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In Photography and Japan, Karen Fraser argues that the diversity of styles, subjects, and functions of Japanese photography precludes easy categorization along nationalized lines. Instead, she shows that the development of photography within Japan is best understood by examining its close relationship with the country's dramatic cultural, political, and social history. Photography and Japan covers 150 years of photography, a period in which Japan has experienced some of the most significant events in modern history and made a remarkable transformation from an isolated, feudal country into an industrialized, modern world power—a transformation that included a striking rise and fall as an imperial power during the first half of the twentieth century and a miraculous economic recovery in the decades following the devastation of World War II. The history of photography has paralleled these events, becoming inextricably linked with notions of modernity and cultural change. Through thematic chapters that focus on photography's role in negotiating cultural identity, war, and the documentation of urban life, Photography and Japan introduces many images that will be unfamiliar to Western viewers and provides a broadened context for those photos that are better known. ; https://scholarcommons.scu.edu/faculty_books/1130/thumbnail.jpg

Both photography and philosophy are invested in light as a form of intelligence, but while representation is central to photography as a recording practice, for Heidegger it is fundamental to the alienation of human beings from the world, and for Deleuze it is the foundation of political conservatism. This chapter brings together these critiques of representation and demonstrates that photography is both the visual form of Western metaphysics and the means for overcoming the boundaries imposed by the representational paradigm. It is argued that far from being rooted in 'objectivity', photography is usually interpreted through a philosophical framework that imposes upon it the concomitant ideologies of subjectivity and realism. It further contends that when photography is liberated from the totalizing effects of representation it begins to offer a fractured and fragmented 'image' of the interface between current technical, social and cultural norms.

This article represents an attempt to approach the notion of colonial discourse and photography more closely with the exigencies that put Morocco under the zoom of the colonial lens. This photographic documentation shows that nations, Morocco, in this case, were annexed to imperial powers through the utilization of various means of representation. This annexation was carried out not only by military officers, missionaries and spies but also by cartographers, travel writers and photographers who never ceased to polish the lens of their cameras so as to be able to represent indigenous identities, as well as their social lifestyles, and cultures. Therefore, the purpose of the present work is to sketch the colonial experience that links the imperializers with the imperialized through chronological documentation of colonial power and domination. Therefore, the main interest centres around the question of rereading this colonial history by analyzing and questioning colonial photography and its role in colonial expansion over Morocco. Besides, it is to unmask the alleged objective embedded in this country's 'civilizing mission'.

This essay provides an overview of Brecht's engagement with photography. His early fascination with the medium developed, in the context of the burgeoning illustrated media landscape and the German "New Photography," into theoretical reflections in dialogue with Walter Benjamin and Siegfried Kracauer. He also began to use photography, especially press photography, in his own work: as a source for the analysis of social behavior and a way of fixing Gestus. In due course he became more and more sensitive to the politics of representation and employed photography directly and innovatively in his own works, the Journal and the "photoepigrams" of War Primer.

The use of photographs in museums can reveal how the perceived transparency of photography and the authority of the museum interact with the subjectivity and the political construction of historical narratives. This paper focuses on the medium of photography in five war-related museums in Cyprus and examines how it is used in the context of these museums as a means to construct strong narratives by assuming the role of factual information and by appealing to emotions. More specifically, this paper explores (a) the types of photographs most common in war museums, (b) the context photography is presented in and how it influences meaning, and (c) the relationship between photography, memory and history. It is argued that photography in museums needs to be treated in a more critical and responsible way.

published_or_final_version ; Literary and Cultural Studies ; Master ; Master of Arts

A Chronology of Photography presents a fresh perspective on the medium by taking a purely chronological approach to its history, tracing the complex links between technological innovations, social changes, and artistic interventions. Structured around a central timeline that charts the development of photography from early experiments with optics right up to the present-day explosion of digital media, it features sumptuous reproductions of key photographs, together with commentaries and contextual information about the social, political and cultural events of the period in which they were taken. Special technical sections that explain how the development of new camera technology impacted the practice of photography, while feature spreads highlight important themes and influential practitioners. Covering a wide selection of genres, styles and artists, it is invaluable as a comprehensive guide to photography in all its different forms and functions. Paul Lowe was the general editor and lead writer for the book.

Includes index. ; "War Department. Document no. 5. Office of the Chief Signal Officer." ; Mode of access: Internet.

Two of Foucault's signature essays on painting are especially well known: the analysis of Velazquez's Las Meninas, and an essay on Rene Magritte that includes a striking account of how abstraction displaced representation in Western art. In addition, many of Foucault's texts are studded with acute descriptions of major painters from Breughel to Warhol; he gave lecture courses on quattrocento painting and Manet and published essays on several contemporary artists (Rebeyrolle, Fromanger, Michals). Since one of Foucault's major themes was the relation between visibility and discursivity, it is not surprising to find that painting is a favored site for exploring variations in this conjuncture. Throughout his work, painting and the visual arts serve as emblems of the epistemes that characterize distinct epochs of thought. At the same time, Foucault's engagement with contemporary art reveals his sense of its political significance and force. These themes coincide in Foucault's continuing interest in how art forms can break with acquired archives, apparatuses, and practices. In (mostly implicit) contrast with romantic concepts of genius (as in Kant, or more generally in the time of "man and his doubles"), Foucault attempted to analyze and articulate the processes of rupture and transformation that mark specific changes in what is called style. Dominant trends in art history either sought to trace relatively continuous developments (following a Hegelian lineage) or operated with sets of categories derived from Geistesgeschichte such as Heinrich Wollflin's linear and painterly modes. Philosophical aesthetics (as Derrida observes) has systematically (from Plato to Heidegger) given premier status to the linguistic arts of poetry and literature. Both of those ways of understanding visual art are put into question by Foucault's engagement with painting and photography.

From the day of its existence, photography was perceived as a medium of inherent objectivity. With the invention and practice of photomechanical processes for preparing printing plates in the Russian Turkestan, it soon began to replace drawings and lithographs in books and magazines. It was the medium of choice to bring the foreign and exotic to the parlors of the emerging Russian bourgeoisie that quickly recognized it and turned the medium to serve its interests. A small but influential group of the early amateur photographers was made up of the military elite from the Russian imperial technical departments who went to explore non-Slavic cultures and architectural antiquities. This unorthodox combination of documentary photography, art and science marks the abrupt beginning of a new discipline in Central Asia: architectural photography. What do these records of architecture from a distant time and place tell present-day viewers? Can we speak of a specific synergy that was so apparent at the early days of photographic invention between the photographic medium and painting technique in relation to Central Asian photography? Or, of the cultural impact of the Russian Empire on its distant and youngest colony along with the ongoing insecurities of the Russian cultural politics in conflict with an ancient Muslim culture? This paper places the aesthetic and ideological aspects of Central Asian photography within a broader international orientalist context by revealing how political, cultural and social shifts altered the nature of Central Asian architectural photography from the tsarist conquest to the Bolshevik rule.

The photogrammetric mapping process at the first stage requires planning of aerial photography. Aerial photographs quality depends on the successfull photographic mission specified by requirements that meet not only Lithuanian needs, but also the requirements of the European Union. For such a purpose the detailed specifications for aerial photographic mission for mapping urban territories at a large scale are investigated. The aerial photography parameters and requirements for flight planning, photographic strips, overlaps, aerial camera and film are outlined. The scale of photography, flying height and method for photogrammetric mapping is foreseen as well as tolerances of photographs tilt and swings round (yaw) are presented. Digital camera based on CCD sensors and on‐board GPS is greatly appreciated in present‐day technologies undertaking aerial mission. Article in English Reikalavimai, keliami aerofotonuotraukai Santrauka.Pirmuoju fotogrametrinio kartografavimo etapu parengiamas projektas žemes paviršiui aerofotografuoti. Aerofotonuotraukos kokybe priklauso nuo aerofotografavimo proceso sekmingumo, t. y. fotogrametriniu reikalavimu, keliamu aerofotonuotraukai, tinkamo igyvendinimo – ne tik pagal Lietuvos poreikius, bet ir Europos Sajungos nuostatas.Pateikiami tikslingiausi aerofotonuotraukos parametrai skaitmeniniams spalvotiems 1:1000 arba 1:2000 masteliu nuotraukos Lietuvos miestu ortofotografiniams žemelapiams sudaryti. Rengiant urbanizuotu teritoriju aerofotografavimo parametrus ir siekiant gauti geros kokybes, tikslius ortofotografinius žemelapius, remtasi literatūros šaltiniais, Lietuvos ir kai kuriu užsienio šaliu instituciju patirtimi. Aeronuotrauka projektuojama 1:5000 arba 1:6000 mastelio, aerofotokameros židinio nuotolis c = 210 mm. Pateikti tinkamo aerofotografavimo reikalavimai: aerofotonuotrauku tarpusavio sanklota, maršrutu nuokrypiai, aerofotografiniu vaizdu polinkiai, aerofotografavimo salygos. Nurodytos aerofotografavimo technines priemones: orlaivio ypatumai, aerofotografavimo kameru parametrai. Aerofotoaparato skiriamajai gebai apibrežti taikyta svertine vidutine skiriamoji geba (1 pav., 2 lentele).Kadangi vis dažniau skaitmenines aerofotokameros naudojamos topografijos poreikiams, todel kitu Lietuvos urbanizuotu teritoriju aerofotogrametrinio kartografavimo etapu numatoma taikyti ir skaitmenine aerofotografavimo sistema. Raktažodžiai: aerofotografavimas,fotogrametrine nuotrauka,parametrai,lektuvu GPS,kalibravimas.

The photogrammetric mapping process at the first stage requires planning of aerial photography. Aerial photographs quality depends on the successfull photographic mission specified by requirements that meet not only Lithuanian needs, but also the requirements of the European Union. For such a purpose the detailed specifications for aerial photographic mission for mapping urban territories at a large scale are investigated. The aerial photography parameters and requirements for flight planning, photographic strips, overlaps, aerial camera and film are outlined. The scale of photography, flying height and method for photogrammetric mapping is foreseen as well as tolerances of photographs tilt and swings round (yaw) are presented. Digital camera based on CCD sensors and on‐board GPS is greatly appreciated in present‐day technologies undertaking aerial mission. Article in English Reikalavimai, keliami aerofotonuotraukai Santrauka.Pirmuoju fotogrametrinio kartografavimo etapu parengiamas projektas žemes paviršiui aerofotografuoti. Aerofotonuotraukos kokybe priklauso nuo aerofotografavimo proceso sekmingumo, t. y. fotogrametriniu reikalavimu, keliamu aerofotonuotraukai, tinkamo igyvendinimo – ne tik pagal Lietuvos poreikius, bet ir Europos Sajungos nuostatas.Pateikiami tikslingiausi aerofotonuotraukos parametrai skaitmeniniams spalvotiems 1:1000 arba 1:2000 masteliu nuotraukos Lietuvos miestu ortofotografiniams žemelapiams sudaryti. Rengiant urbanizuotu teritoriju aerofotografavimo parametrus ir siekiant gauti geros kokybes, tikslius ortofotografinius žemelapius, remtasi literatūros šaltiniais, Lietuvos ir kai kuriu užsienio šaliu instituciju patirtimi. Aeronuotrauka projektuojama 1:5000 arba 1:6000 mastelio, aerofotokameros židinio nuotolis c = 210 mm. Pateikti tinkamo aerofotografavimo reikalavimai: aerofotonuotrauku tarpusavio sanklota, maršrutu nuokrypiai, aerofotografiniu vaizdu polinkiai, aerofotografavimo salygos. Nurodytos aerofotografavimo technines priemones: orlaivio ypatumai, aerofotografavimo kameru parametrai. Aerofotoaparato skiriamajai gebai apibrežti taikyta svertine vidutine skiriamoji geba (1 pav., 2 lentele).Kadangi vis dažniau skaitmenines aerofotokameros naudojamos topografijos poreikiams, todel kitu Lietuvos urbanizuotu teritoriju aerofotogrametrinio kartografavimo etapu numatoma taikyti ir skaitmenine aerofotografavimo sistema. Raktažodžiai: aerofotografavimas,fotogrametrine nuotrauka,parametrai,lektuvu GPS,kalibravimas.

Within contemporary early childhood contexts, children's photography is often seen as a democratic practice that incorporates children's photographs as representations of children's inner experiences of thinking, feeling, and learning. This article outlines tensions arising from the author's photography inquiries, which took place within a Canadian preschool setting. Within the context of early childhood education (ECE) practice, anthropocentric, representational views of photography and child-centered practice are critiqued and contrasted with a relational materialist stance. The impacts of onto-epistemological positionings on ECE conceptions of knowledge and knowledge production, understandings of identities –of both children and Early Childhood Educators – and impacts on studio art practices are considered (Atkinson, 2011; Kind, 2013; Lenz Taguchi, 2011). Viewing early childhood photography as "event" and centering upon the materiality of photographs and camera, are presented as more ethical and authentic means of ECE art practice inquiry.

The power of images in politics is undeniable. As social media has become more prevalent, it's become easier for political campaigns to share images that tell stories and connect with voters. This trend is only amplified during election season. Experienced photographer Moshe S Newhouse claims that the power of images can be utilized in various ways, but it is clear that they are an essential part of any politician's campaign strategy. Who's Using Images? In a world where there is a never-ending stream of information coming in, images have a powerful ability to speak to voters and help them understand more about the politician or their campaign. Photographer Moshe S Newhouse claims that images can be used in many ways: to convey a personal narrative, communicate values, or simply tell a story. It's important to know how this new technology can be leveraged for a greater purpose - especially in an era when there is so much information coming at us all the time. Social Media and Elections Moshe S Newhouse indicates that social media has had a major impact on political campaigns. Politicians are using social media to communicate with voters and tell their stories. In recent years, many politicians have started to use images in their campaigns. They're using powerful imagery for a greater purpose: to represent themselves by communicating values and ideas to their constituents. Moshe S Newhouse indicates that digital images are replacing traditional campaign materials, like posters or rallies, as the main way that people learn about candidates today. This is because many people are getting their information from mobile devices. Social media, especially Facebook, has become an essential platform for campaigning around the world. Moshe S Newhouse claims that Facebook is how many people get all of their news today- not just about politics but everything! As a result, it's important for politicians to understand how they can use Facebook effectively in order to reach more potential voters and promote their campaign ...

Encountering concepts of privilege and the politics of representation can be unsettling, sometimes having a 'paralysing' effect on students' practice. As one put it, it involves "transforming our perception of the world," which takes "time and emotional energy." This article considers how we can support this process of reflection and identity formation, without shying away from our our collective responsibilities to confront histories of oppression. --- The concepts outlined in the article are also explored further in the following podcast episode, recorded in September 2020: The Messy Truth: Dr Jennifer Good - On Ethics https://podcasts.apple.com/gb/podcast/dr-jennifer-good-on-ethics/id1459128692?i=1000492347357