4,956 research outputs found
Wagons -- Peteler Band Wagon (Peanuts) P.1
No full textHot roasted peanuts wagon, Peteler Band Wagon, 1908. October 10, 1908. Shilper Commercial Photography #8670
Salt Lake City Panoramic View-Northwest P.26
No full textView (looking northwest from Fourth (4th) South between Sate and Second (2nd) East, probably from the City and County Building / City & County Building / City-County Building), Salt Lake City, Utah, May 27, 1920. Auerbach property. Shilper Commercial Photography #20249
Salt Lake City Panoramic View-Northwest P.13
No full textView (looking northwest, probably from Fourth (4th) South, possibly from the City and County Building / City & County Building / City-County Building), Salt Lake City, Utah, October 10, 1933. Shilper Photography #28522
Absorbing new subjects: holography as an analog of photography
Get PDFI discuss the early history of holography and explore how perceptions, applications, and forecasts of the subject were shaped by prior experience. I focus on the work of Dennis Gabor (1900–1979) in England,Yury N. Denisyuk (b. 1924) in the Soviet Union, and Emmett N. Leith (1927–2005) and Juris Upatnieks (b. 1936) in the United States. I show that the evolution of holography was simultaneously promoted and constrained by its identification as an analog of photography, an association that influenced its assessment by successive audiences of practitioners, entrepreneurs, and consumers. One consequence is that holography can be seen as an example of a modern technical subject that has been shaped by cultural influences more powerfully than generally appreciated.
Conversely, the understanding of this new science and technology in terms of an older one helps
to explain why the cultural effects of holography have been more muted than anticipated by forecasters
between the 1960s and 1990s
Salt Lake City Panoramic View-Northwest P.12
No full textView (looking northwest, probably from Fourth (4th) South, possibly from the City and County Building / City & County Building / City-County Building), Salt Lake City, Utah, circa 1910. Shipler Photography
S.L.C. - Second East P.2
No full textStreet-level view of Second East looking north to Third (3rd) South, Salt Lake city, Utah. November 2, 1948. Shipler Commercial Photography #54615
Photo-performance: A study of the performativity of butoh dance photography
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis analyses the detailed performativity and the intuitive act of
photographing the Japanese dance form Butoh. It argues that the photographer’s embodied experience constitutes an ‘inner’ performance and introduces new terms: the
photo-performance and the photo-actor. The author argues that the photo-performance,
similarly to Butoh dance, manifests itself not only in physically apparent (visually
perceived) movements but also within the multi-modal pre-reflective consciousness of
the reciprocal interaction between the photo-actor and a Butoh dancer.Butoh has been widely photographed since it began in 1959 in Japan. However studies formalising the relationship between dancers and photographers have been largely absent in academic research so far. Butoh photographers such as Nourit Masson-Sekine (1988, 2006, 2008) or Maja Sandberg (2003) suggest that their photographic act places them closer to the performers than the rest of the audience and, as a result, they become part of the dance itself. However, Butoh dancers including Yoshito Ohno (1938
- ) and Tatsumi Hijikata (1928 – 1986) amongst others, express their concerns as to
whether photographs can capture the essence of their art. This thesis confronts the
tensions between the fields of dance and photography by elucidating the performative
dimension of dance photography.This thesis brings the qualities of the Butoh photographer’s performative act to the forefront by using interdisciplinary methods to attain an intersubjective knowledge of the nature of the photographer’s experience. The methods include: a practical research presented in a form of case studies of the photographic projects carried out by the author in London with various Butoh dancers; an analysis of the structure of the photographer’s subjective experience through the use of first-person methodologies (an
explicitation interview); an analysis of theories of theatre represented by Tadeusz
Kantor (1915 – 199) and Jerzy Grotowski (1933 – 1999) whose work helps to develop
the notion of a performative body; and a description of the photo-performance aesthetic and the performative potential of photographic documents informed by cognitive
phenomenology. This thesis argues that drawing attention to the performativity of
Butoh photography would contribute greatly to the pedagogical aspects of photography
and performing arts
S.L.C. - Second East P.1
No full textStreet-level view of Auerbach property on Second East between Second (2nd) and Third (3rd) South (also known as Broadway), Salt Lake City, Utah. May 27, 1920. Image includes: Water tower located at rear of Auerbach\u27s store. Shipler Commercial Photography # 20251
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
S.L.C. - Third South P.28
No full textStreet-level view (looking west): Third (3rd) South (also known as Broadway), Salt Lake City, Utah, November 25, 1912. Shipler Commercial Photography #14185
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