186 research outputs found
Ordination of Quentin Ferguson, 1933
No full textStanding in front of Trinity Episcopal Church, L-R: Rev. Jas. J. H. Reedy, Quentin Ferguson, Rev. Edward H. Eckel, Bishop Thomas Casady and unidentified clergy. Written on back "Ordination to Priesthood, Quentin Ferguson." Stamped The Howard Commercial Photography
Surrealism, photography and the periodical press: an investigation into the use of photography in surrealist publications (1924 - 1969) with specific reference to themes of sexuality and their interaction with commercial photographic images of the period
No full textThis thesis examines the use of photographs in surrealist publications in Paris between 1924 and 1969, analysing how images functioned both in relation to surrealism and a wider cultural, social and political context. The thesis contends that developments in the illustrated press had a substantial impact on surrealist publications and that commercial photographic practices were both exploited and subverted by the group. I defend this assertion by demonstrating how photographers associated with the surrealist movement in its formative years, were closely involved in the process by which the photographic image became a major means of communication. I argue that the surrealists were conscious that photography was central to the circulation of ideas and developed a radical notion of the illustration of text. The thesis examines how photographs used in surrealist publications were integrated into the complex surrealist project and how due to the currency in images in society, the medium offered opportunities for disruption. In each of the five chapters I examine the surrealist deployment of photographic images to articulate cultural and political radicalism. The thesis argues that the photographs published by the surrealists made an important contribution to contemporary discourse on sexuality This thesis makes an original contribution to knowledge as it expands the understanding of photographs published by the surrealist group by exploring their relationship to contemporary commercial images circulating in the press. It analyses works that have been marginalised, many of the images in the first two journals in the inter war period, the images in the illustrated books 1929, Banalité, Le septième face du dé and the images in the post war journals have been neglected as subjects of study
The soft-focus lens and Anglo-American pictorialism
No full textElectronic version excludes illustrations for which permission has not been granted by the rights holderThe history, practice and aesthetic of the soft focus lens in photography is elucidated and developed from its earliest statements of need to the current time with a particular emphasis on its role in the development of the Pictorialist movement. Using William Crawford's concept of photographic 'syntax', the use of the soft focus lens is explored as an example of how technology shapes style.
A detailed study of the soft focus lenses from the earliest forms to the present is presented, enumerating the core properties of pinhole, early experimental and commercial soft focus lenses. This was researched via published texts in period journals, advertising, private correspondence, interviews, and the lenses themselves. The author conducted a wide range of in-studio experiments with both period and contemporary soft focus lenses to evaluate their character and distinct features, as well as to validate source material.
Nodal points of this history and development are explored in the critical debate between the diffuse and sharp photographic image, beginning with the competition between the calotype and daguerreotype. The role of George Davison's The Old Farmstead is presented as well as the invention of the first modern soft focus lens, the Dallmeyer-Bergheim, and its function in the development of the popular Pictorialist lens, the Pinkham & Smith Semi-Achromatic. The trajectory of the soft focus lens is plotted against the Pictorialist movement, noting the correlation betwixt them, and the modern renaissance of soft focus lenses and the diffuse aesthetic.
This thesis presents a unique history of photography modeled around the determining character of technology and the interdependency of syntax, style and art
[Photograph 2012.201.B1299.0022]
No full textPhotograph used for a newspaper owned by the Oklahoma Publishing Company. Caption: "Tulsa, Oklahoma - Exchange National Bank under construction - 1928 - Weary Valford Co. of Chicago, Illinois, designers
Organist To Give Recital
No full textPhotograph used for a story in the Daily Oklahoman newspaper. Caption: "The Oklahoma A&M., Stillwater, chapters of Sigma Alpha Iota, Phi Mu Alpha, Kappa Kappa Psi, and Tau Beta Sigma are presenting Jeanne Gentry Waits, organist, in recital at 8:14 p.m. Tuesday in the College Auditorium.
[Photograph 2012.201.B0366.0351]
No full textPhotograph taken for a story in the Daily Oklahoman newspaper. Caption: "Airplane view of the International Petroleum Exposition.
Advertising photography
No full textThesisSince its beginning photography h(1.s been a means of expressIOn and
communication. At first though the camera was used mainly for photographing
people and landscapes. The full impact of this discovery was not realised for
many years and the early pioneers could not have imagined that their innocent
discovery would lead to a multi-billion dollar industry today.
Commercial photography today is a huge business. Page through any magazine
and you will see lots of photographs advertising goods from drinks and
computer systems to cars . The author will be discussing the way in which the
commercial photographer produces the photograph that will sell his clients's
product
Recommended from our members
Bibliography Series (University of Arizona. Center for Creative Photography), no. 1
No full text“Because of the history of its publication, this bibliography is divided into two parts. A Chronological Bibliography: 1934-1951, Part I was first issued during November 1980 in the Center for Creative Photography's research series, no. 12, W. Eugene Smith: Early Work: 1938-1951. A Chronological Bibliography: 1952-1980, Part II was first issued as a supplement to the Center's research series during the summer of 1981. Both sections were then reprinted to constitute the Center for Creative Photography's Bibliography Series, Number One. The pagination of both parts is continuous and begins on page 99.” (From the “Notes on the Use of this Bibliography.”)William Johnson -- Introduction to Part II / Notes on the Use of This Bibliography / A. Evelyn Hughes -- Additions to W. Eugene Smith: A Chronological Bibliography, Part I / Wichita Eagle 1934-1936 / Additions, 1936-1951 / A Chronological Bibliography, 1952-1980 / Commercial Work / Audiovisual References / Shigeru Miyagawa -- Japanese Bibliography / Chronological Index to Articles by W. Eugene Smith / Photoessays / Portfolios / Statements and Writing / Author Index to Articles about W. Eugene SmithThe Archive is made available by the Center for Creative Photography and the University of Arizona Libraries. Contact [email protected] for further information.Migrated from OJS platform April 202
The photographic portrait: techniques, strategies and thoughts on making portraits with meaning.
No full textThe author comments on photographic portraits taken by him during a lifetime of commercial photography. In particular, he explains how he captured the essence, experience and character of his subjects rather than making likenesses
The dualism of Ukrainian photography: artistic value and commercial potential
No full textУ цій кваліфікаційній бакалаврській роботі проаналізовано особливості
української фотографії, дуалізм у побудові її мистецької і комерційної
цінності. Глибинний аналіз був проведений за допомогою семіотичних
методів, і фокусувався як на іноземному артринку, для ілюстрації
функціонуючої системи науковості, так і на окремих роботах українських
фотографів і фотографок, що є базою для розуміння особливостей
вітчизняного порядку. Авторка використовує практичні підходи, втілюючи їх
у аналізі конкретних зображень та інтерв’юванні українських експерток. В
рамках цієї роботи дослідниця виведе поняття української фотографії з її
сильними та слабкими сторонами, розкриє причини відсутності українського
ринку фотографії як такого та спроектує сприйняття вітчизняних зображень
закордоном на прикладі робіт сучасних фотокореспондентів та відомого
українського митця Бориса Михайлова.Given bachelor's thesis analyzes the features of Ukrainian photography, the
dualism in the construction of its artistic and commercial value. The in-depth
analysis was conducted using semiotic methods, and focused both on the foreign
art market, to illustrate the functioning system of scientificity, and on individual
works of Ukrainian photographers, which is the basis for understanding the
features of the domestic one. The author uses practical approaches, embodying
them in the analysis of specific images and interviewing Ukrainian experts.
Within the framework of this work, the researcher will derive the concept of
Ukrainian photography with its strengths and weaknesses, reveal the reasons for
the absence of a Ukrainian photography market as such, and project the perception
of local images abroad using the example of the works of modern photojournalists
and the famous Ukrainian artist Boris Mikhailov
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