto Form Chanmair Mao Tungest) (2014), Snap Fingers and Whistle (2013), Man Jayen/Jan Mayen (2015), Las piedras jamas (2015), This is what hatred did (2015), and most recently, Sharkification (2015), in which she imagines the favelas of Brazil as a coral reef where the battle between the police and drug gangs is played out by sharks in pursuit of smaller fish. Surveying the reception of her work in the global press, I noticed that the main topics covered were her shooting star success and how she feels about it; the inspiration she derives from literature, cinema, and magic realism; her work process, with its strong performative elements and use of scripted storyboards; and her insistence on the need to experiment with narrative strategies in a bid to counter the tendency of press and media to simplify the world down to prescripted templates of Ten articles, 15 images, and this is the truth. (1) Broadly speaking, de is well regarded by the press for being entertaining, quirky, brilliant, inquisitive, likable, and outspoken. In other words, she is allowed to assert herself as an influential contemporary photographer under the guise of a Manic Pixie Dream Girl on a mission to teach photojournalism to embrace life and its infinite mysteries and adventures, (2) doused with a sense of humor and enough joie de vivre to fill a pond with starlight. Few and far between are reviewers and conversation partners who have dug deeper, critically responding to the more substantial claims and ambitions de puts forward regarding the future and potential of photography. I would have imagined a Leading Global Thinker to be taken a little more seriously when trying to open up a debate on material issues such as postcolonial representations of Africa, the failing of corporate iconography to truly touch the lives of others, or the way history forgets about a sense of humor when it's actually everywhere. …

Autoethnographic interventions and ‘intimate exposures’ in Ricardo Rangel's Portuguese Mozambique

Trained as a photojournalist, Ricardo Rangel (1924–2009) has contributed some of Mozambique's most iconic images, even as many of his colonial-era photographs were banned or destroyed by Portuguese censors. In this article, using the concept of the archive as less a repository than a process, I delve into his photographic collection that, for me, speaks so cogently about Mozambican society during the last years of Portuguese colonialism (1961–1975), both in its representational aspects as well as its ability to generate critical commentary and insight. I focus on three themed sets of his photographs, that I engage with in my writings on Portuguese Mozambique, as a form of ‘auto-ethnographic’ intervention (Ellis, Adams and Bochner 2011; Russell 1999). Framing my discussion of Rangel's images (and imaginary) as a form of ‘intimate exposure’ (Bystrom and Nuttall 2013: 308), I explore photography's potential to suggest the contours of individual lives and experiences on the cusp of colonial independence and which, in turn, can be used to build a Mozambican public–private archive, thus contributing to its collective memory.

PREOBRAŽAJ UMETNOSTI I ULOGA TEHNIČKE REPRODUKTIVNOSTI

Predmet ovog rada je rasprava između Valtera Benjamina i Teodora V. Adorna o ulozi tehničke reproduktivnosti u propadanju tradicionalne forme autonomne umetnosti i nastanku nove, masovne. Zadatak je eksplikacija suprotstavljenih stanovišta koja su po ovim pitanjima zauzela dvojica teoretičara o vrednosti masovnih medija, fotografije i filma, kao i njihovog potencijala za promenu društvenih odnosa. To je spor između dva alternativna tumačenja modernog umetničkog iskustva. Iako je i Benjaminovo i Adornovo shvatanje dijalektičko, razlika među njima je što prvi konstruiše progresistički i oslobađajući, dok drugi zagovara kritički model interpretacije autonomne i masovne umetnosti. U Adornovoj varijanti, masovna, tehnički reprodukovana umetnost, preobražava se u reakcionarnu pojavu, kojom aparat kulturne industrije poništava slobodu individua.

The Roles of Photography for Developing Literacy Across the Disciplines

AbstractTeachers can capitalize on the overwhelmingly visual nature of contemporary society for learning and teaching through integrating photography in their classroom instruction. In offering an alternative pathway for acquiring and expressing knowledge, photography has the potential to strengthen instruction across disciplines by drawing on multiple literacies. Indeed, photography can magnify and transform how students learn. This article explores the roles photography played in one fourth grade science classroom where teachers used Visual Thinking Strategies to promote close reading of visual texts and students created photo‐booklets to demonstrate disciplinary literacy in geology as well as reflect on their acquisition of content knowledge through photo‐interviews. In de‐scribing an instructional sequence of visual‐based activities and multi‐modal projects, this article illustrates photography's potential to improve disciplinary literacy teaching and learning by facilitating metacognition, academic vocabulary, and risk taking.

Photography as a “Space of Experience”: On the Retrospective Legibility of Historic Photographs

AbstractThe historian and theorist Reinhart Koselleck, having posited a distinction between “space of experience” and “horizon of expectation,” has suggested “that during Neuzeit (literally “new time,” the period since ca. 1500) the difference between experience and expectation has increasingly expanded; more precisely, that Neuzeit is first understood as a neue Zeit from the time that expectations have distanced themselves evermore from all previous experience.” The temporalization of the arts was not without consequences for the pictorial representation of history: in the history painting, the “space of experience” becomes visible as the past. Against this backdrop, and drawing in detail on the thinking of the Weimar-era writer and theorist Siegfried Kracauer, the following essay is an inquiry into the historiographic potential of photography. As fixed evidence of a past world, every historic photograph is a record of survival. The photographic “space of experience” radicalizes the tendency toward tempo...

Photographic estimation of roosting density of Geoffroy’s Rousette Fruit Bat Rousettus amplexicaudatus (Chiroptera: Pteropodidae) at Monfort Bat Cave, Philippines

Conservation and management of bats requires reliable and repeatable data regarding the size and patterns of variation in size of bat colonies. Counts and densities calculated via photography have proven more accurate and repeatable than visual counts and ocular estimates. Unfortunately, the potential of photography to investigate the size of a bat colony and roost density has rarely been explored. In the summer of 2006, a colony of Geoffroys Rousette Fruit Bat, Rousettus amplexicaudatus, was photo-documented in the Monfort Bat Cave, in the Island Garden City of Samal, Davao del Norte, Mindanao, Philippines. We selected 39 images to develop roost density estimates. Mean (+or-SE) roosting density was 403+or-167.1 bats/m2 and 452.3+or-168.8 bats/m2 on the walls and ceiling of the cave, respectively; densities were not significantly different from each other (P=0.38). Based on these standardized data, we estimate that the initial 100m of the cave contained 883,526 bats. Ultimately, this photographic technique can be used to develop a statistical approach which involves repeatable estimates of colony size for Geoffroys Rousette Fruit Bats at Monfort Cave and will enhance ongoing monitoring activities throughout this species range.

Where the Air Feels Heavy: Boredom and the Textures of the Aftermath

Set between an evocation and an ethnographic documentary, this essay explores aspects of aftermath of terror as an affective experience. Working through visuals and writing, I recall banal moments that disrupt the politics of forgetting by showing forms of remembrance through spaces, looks, or moments of simplicity. These moments signal leakages in official definitions of memory in otherwise classified spaces of nothingness, lethargy, and apathy. The article thus extends the evocative potential of photography and narrative writing as means to engage with multidimensional and hazy expressions of the experience of the aftermath of terror.

Pyrographies: Photography and the good death

This essay theorizes the ethical potential of photography or what I call “pyrography” by enacting a version of care for death in attending closely to a sort of rehearsal for the deathbed in French photographer and writer Hervé Guibert's photo-novel Suzanne and Louise first published by Gallimard in 1980, the same year as Roland Barthes's famous essay on photography, Camera Lucida. The essay develops the transformative ethical possibilities of and queer political potentialities of pyrography by reading Guibert's project with his two elderly aunts in relation to the work of two of Guibert's intimates: Michel Foucault's “The Social Triumph of the Sexual Will” and Roland Barthes's Camera Lucida and Mourning Diary. In Mourning Diary, Barthes describes the plan for Camera Lucida as an ephemeral monument to his dead mother whose loss he calls, following the last work of psychoanalyst Donald Winnicott: “the catastrophe that has already occurred.” Through its own writing with fire of the death we fear that has already occurred and that we cannot access directly, photography may enable the kind of “as if” work or projective imaginative enactment for which Winnicott calls. This essay put this concept of the photographic pyre or pyrographies to work to characterize a kind of photographic act. Pyrography is a facture of and with the flammable, not of and about the past, but for the present and future. It is a practice of making volatile structures for feeling with the taboo scenes of the conjunction of old age, desire, and death that create spaces not just for mourning the losses that have actually happened. Pyrographies shape spaces in which one might begin to imagine and transact with care the losses and the letting go yet to come. Pyrographies, I am suggesting, trade in the illusions of presence. They give us the catastrophe that has already occurred in palpable form, enabling us to negotiate shame and fear but also desire toward the seemingly impossible: the good death.

Crossing Visual Borders and Connecting Cultures: Children's Responses to the Photographic Theme in David Wiesner's Flotsam

Flotsam (2006), the award-winning wordless picturebook by David Wiesner is about the power and mystery of photographs but, at the same time, it plays with many of the techniques of photography to tell its story. This article discusses these themes and techniques and also examines children's responses to the picturebook, both oral and photographic. It considers photography with children as a research tool for investigating identity, culture, and literacy. The discussion about Flotsam and the photographs provided an insight into children's understanding, not only of wordless narrative but also of the techniques and uses of photography. We argue that the photographs increase the children's control of the way in which their space, as well as their identity, is represented to others; a representation that is particularly important for immigrant pupils. We conclude that Flotsam can act as an incentive to reflect on the idea of looking carefully; to think about artistically complex texts and about the potential of photography. Finally, we suggest that photography is a promising way of exploring the visual image, not only from an investigative but also from a pedagogic point of view, as it can draw attention to the construction and metalanguage of image and thus strengthening comprehension and critical literacy skills.

Developing Positive Negatives: Youth on the Edge Capture Images of Their Lives with Help from PhotoVoice

Children, Youth and Environments Vol 13, No.2 (2003) ISSN 1546-2250 Developing Positive Negatives: Youth on the Edge Capture Images of Their Lives with Help from PhotoVoice Miranda Gavin Citation: Gavin, Miranda. “Developing Positive Negatives: Youth on the Edge Capture Images of Their Lives with Help from PhotoVoice.” Children, Youth and Environments 13(2), 2003. Retrieved [date] from http://colorado.edu/journals/cye. Keywords: photography; street children; children's empowerment Using photography as a medium for self-expression, a tool for selfadvocacy and a way of empowering those on the fringes of society, London-based charity PhotoVoice aims to enable these groups to speak out about their lives through images and words, by providing in-field photojournalism in the context of development. For the charity's co-founders, Anna Blackman and Tiffany Fairey, both 27, the use of documentary photography is championed as a way of enabling “those who have traditionally been the subject of such work, to become its creator.” Originating in 1998, as part of their academic fieldwork for a masters degree in social anthropology, the pair set up what have now become the charity's founding photography projects, Street Vision in Vietnam and the Rose Class in Nepal. Fairey set up a photography, art and writing project, the Rose Class, in a Bhutanese refugee camp, Beldangi II- one of seven in eastern Nepal- where she taught the youngsters the basics of photography using donated single-lens reflex and automatic cameras. The project gave 30 young people, aged between 15 and 17 years, an opportunity to express themselves in new and creative ways. With no electricity or running water in the camp, she had the films processed by a nearby lab. 255 Meanwhile in Vietnam, Blackman faced different problems. Working with street and working children to raise awareness of their lives and using an assortment of used and new camera equipment, she had to find translators and spaces from which to work, and she had to deal with Vietnamese bureaucracy in realizing Street Vision. Since then, the project has trained more than 120 young people in photography and continues to run annual beginners' and advanced photography courses. The program is now managed by a local NGO, The Ho Chi Minh Child Welfare Foundation. Although Fairey and Blackman were working independently at the time, they discovered that, as well as using similar working methodologies, they also shared a belief in the potential of photography as a means of understanding different cultures. Later, in a bar in Perpignan, France, where they were both attending the annual photojournalism festival, Visa pour l'image 1999, they cemented their partnership and decided to establish a non-profit organization. A year later, they founded PhotoVoice. In 2001, Blackman headed to Kinshasa, Democratic Republic of Congo, where she was funded by Christian Aid, to teach 15 HIVpositive women the basics of photography. Over a period of four weeks, she worked with a local, non-profit organization and Christian Aid partner, Fondation Femme Plus (FFP) to enable these women- most of them widows- to openly document their experience of living with HIV in a developing country. Using point-and-shoot cameras, they began to record their daily lives and struggles. Blackman later returned to Kinshasa, to work with six of the original participants on a further project, Positive Negatives, which made its way to London's Africa Centre. Blackman and Fairey now manage six PhotoVoice projects around the world. Last year, the group's Transparency project gave a group of young refugees, aged between 12 and 18, from countries including Afghanistan, Angola, Iraq, Romania, Rwanda and Sierra Leone, the opportunity to express themselves through photography. Working from a community center in east London, the project ran over a three-month period and culminated in a well-received exhibition at the Spitz Gallery, London. Since then, Transparency 256 has toured nationally and one member of the group has gone on to study photography full-time and has secured commissions by the BBC. Another participant was a finalist in a national self-portraiture competition, featured on Channel 4 and exhibited in London's National Portrait Gallery. Working alongside both international organizations and local partners, PhotoVoice takes a...

Using still photography in making meaning of adult educators' teaching beliefs

Photography as a research tool has been under-appreciated and marginally used in the field of education and even less so in adult education. An area, where photography has potential is in the exploration of teaching beliefs. Teaching beliefs are important concepts when attempting to understand teacher thinking, thought processes and classroom practices. However, they are at times difficult for participants to articulate, particularly since they often operate on a tacit or subconscious level. Still photography offers a means of addressing these concerns, by helping elicit often hidden beliefs about teaching. In particular, two techniques, auto-photography and photo-elicitation help address some of the challenges found when trying to make meaning of teaching beliefs. This article will illustrate photography's potential through a review of related literature and a discussion of implications associated with the use of still photography in the exploration of teaching beliefs of adult educators.