Photographies最新文献_第7页

Between emptiness and superfluity: funeral photography and necropolitics in late-apartheid South Africa 在空虚与多余之间:种族隔离后期南非的葬礼摄影与亡灵政治

Photographies Pub Date : 2022-01-02 DOI: 10.1080/17540763.2021.1986853

L. Bethlehem, Norma Musih

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引用次数: 1

The Spectacle of “Nothing”: the image, material, and object in a photographic ecosystem of Antarctica “虚无”的奇观:南极洲摄影生态系统中的图像、材料和对象

Photographies Pub Date : 2021-09-02 DOI: 10.1080/17540763.2021.1960412

Liz Watkins

{"title":"The Spectacle of “Nothing”: the image, material, and object in a photographic ecosystem of Antarctica","authors":"Liz Watkins","doi":"10.1080/17540763.2021.1960412","DOIUrl":"https://doi.org/10.1080/17540763.2021.1960412","url":null,"abstract":"Photographic records of early 1900s polar expeditions encapsulated a paradox: the spectacle of “monotonous” “numbing whiteness” in images of “nothing” that were intended for public exhibition. This article examines expedition photography as an ecosystem of materials and meanings to reconsider the status of the “failed” photographic experiments that have remained sublimate to the iconic images of polar exploration. Light sensitive materials — photographic emulsion layered onto glass plates and strips of flexible transparent celluloid nitrate film — are integral to the registration of the image. However, these materials are also susceptible to the effects of humidity, touch and variations in temperature. Anomalies, such as details that were effaced by overexposure to light and watermarks registered the effects of labour in a polar climate These “failed photographic plates were occluded from exhibition, yet remain integral to the ideation of the incomprehensible in polar expedition narratives. In this context, experimental and “failed” images can be read as part of an ecosystem of interactions and begins to decipher the popularity of Ponting’s 1911 photograph “Ice-Blink”, the image of a seemingly featureless ocean horizon, as the commodification of “nothing” in discursive spaces of exhibition.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"481 - 503"},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41686312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Pyrotechnics and photography: saltpeter and the colonial history of photographic lighting 烟火与摄影：硝石与摄影照明的殖民历史

Photographies Pub Date : 2021-09-02 DOI: 10.1080/17540763.2021.1961847

Niharika Dinkar

{"title":"Pyrotechnics and photography: saltpeter and the colonial history of photographic lighting","authors":"Niharika Dinkar","doi":"10.1080/17540763.2021.1961847","DOIUrl":"https://doi.org/10.1080/17540763.2021.1961847","url":null,"abstract":"Bengal light was among the earliest commercial sources of artificial lighting for photographic use, patented as Photogen in February 1857. Essentially, a pyrotechnic flare whose vital ingredient was saltpeter, it was mined by low caste laborers in Bengal, which had emerged as the leading global producer of saltpeter by the eighteenth century. Saltpeter was a coveted global commodity because it served as the primary material for the manufacture of gunpowder and also had wide-ranging industrial applications. Its use for photography provides an early instance of the commodification and trade in lighting technologies and materials, challenging dominant assumptions about photographic light as a freely available natural resource accessible to all. It asserts the presence of artificial lighting in early photography to contest invocations to the sun and divine light that dominate characterizations of the period. Finally, saltpeter ties early photographic lighting into a wider imperial trade of commodities for war, to further cement the analogies between the camera and the gun noted in many photographic studies. Encapsulated in its use is an imperial history of global trade that hinged on extraction of natural sources, colonial labor, and alliances between military and industrial technologies of light.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"395 - 420"},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47899080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Oscillons and cathode rays: photographic hybrids in early computer art 示波器和阴极射线：早期计算机艺术中的摄影混合体

Photographies Pub Date : 2021-09-02 DOI: 10.1080/17540763.2021.1959387

J. McKim

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引用次数: 2

On ludic photography 论荒诞摄影

Photographies Pub Date : 2021-09-02 DOI: 10.1080/17540763.2021.1957003

P. Buse

引用次数: 1

Editorial 社论

Photographies Pub Date : 2021-09-02 DOI: 10.1080/17540763.2021.1962229

D. Bate, Liz Wells

引用次数: 0

Contesting plant-blindness with photography: Michael “Nick” Nichols’s portrait of a giant sequoia 用摄影挑战植物盲目性:迈克尔·“尼克”·尼科尔斯为一棵巨大的红杉拍摄的肖像

Photographies Pub Date : 2021-09-02 DOI: 10.1080/17540763.2021.1960411

Elizabeth Howie