Suchergebnisse

This introduction briefly sketches the relationship between Europe and photography from its earliest days, through the experiments of the 1920s, and into the post-war years. This history is the background for approaching the contemporary concerns of European photography today. Concerns discussed include: the fluidity of Europe's borders, the commemoration and integration of mass violence, the marginalization of non-citizens, the fallout of the end of industrial capitalism, and the responsibility of the viewers of the photographs in which these issues are envisioned. In addition, the appropriateness of photography, as well as its inadequacy to the task of documenting and imagining the current challenges to Europe, is discussed.

Benjamin and Barthes provide the starting point for a series of inter-connected propositions which seek to return the theorization of photography to the primacy of the pro-filmic. The index is reclaimed as a trace of the photographic event, capable only of delivering what Barthes termed the corps. The resulting contingency and exorbitance are the basis of photography's prophetic and 'troubling' potential which free us from viewing photography as simply a screen for the social. The argument is advanced largely using material from India and a case is made for a new conception of 'world system photography' which folds 'belated' histories into the 'global'.

Double alienation: Evans-Prichard's Zande & Nuer photographs in comparative perspective / Christopher Morton -- Photographing "the bridge": product & process in the analysis of a social situation in non-modern Zululand / Chris Wingfield -- Frontier photographs: Northern Kenya & the Paul Baxter collection / Neil Carrier & Kimo Quaintance -- Memories of a Blue Nile home: the photographic moment & multimedia linkage / Judith Aston & Wendy James -- Emptying the galler: the archive's fuller circle / Erin Haney -- 'Ça bousculait!': democratization & photography in Senegal / Jennifer Bajorek -- 'A once and future Eden': Gorongosa National Park & the making of Mozambique / Katie McKeown -- Political billboards as contact zones: reflections on urban space, the visual & political affect in Kabila's Kinshasa / Katrien Pype -- On 'the ultimate patronage machine': photography & substantial relations in rural south-western Uganda / Richard Vokes -- 'The terror of the feast': photography, textiles & memory in weddings along the East African coast / Heike Behrend -- Ceremonies, sitting rooms & albums: how Okiek displayed photographs in the 1990s / Corinne A. Kratz

Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed "surrealist photography" in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib's Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss's work and correspondence with Roland Penrose's son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called "surrealist" at all, as Egypt's surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty's activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer's Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.

This article examines the politics of interwar colonial identification practices put into place by the French colonial state in order to curtail the mobility of colonial (im)migrants. I argue that photography was used as a tool of imperial control in both French West Africa (AOF) and metropolitan France, since colonial men's inability to provide the required photographic portraits often prevented them from moving around the empire. In response, colonial subjects appropriated photography in alternative ways to subvert these administrative restrictions. Moreover, they took advantage of metropolitan racial stereotypes to contest Western identification practices.

Visual communication is critical in contemporary societies. Research in social sciences increasingly tends to mobilize the image, for example, in the form of photography, in its processes (in the collection and interpretation of information) and products (in the communication of research results), which leads to the need to reflect critically on its specificities. This paper aims to add to the analysis of the potentialities, limitations and challenges of the use of photography in social sciences research. For this purpose, the paper presents and discusses empirically collected documentary expressions, selected from an organizational case study based on their heuristic capacity to illustrate the argumentation put forth herein. It is concluded that the potential of the use of photography in research in social sciences is high, but it is essential that the researcher considers, besides more technical aspects and ethical complexities, that photography is, in part, also the materialization of a certain socially constructed representation of reality.

In diesem Beitrag berichte ich von einem Projekt, in dem Fotografie als ethnografische Forschungs-, Präsentations- und Disseminationsmethodik zum Einsatz kam. Das Projekt war Teil eines qualitativen Methodenkurses, in dessen Rahmen Promotionsstudent/innen lernten, visuelle Daten zu erheben und auszuwerten. Hierzu gehörte, dass sie ihr eigenes Leben mithilfe von Fotografien darstellen und reflektieren sollten. Diese Fotografien, die die Studierenden selbst machten, dienten – versehen mit kurzen Titeln – als einzige Datenquelle. Es wurde jedoch ersichtlich, dass für eine Analyse die Fotos ohne jegliches textliche Material nicht reichten. Schriftliche Statements wären hilfreich gewesen, um den Kontext der Fotos und die Intention der Fotografierenden nachvollziehen und verstehen zu können. Ich komme hiervon ausgehend zu dem Schluss, dass eine Ethnografie, die sich nur auf Fotos beschränken würde, nicht möglich ist; der Einbezug weiterer Datensorten ist für eine sinnvolle Analyse unerlässlich. Dennoch ermöglichten das Fotografieren und die Präsentation der Fotos in der eigenen Studie den Teilnehmenden, ihre Identität als Promotionsstudent/innen visuell zu konstruieren und sichtbar zu machen.

In recent years evaluators have been using photography as one method for collecting data in qualitative evaluatron studies. The public nature of photographs have ethical implications for application in evaluation practice. Of primary ethical concern are the issues of honesty and accurate representation in the sampling plan, proposed use of the photographs, and selection and interpretation of the photographs for presentation. Additional considerations include costs and benefits for the evaluator, clients, participants, and society.

Forensic photography plays a vitally important part in the investigation of crime and the subsequent administration of justice. Written by a practitioner with many years professional experience, this book provides an overview of the most common forensic photography techniques in use today for those readers who may not have a detailed understanding of camera techniques and who need to get to grips with the use of light and other key scientific aspects of the job. It covers image capture issues, file handling and relevant equipment, such as lasers and UV lights, and explores how they work. The predominance of the digital camera has resulted in an increasing trend for police forces across the world to use untrained camera users, rather than expert photographers. Therefore, this book will prove invaluable for those practitioners who need to produce accurate and clear photographic evidence, above and beyond the point and shoot mode on their cameras.