Kein Fokus auf das Foto Maja Tabea Jerrentrup
Kommunikation@gesellschaft,
02/2020, Letnik:
21, Številka:
1
Journal Article
Recenzirano
Odprti dostop
Beim Thema Fotografie steht oft das Resultat an erster Stelle. In diesem Essay hingegen geht es um die Aktivität, das Fotografieren. Warum besitzt diese Aktivität für so viele Menschen einen hohen ...Stellenwert, selbst, wenn viele Fotos wohl nie wieder betrachtet, bearbeitet oder verwertet werden? Auf Basis teilnehmender Beobachtung, einer Facebook-Umfrage und Interviews ergibt sich, dass das Fotografieren für viele Fotografen das Gefühl von Flow erzeugen, Achtsamkeit fördern und für Kontakt mit der Umwelt und Kommunikation mit anderen Menschen stehen kann. Auch der Jagd- und Sammeltrieb mag befriedigt werden. Zudem bedeutet Fotografieren auch eine Möglichkeit, etwas zu erleben – einerseits, da Erlebnisse durch die fotografische Begleitung mehr Sinn erhalten, andererseits auch, wenn das Fotografieren als Erlebnis selbst begriffen wird. Für die persönliche Entwicklung heißt Fotografieren oftmals neue Sichtweisen, eine neue, besonders befriedigende Art der Wahrnehmung zu erlernen. Außerdem steht es in Verbindung zur Überwindung persönlicher Aversionen und Ängste und bietet auf unkomplizierte Weise Raum für Kreativität. Auch im Dienste der Identität ist Fotografieren von Bedeutung, wenn sich Menschen fotografierend in Situationen begeben, die ihre Identität kommunizieren sollen oder sie durch das Fotografieren ihre Selbstwahrnehmung beeinflussen.
Suç sosyolojisi bağlamında yapılan çalışmaların kriminolojinin ortaya çıkışındaki katkıları yadsınamaz. Suç ve suçlu davranışının meydana gelmesinde psikolojik faktörler olduğu kadar sosyolojik ...faktörler de bulunmaktadır. Sosyolojinin çalışma alanlarının birçoğu, suç ve suçlu davranışının, sebebi veya sonucu olarak karşımıza çıkmakta ve öncül toplumsal sorunlardan biri olması nedeniyle, sosyolojik açıdan ele alınması önem taşımaktadır. Bu çalışmada ise bir sosyolog bakış açısıyla görsel kriminoloji ele alınıp görsellik fotoğraf ile sınırlandırılarak incelenmiştir. Görsel kriminolojide fotoğraf ölçeğinde, el ilanları, reklamlar, uyarı niteliğindeki görseller (sigara içilmez vb.) değerlendirme dışı bırakılmıştır. Görsel verilerden faydalanarak, suç ve suçlu davranışının açıklanması, sosyolojik faktörlerin önemini daha da arttırmaktadır. Bu durum bize suç ve suçlu davranışının sadece psikolojiyle alakalı olmadığı yönündeki fikri güçlü bir şekilde desteklemeye avantaj sağlar. Çalışmanın yöntemi, literatür taramasına dayalı olarak betimsel analizdir. Suç teorileri kısaca özetlenip görsel kriminoloji başlığı altında, öncelikle sosyoloji ve kriminoloji ilişkisine değinilmiştir. Görsel kriminoloji informal başka bir deyişle yazılı olmayan kurallarla ilgilidir. Bu doğrultuda fotoğrafların suç ve suçlu davranışı açısından bir sınıflandırılması yapılmıştır. Yapılan bu sınıflandırma neticesinde fotoğrafın görsel kriminoloji içerisindeki yeri, önemi ve katkıları gösterilmeye çalışılmıştır. Bu açıdan yapılan bu sınıflandırma çalışmanın özgün yanını oluşturmaktadır.
Visions of Nature revives the work of late
nineteenth-century landscape photographers who shaped the
environmental attitudes of settlers in the colonies of the Tasman
World and in California. Despite ...having little association with one
another, these photographers developed remarkably similar visions
of nature. They rode a wave of interest in wilderness imagery and
made pictures that were hung in settler drawing rooms, perused in
albums, projected in theaters, and re-created on vacations. In both
the American West and the Tasman World, landscape photography fed
into settler belonging and produced new ways of thinking about
territory and history. During this key period of settler
revolution, a generation of photographers came to associate
"nature" with remoteness, antiquity, and emptiness, a perspective
that disguised the realities of Indigenous presence and reinforced
colonial fantasies of environmental abundance. This book lifts the
work of these photographers out of their provincial contexts and
repositions it within a new comparative frame.
El nuevo libro de uno de los fotógrafos que más ha seguido el enrevesado, complejo e interminable conflicto colombiano, Stephen Ferry. Pero el libro es ante todo, un homenaje a los trabajadores del ...oro en este país. Así como Timothy Prus escogió la vaca y la orquídea como argumento para describir lo que considera una fotografía genérica colombiana, Ferry junto a su hermana Elizabeth, quien realiza con el fotógrafo la investigación y escribe con maestría los textos del libro, han escogido el oro, y en concreto la batea, como herramienta para explicarnos y acercarnos a las luchas de los trabajadores artesanales del metal en tres lugares concretos de Colombia, Segovia, Marmato y Yolombó, con un breve epílogo que suceden en Mompox, donde el artesanato orfebre sobrevive en el tiempo muerto de las riveras del Río Magdalena
El presente ensayo analiza la obra artística de cinco fotógrafos: Giorgio Timms, Jaime David Tischler, Sussy Vargas, Roberto Guerrero y Andrés Rangel, los cuales, aparecen como generadores, en ...diferentes generaciones, de representaciones artísticas fotográficas desde la noción de disidencia sexual. Dicho análisis tiene la finalidad de establecer una genealogía de los enfoques o acercamientos discursivos a las representaciones del cuerpo y del deseo no normativo, en la sociedad costarricense, en los años comprendidos entre 1989 y 2016.La representación de los cuerpos desobedientes en la obra fotográfica de los artistas mencionados deriva en la compresión de cómo se ha mirado plural y ampliamente al cuerpo desde la fotografía de retrato y de desnudo, en un espacio temporal que abarca más de veinticinco años, y cómo esas formas de mirar pueden ser entendidas desde los campos epistémicos de la teoría queer, como armamentos contra la normatividad, archivos o documentos de resistencia y estrategias de intervención política en la colectividad. Se contrastan interpretaciones de la obra fotográfica de algunos de los artistas con informaciones provenientes de notas de prensa, con el propósito de relacionar los procesos creativos con el fenómeno de la recepción y establecer una correlación con el nivel cambiante de inteligibilidad social de los cuerpos y de las identidades.
Imaging Culture is a sociohistorical study of the meaning, function, and aesthetic significance of photography in Mali, West Africa, from the 1930s to the present.
Whether at UFW picket lines in California's Central Valley or
capturing summertime street life in East Harlem Latinx
photographers have documented fights for dignity and justice as
well as the daily ...lives of ordinary people. Their powerful,
innovative photographic art touches on family, identity, protest,
borders, and other themes, including the experiences of immigration
and marginalization common to many of their communities. Yet the
work of these artists has largely been excluded from the documented
history of photography in the United States.
Through individual profiles of more than eighty photographers
from the early history of the photographic medium to the present,
Elizabeth Ferrer introduces readers to Latinx portraitists,
photojournalists, and documentarians and their legacies. She traces
the rise of a Latinx consciousness in photography in the 1960s and
'70s and the growth of identity-based approaches in the 1980s and
'90s. Ferrer argues that in many cases a shared sense of struggle
has motivated photographers to work purposefully, driven by a deep
sense of resistance, social and political commitments, and cultural
affirmation, and she highlights the significance of family photos
to their approaches and outlooks. Works range from documentary and
street photography to narrative series to conceptual projects.
Latinx Photography in the United States is the first book
to offer a parallel history of photography, one that no longer lies
at the margins but rather plays a crucial role in imagining and
creating a broader, more inclusive American visual history.
Der Londoner Fotograf Andrew Whyte hatte ein Jahr lang einen ganz besonderen Begleiter: ein Legomännchen. 365 Tage lang hat er es überall aufgestellt, wo er sich gerade aufhielt und den Ort dann aus ...der Sicht der Legofigur fotografiert. Ob am Strand oder vor dem London Eye: jeden Tag ist ein neues Bild entstanden - und daraus eine komplette Serie.
London photographer Andrew Whyte had a very special companion for a year: A legomaniac. for 365 days he set it up everywhere he just stayed and then photographed the place from the point of view of the Lego figure. Whether on the beach or in front of the London Eye: Every day a new picture has been created - and from it a complete series
Zbirka je nastala radom kolekcionara i supružnika Marije i Krunoslava Leka. Razglednice iz Zbirke upotpunjuju sliku izdavaštva Dubrovnika krajem 19. i početkom 20. stoljeća. Odlučivši se za Državni ...arhiv u Dubrovniku, kao ustanovu kojoj će pokloniti svoju zbirku, ostvarili su cilj da razglednice budu poklon građanima Dubrovnika. Po zaprimanju zbirke, pristupilo se arhivističkoj obradi i digitalizaciji te pripremi za objavu na mrežnoj stranici Državnog arhiva u Dubrovniku. Ovaj rad napisan je s namjerom da se prikaže postupak sređivanja razglednica kao arhivskoga gradiva te tijek same digitalizacije.
The collection of Marija and Krunoslav Leko provides one whole, in time and space, a representation of Dubrovnik and its surroundings from the beginning of the publication of postcards until 1918. It contains 1,795 postcards stored in seven albums. The distinguishing feature of a postcard is that it does not only contain a message that one person sends to another, but also a pictorial representation that allows people to get to know the world. By using printing techniques, which enable cheaper production, postcards became more accessible to ordinary people and as such a part of mass culture. The collectors’ decision to exclusively collect postcards with the theme of the Dubrovnik area created a valuable collection that complements our comprehension of Dubrovnik publishing of the late 19th and early 20th century. The collectors donated their collection to the State Archives in Dubrovnik in 2021, on the condition that it be fully digitized and thereby become available to all citizens of Dubrovnik and other visitors to the website of the State Archives in Dubrovnik. The paper analyzes and describes the collection according to several criteria, and was created with the intention of presenting the structure, content and brief analysis of the collection prior to its arrival at the State Archives in Dubrovnik, as well as the structure of the collection after the archival processing and digitization. The paper presents the publishers in terms of their scope of work and the number of postcards in the collection, as well as the way in which the archival processing and digitization were organized.
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