Role Of Photography Research Articles

Fotografer dan Dinamika Jurnalisme Positif perspektif Jurnalistik Islam: Studi Media Online Times Indonesia

Photography has an important role in the world of journalism. However, someone who works as a photographer doesn't just take pictures based on his imagination based on the photographer's own volition. This study aims to describe the role of photography and the dynamics of positive journalism in online media at www.timesindonesia.com. This research uses qualitative research with descriptive analysis, which describes phenomena and facts systematically and analytically. Is the role of photographers and the dynamics of positive journalism from the perspective of Islamic Journalism by having a case study in the online media Times Indonesia. The data collection method was based on the virtual ethnographic paradigm in cyber media (Nasrullah, 2014), especially online documentation from the work of photographer Senda Hardika Prasasti for the 2016-2017 period, while the results of the interviews were conducted on July 10, 2017. The analysis of this data used analytical techniques. The Miles and Huberman model; is in the form of data reduction analysis, data display, and conclusion verification. The results of the study indicate that the role of photographers in Timesindonesia has fulfilled the rules of positive and constructive photojournalism, including; (1) Appropriate/appropriate photo composition; (2) Contains journalistic elements (5W+1H); (3) Does not destroy the reality of events; and (4) Has more value than ordinary photos. The recommendations for all photographers in this study, among others; are (a) A photographer should always comply with the applicable journalistic photography ethics and journalistic photography publication ethics, and (b) Do not be easily bribed with material to produce and publish fake photos that can cause polemics in the community. The research also states that Islamic Journalism is a constructive solution to developing online mass media based on religious and humanitarian knowledge (humanism).

Faceless, nameless, invisible: a visual content analysis of photographs in U.S. media coverage about homelessness

Media coverage plays an important role in shaping public opinion and approaching solutions to homelessness in the United States and beyond. Scant prior research has shown that stories often highlight individual rather than structural causes and solutions to the issue, while also perpetuating anti-homelessness stigma and stereotypes. However, few studies have looked specifically at the role of photography in media stories about homelessness. In this study, we used content analysis methodology to assess features of 226 photographs accompanying stories about homelessness from U.S. news media outlets in 2019. Our analysis found that presumably homeless people were frequently photographed without eye contact and were not identified by name in captions, and that photographs often featured homelessness paraphernalia (e.g. tents, shopping carts) but rarely depicted affordable housing. These findings affirmed the dehumanizing nature of news photographs about homelessness, and underscore the importance of partnering with the media to raise awareness of stigma and ultimately bring about policy change.

The Feedback and Noise of Hiroko Komatsu's Photographic Materialities

Abstract This article explores the dynamic forms of positive feedback found in Hiroko Komatsu's 2017 photography installation, The Execution of Personal Autonomy. This article details how Komatsu's installation generates an intensive interface among photographed materials and photochemical materialities that constitute a noise-like interface akin to the creative production of feedback in Noise music. As a redistribution of affective attunements that inhere within the urban landscape, this article discusses how Komatsu's photographic forms of feedback offer an evolving site for grasping, and potentially reimagining, the reproductive processes of capitalist society. Komatsu's photographic praxis reveals a novel understanding of photography's own role as a material and affective “infrastructure” critical to the reproductive relations of neoliberal and state capitalism.

Imagining imperial frontiers: Photography-as-cartography in the mapping of eastern Africa

This paper examines the construction of imperial landscapes in the borderlands of eastern Africa in the early twentieth century. Recent literature has emphasized the haphazard, contingent, and often hybrid nature of mapping imperial frontiers and colonial governance in eastern Africa. This paper looks at the role of photography in the mapping of the Kenya-Somali frontier through the rich photographic archive of colonial official, Sir Geoffrey Archer. Archer documented his cartographic surveys through multiple media – diaries, maps, photographs – that provide a unique lens through which to explore the role of visual culture in contestations over territoriality, mobility, and sovereignty. While this photographic archive visualized imperial frontier landscapes and documented the work of cartographic surveys, it also revealed the dependency on local intermediaries, through their labour, geographic knowledge, and spatial practices. Photography-as-cartography demonstrated both the productive work of photography and the ambivalent presence of colonized peoples in the mapping of imperial frontiers, revealing the social lives of the borderlands and capturing fugitive meanings, bodies, and landscapes.

Atomic Ecology

Abstract Susanne Kriemann's Pechblende explores the material histories and visual (im)possibilities of uranium. Through a focus on the materiality of uranium, the article explores how the medium of photography is entangled with atomic histories by focusing on a series of exhibitions that explore the histories of photography, mining, and the damage slowly wrought by environmental change. While the violence of uranium exposure eludes vision, atomic light materially challenges the boundaries of the visible and the invisible, most tangibly shown in X-rays and autoradiographs, the camera-less exposures “taken” by uranium. Reading Kriemann's work through an eco-critical lens that centers environmental justice and labor, I explore the role of photography and the archive in the Anthropocene. Kriemann's counter-archival photographic practice draws attention to the socio-ecological costs of resource extraction while probing the limits of the visible. The materiality of the climate crisis necessitates thinking about materials—and the tangible consequences of their use—alongside questions of representation.

The Role of Photographs and Time Lag on Positivity Ratings of Vacation and Weekend Memories

Two studies examined the question of whether photograph taking of an event influences the positivity of the evaluations of the event at a later point in time. Memories of photographed events yielded higher positivity ratings than memories that were not photographed. Although we expected fading of positivity ratings to occur more slowly over a period of two months for memories of photographed events, we found faster affect fading for those memories in Study 2 instead. The findings of the two studies support the idea that taking photographs of events sustains the affective reconstruction of autobiographical memories, regardless of whether these events are special, such as vacation memories, or more mundane, such as memories of the past weekend.

Advertising in the Archives: The John G. Zimmerman Archive

Abstract: This Advertising in the Archives article presents details about the John G. Zimmerman Archive, which is a private collection located on the Monterey Peninsula in Pacific Grove, California, that documents the life and work of photojournalist and advertising photographer John G. Zimmerman. The key topics covered in this Archives article include information about John G. Zimmerman and his career, the role of photography in advertising, and what his private collection reveals about the understudied history of the craft and business of advertising photography.

MEANS OF REPRODUCING THE INDIVIDUAL PAST IN W. SEBALD’S NOVEL AUSTERLITZ

The article is devoted to the coverage of the problem of bricolage as a method of memory reconstruction in the novel “Austerlitz” by the greatest German writer Winfried Sebald. The article notes that “Austerlitz” marks the transition from trauma to conscious identity as part of the historical memory of the Holocaust. It shows how the hero of the work, Jacques Austerlitz, acquires his identity by assembling from scattered information his personal history, reflecting a significant part of the collective tragedy. The genre feature of the work as a travelogue, memoir, investigation, as literature bordering on documentary and artistic experience, where the real is combined with the fictional, is highlighted. The article describes in detail the content of the technique of bricolage as a form of “wild”, “pre-rational” way of thinking, as a technique of fitting auxiliary materials (old photographs, newspaper clippings), a montage of disparate episodes, the technique of collage. The structure of the work’s storytelling is analyzed when the narrator does not tell the story but describes what he hears from Jacques Austerlitz. It is as if it is not a text, but the story itself, which someone tells, and also shows pictures for authenticity. The functions of the hero in the novel gradually shift from people to things, documents, bearers of the memory of individual and collective civilizational catastrophe. These indescribable witnesses break the blockade of traumatic silence around the childhood of Austerlitz, embodied in images of blindness, dumbness, oblivion. Before the protagonist of the work, the “man without a past,” the history of his family, the ghostly happy childhood that was rudely cut short by the separation from his biological parents, is suddenly revealed. Sebald demonstrates a contemporary form of novel narrative in which the truthfulness of the Holocaust narrative is revealed by incorporating the exile’s personal authorial biography, pain, and guilt into the memory of this tragedy. The role of photographs and descriptions of architectural structures in revealing the immanent semantic content of the subject, not manifested verbally, is analyzed. The latter is the key document that unites and structures the important for the writer themes of memories, memory, indifference, oblivion, return to the ghostly past, overcoming of the psychological trauma. Based on the analysis the author concludes that the attitude to the reader as a co-author brings Sebald’s novel closer to the tradition of the European intellectual novel and postmodern hypertexts, in which meaningful units are not presented in a traditional linear sequence, but as a multiplicity of links and transitions. The author notes that the acute experience of humanitarian catastrophe, the multilayered text, the density of meaningful meanings make this work a notable phenomenon in the context of artistic comprehension of traumatic memory.

Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research

In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.

Erotica in Photography Through the Ages

The purpose of the article is to analyze the components of erotic photography, establish the role of photography in defining a person’s worldview, prove the importance of erotic photography in the self-expression of new generations of photographers. The research methodology is based on an integrated scientific approach and theoretical analysis of the erotic genre masters’ works, information sources; generalization of the influence of erotic photography on the worldview in photography; defining the historical aspects that shape the worldview of eroticism. Scientific novelty. The components of erotic photography are analysed, a detailed analysis of the historical aspects in the formation of the worldview of erotic is made, by theoretical analysing the erotic photography masters’ works, the role of photography in the self-expression of new generations is determined. Conclusions. In the article, we analysed the components of erotic photography. Through the detailed analyses of erotic photographs, the role of photography in determining a person’s worldview has been established. The factors that influence the self-expression of new generations have been summarized.

A Transnational Approach to Wartime Press Photography: The Case of Randall Chase Gould (1898–1979) and His Coverage of the Battle of Shanghai (August–November 1937)

This article focuses on the role of photography in the context of the Battle of Shanghai (August–November 1937), one of the first major conflicts of the Second Sino-Japanese War (1937–1945). An examination of the written and photographic work by American journalist Randall Chase Gould (1898–1979), editor of the American-owned, English-language <em>Shanghai Evening Post and Mercury (SEPM)</em>, addresses the question of how he covered the Battle of Shanghai for various transnational audiences. In pursuing an interdisciplinary approach based on transnational journalism history combined with the theoretical framework of the photographic message according to Roland Barthes, this study traces how Gould’s photographs were ‘read’ by multiple audiences in different transnational contexts. An examination of two of Gould’s photographs will highlight the dynamic interrelation between texts and images and will show how images constituted a crucial part of the intended message(s) in media reports on the Battle of Shanghai addressed to transnational audiences.

The Persistence of Photography

The Persistence of Photography

The Role of Photography in Increasing Efficiency of Dermatologic Inpatient Consulting Service

Introduction: Inpatient dermatology consultations can bring a mixed bag of pathologies. Due to the highly specialized nature of dermatology and the lack of dermatologic training in medical school, the dermatologic team is consulted for matters that range from non-urgent to pressing. Pictures are a critical component of dermatology and greatly aid in the diagnosis of cutaneous diseases. In the inpatient setting, pictures can help streamline diagnosis and prevent unnecessary tests or procedures. The purpose of this study was to evaluate for the presence of pictures in patients’ chart after a dermatology consult had been placed through EPIC at the University of Nebraska Medical Center (UNMC). Methods: Baseline data was gathered for two months in regards to the presence or absence of pictures in patients’ charts upon consultation of the UNMC academic dermatology service. At the two month mark, a prompt was added to the EPIC order for dermatology consultation stating, “Are there pictures in the chart?” This prompt required the consulting team to check ‘yes’ or ‘no’ before proceeding with signing the electronic order. Data was then gathered after two months following initiation of the prompt. Results: In the baseline two months, 15/33 (45.4%) consults contained photographs. In the two months following the prompt, “Are there pictures in the chart?”, 57/71 (80.3%) of consult orders placed contained a photograph. A Chi-squared analysis was preformed and revealed a significant difference (Chi-squared statistic 12.823, p-value < 0.001) between the number of pictures placed in the chart with consult order before and after prompt. Conclusion: By adding a prompt in the EPIC order questioning picture availability, a significant increase was seen in pictures taken by consulting teams. This can help improve patient care by decreasing time to diagnosis, preventing unnecessary testing or procedures, and practicing cost-efficient medicine.

Foundational photographs

Abstract Overlooked among the collections of the Western Australian Museum and Art Gallery, opened in Perth in 1895, is a large cross-disciplinary photograph collection. Tracing the accumulation and use of this collection through the archival record reveals its integral role in the developing institution’s interaction with global social, intellectual and administrative centres. These interactions demonstrate the value of the photograph in the propagation of modernist ideas of progress within an institution geographically isolated from contemporary Western centres of knowledge and empire, and in the promotion and recognition of the burgeoning potential and identity of a developing state. The evidence of use within the institution demonstrates the integral, but often overlooked, role of photographs within early collecting institutions, and places them squarely as foundational to Western Australia’s collections.

„O cierniu który rozdziera nasze oczy usta teraz i w godzinie śmierci”. What and what is it about Matka odchodzi by Tadeusz Różewicza?

The article is an attempt to defi ne the subject and genre of the book Matka odchodzi (2000), ascribed to Tadeusz Różewicz. Its authorship and composition, including the role of photographs, are analysed, as is the effect of transferring previously published poems and prose pieces to a new context. The book might be described as a spiritual autobiography (confession) with elements of witness and of challenge to the reader, as in Małgorzata Czermińska’s work on autobiographical writing; but other possible defi nitions are also considered, including two of Różewicz’s own rather surprising suggestions: a beggar’s threnody, a little book that is a prayer. The Marian piety of Stefania Różewicz is seen to infl uence even unconsciously her supposedly „godless” son’s way of seeing the world.

Grief, photography and meaning making: A psychological constructivist approach

This article examines the value of using photography as both a methodological and therapeutic tool for the construction – and study – of meanings after a death-related loss. A study case, consisting of narratives of mourning elicited through a personal photo diary and a follow-up interview, will be analysed in light of five key advantages of using photography to study grief experiences according to a social constructivist approach. These advantages are (1) agency in the search for meaning; (2) the role of photography as a tool for scaffolding narratives of loss; (3) the role of photography in preserving the continuing bonds with the deceased; (4) the role of photography as technology of the self for emotional self-regulation and (5) photography as a process in the reviewing of the contextualised experience.

Seeing Experimental Imperialism in the Nuclear Pacific

Those looking to judge the historical wrongs of American nuclear testing often discover an overwhelming surplus of images that amount to a series of incoherent visual fragments, leaving us with an abundant historical record and barriers to interpreting that record. This essay meets this challenge through discerning a new role for photography in the bombing of the Marshall Islands. In revisiting the function of the camera in the staging of these nuclear experiments, we find a model for the United States’ larger relationship to the post-WWII Pacific. Through a process we call “experimental imperialism,” U.S. nuclear tests utilized both cameras and international law to render living beings and the spaces they inhabited as lab-like specimens.

Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds

ABSTRACT In two striking books released in 2019, Ariella Aïsha Azoulay and Georges Didi-Huberman explicitly draw a connection between their respective theoretical approaches to images and their family histories. In Potential History: Unlearning Imperialism, Azoulay recounts the suppression of the existence of her Algerian-Jewish grandmother Aïsha by her father, who wanted to hide his Arabic-Algerian origins. Azoulay consequently develops a critical view on the history of photography and its role in the imperialist destruction of entire lifeworlds. In Pour Commencer Encore, Didi-Huberman recounts the story of his mother, who had to hide her Jewishness to survive the Nazi occupation of France, and of his father, who migrated to France as a Jewish Tunisian. In both cases, their relatives’ cultural identity had to remain invisible for various reasons in the countries in which their children grew up. Azoulay and Didi-Huberman present their approaches to images as influenced by the injustices experienced by these relatives and their commitment to them even goes as far as both them of changing their author names: Azoulay added “Aïsha” to her name and Didi-Huberman adopted his paternal (“Didi”) and maternal (“Huberman”) family name. However, this commitment led them to develop vastly different approaches to images and photographs. Whereas Azoulay emphasizes the role of photography in the imperialist destruction of worlds, remaining cautious of even reproducing certain photographs in her book, Didi-Huberman argues that worlds are never completely lost and that traces of these worlds always reappear by means of images. Azoulay aligns photography with imperialism and colonialism, while Didi-Huberman associates photography with migration. In their desire to do justice to the sufferings of their relatives, both influential theorists of images develop strongly diverging views on the politics of photographs and how they can reveal traces of lost worlds.

Photographic dissemination of historic landscape as a tool for citizenship

ABSTRACT The article analyses the role of photography in communities’ knowledge and interpretation of historic landscape. Focus is placed on the work of photographic landscape observatories within the European framework, on issues regarding their active development at the present time, and on their effectiveness and presence in tasks related to raising awareness. The UNESCO definitions of Historic Urban Landscape and Cultural Landscape and their revisions launched a debate about the need to document and disseminate landscape —through several media— as strategies to promote reflection among the inhabitants of a region. Since the European Landscape Convention, groups, institutions, and organisations have worked towards encouraging citizen participation in the reflection on the territorial changes brought about by industrialisation, tourism, and urban growth. Along these lines, it is worth looking into the type of methodologies and tools available in photographic observatories and their ability to connect local experience with expert knowledge on historic landscape.T

A educação brasileira e a cultura fotográfica: para além da impressão

The work of analysis with photographic sources constitutes an impediment in the theoretical and methodological foundations for understanding them as visual language, a source of formation and information. As such, the article deals with the role of photography as a form of visual language composed of ideological signs; it discusses the importance of photographic sources as a collection of documents and presents ways of surpassing the threshold of the instrumental reading of photographic images. The study is justified by the substantive observation of the difficulty of students in reading texts constructed in the visual language, particularly photography. The bibliographical and documentary study, further supported by the dialectic, was based on authors who oppose the reading of photographic images from a positivist perspective. The results made it possible to recognize the nature of photographic images as visual historical sources, which allows the chronological reduction of their production and execution to be overcome.