Photographs

"My friend didn’t get it. She was criticizing my Facebook picture when I used it in a professional context outside of Facebook. “Not very serious,” her comment suggested. I looked at her photo. The image was perfectly centered. She had a vague smile on her face. When posting identifying pictures for business, do people still expect a head and shoulders shot with the subject staring straight ahead? It’s time to stop thinking that way, to stop taking photos like that. Passport photo-wannabes just don’t hack it anymore. Not for us connected folk. After friending people in Facebook, the first thing I do is check out their profile picture. There’s a thrill in seeing a new Facebook friend who was also a real life friend twenty years earlier. It’s like going to a high school reunion, but with instant gratification and less self-doubt. Facebook is a visual scrapbook of friends from the present, past, and even future—if you haven’t yet met in real life. The profile picture gives meaning to the text-heavy page. Despite the tools of image manipulation, photographs are viewed as a representation of the world. The bits of data (digital and factual) that make up the News Feed offer line after line of communication, musings, and quiz results about individual friends (”Which punctuation mark are you? Colon.”) But without the image, all the text in the world, from status lines to group membership to quiz results, would be information overload. "

Nas primeiras décadas do século XX, observa-se uma cultura fotográfica adentrando o cotidiano escolar brasileiro. No Rio Grande do Sul, e em sua capital, Porto Alegre, é principalmente o poder público que utiliza a fotografia com a finalidade de documentação e divulgação das obras realizadas. Entre essas imagens destacam-se as fotografias das edificações escolares. A edificação escolar tornava visível a educação na cidade, ao passo que sua imagem fotográfica criava representações de uma sociedade civilizada, moderna e científica, sintetizada na imagem da escola-monumento.

This article titled “Portrait Typologies in Photography Art” aims to bring together typological portrait studies created with photographic portraits from the nineteenth century to the present. For this purpose, photographic works, in which portraits are brought together comprehensively, are covered in this article. The use of photography, which is used to record social, scientific, and artistic activities, by many disciplines from anthropology to zoology, medicine to botany, for documentation and visual data creation reveals the importance of the subject. The data about typological portraits in the art of photography were reached within the framework of a literature review and these studies were analysed using the content analysis method. The works of Dr. Hugh Welch Diamond, Guillaume Duchenne de Boulogne, Francis Galton, and Alphonse Bertillon are important in terms of subject as the first typological examples in the nineteenth century leading portrait typologies. The typologies of August Sander and Walker Evans in portrait typology are remarkable studies in twentieth century photography art. And, in portrait typologies in contemporary photography, artists such as Boris Mikhailov, Taryn Simon, JR, Martin Schoeller, and Angelica Dass have brought a different perspective to the concepts of individual and identity by applying the typology method to portrait photography. The expression method, typological grouping, style of expression, and content of the meaning that artists attribute to the portraits in their typological portrait works are analysed and interpreted in terms of technical approach. The typological portraits in the text are discussed and evaluated chronologically.

Objects, including photographs, offer a significant aid to memory and how people process past events. Family photography and family photograph albums can be important tools for preserving memories and creating shared family narratives. However, some important family events ...

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.

El piloto Estadunidense ganó fama mundial al cruzar el Océano Atlántico en solitario y sin escalas en 1927. Algunos meses después de su proeza, llegó a México y fue recibido por miles de personas, con un trato por el gobierno de Plutarco Elías Calles semejante al de una visita de Estado.

One of the primary stressful conditions in town facilities is looking for a parking place. In this study, we come up with a completely unique approach for parking slot identification based mostly on an image processing method that would capture and device the image to discover empty parking regions. After that, the output can be supplied on a console. This system will lessen down the time it takes to find available parking spots and reduce beneficial aid waste. The proposed system aids withinside the counting of parked motors and identifying the extensive style of available parking regions. Instead of the usage of electronic sensors buried withinside the floors, the era uses photographs to stumble on autos. In the automobile parking zone, a virtual digital camera is installed in a high, steady location. As a reference, a photo of an empty parking lot is taken, followed with the resource of the usage of an image of a parking lot with cars. To calculate the extensive style of parking regions available, dispose of every photograph. Software and hardware systems have been used to grow the cautioned system.

The look is the secret of the portrait. The eyes of the object are eyes that have a personal, group, and social history. Starting from the eyes, the subject fixes her narrative. Perception produces recognition. Seduce. The look in photography is poetry, seduction, and eroticism. It eroticizes, captures, unites through space and time. Photography is subliminal eroticism, sublime attraction, common voyeurism, innocent and at the same time sensual.

According to the publisher, Steidl Press, Anastasia Samoloyva’s FloodZone is a “photographic account of life on the climatic knife-edge of the southern United States. … Subtle and often unsettling images capture the mood of waiting, knowing the climate is changing, but living with it” (back cover). This promotional explanation of the book, while both dramatic and descriptive, is a useful starting point for a series of focused questions about photographic representations of climate change and the visibility of its consequences. Added to this, FloodZone is useful in thinking about the role images play in the future possibilities of visual anthropology and sociology.

abstract This article considers the dynamic relationship between Aboriginal Australia identity, western history and the recuperation of lost ancestral memories. In recent decades many Australian cultural institutions have supported Aboriginal community groups in the revival of Aboriginal languages, songs and stories. The reclamation of heritage from archival collections has helped strengthen Aboriginal claim and control of ancestor histories – especially when significant materials are returned to people of a descendant community and given meaningful social context. Often set in place from these interactions are cultural protocols and ethics formulating future material access, return and usage. Looking more closely at intercultural practices of repatriation, this article relates Aboriginal pathways of ancestral memory restoration (and invention of memory) to living story. In particular, it examines the cultural decision-making of two Australian Aboriginal family groups – Wirlomin Minang

abstract This article considers the dynamic relationship between Aboriginal Australia identity, western history and the recuperation of lost ancestral memories. In recent decades many Australian cultural institutions have supported Aboriginal community groups in the revival of Aboriginal languages, songs and stories. The reclamation of heritage from archival collections has helped strengthen Aboriginal claim and control of ancestor histories – especially when significant materials are returned to people of a descendant community and given meaningful social context. Often set in place from these interactions are cultural protocols and ethics formulating future material access, return and usage. Looking more closely at intercultural practices of repatriation, this article relates Aboriginal pathways of ancestral memory restoration (and invention of memory) to living story. In particular, it examines the cultural decision-making of two Australian Aboriginal family groups – Wirlomin Minang

Richard Vokes, Derek R. Peterson and Edgar C. Taylor

This article examines a photographic archive that has been recently identified in the stores of the Uganda Broadcasting Corporation in Kampala. The archive consists of some eighty-five thousand black and white negatives that were taken by various official photographic units, government information officers and commercial photographers – all of whom worked under the umbrella of the Ministry of Information – most of them during the years of President Idi Amin’s rule (1971–79). Significantly, the vast majority of these negatives appear never to have been used to make prints. As a result, their images have been literally never seen before. The archive significantly extends our understanding of official photography in Uganda, and in postcolonial Africa. In particular, it shows how infrastructures of administrative photography that were established during the colonial era, and which resulted in the medium becoming central to an imagined ‘exhibitionary complex’, continued to hold into the 1970s. The archive also highlights how these same infrastructures became increasingly complicated during the Amin years, both as the regime became more invested in photography as a potential tool for increasing the ‘momentum’ of its development agenda and as it became more reliant on other forms of mass media as a means for projecting its – increasingly imaginary – forms of governance to Uganda and to the world. Finally, however, the fact that the majority of the negatives were never printed suggests that whatever were the intended effects of official photographs in Amin’s Uganda, in practice, the performance of photographic techniques and archiving may have been equally politically significant.