History and Theory of Photography Research Papers (original) (raw)

2025, kunsttexte

In the interview "Bau, Zeit, Mensch", photographer Michael Wesely discusses with Katharina Günther his long-exposure techniques and how they capture the interplay of time, architecture, and human presence in evolving urban landscapes. He reflects on the philosophical and visual implications of making time visible, revealing hidden processes in both construction and life.

2025, Ivan Posavec: Obruč

2025, Sara Pukanić: Toga su dana svi u kući bili sretni

2025, Photography and Culture

Mario von Bucovich was a successful and prolific early to mid-twentieth century photographer whose existence was, like many in his cohort, peripatetic. Remnants of his oeuvre are readily found on the internet, as scores of his prints and postcards are reproduced and offered for sale, especially his portrait of Marlene Dietrich. Bucovich himself was apparently camera-shy. Highly unusual for someone in his field, there are few if any self-portraits. He was captured at least once as part of an informal group, but no photograph of him alone has yet emerged. Despite the persistence and wide circulation of his photographs and writings, there has been limited interest in Bucovich, which may reflect a somewhat ungenerous assessment. Until now there has been little effort to detail and interpret his career. Although many of his portraits, landscapes, and urban photos are not notable, he was a creative and talented photographer. He also took the initiative, as few photographers did, to produce books of his photographs dedicated to New York and various European cities. In a privately published volume of 1935, intended to simultaneously de-mystify and elevate photography, Bucovich was unusually reflective about his views on photography and his own practice of the craft. But he reveals almost nothing of a personal nature beyond his life in the studio behind the lens.

2025

IRVING PENN: A LOOK E PORTUGAL _____________________________________________________________________ António Barrocas "Is a social history of photography compatible with an aesthetic history, a history of uses with a history of forms?" 1 1 Na revista LOOK, de 19 de maio de 1964, encontramos o artigo de Patricia Coffin intitulado 'Fabulous, Feudal Portugal' 2. As imagens publicadas são de Irving Penn: : 'Photographed for LOOK by Irving Penn'. A LOOK foi uma revista americana bissemanal, generalista, publicada de março de 1937 a outubro de 1971. Começa por ser uma revista de estilo tabloide que se focava no desporto, estrelas de cinema e notícias sensacionalistas. Após a Segunda Guerra Mundial, tornou-se uma publicação vocacionada para a família tratando de temas sociais e políticos. Como refere Mary Panzer : "Look´s vision of America, as a democracy made up families whose diferences comprised the nation´s strenght, was reflected in its deliberate focus on race, on women's changing roles, on the new and the young, and on the underdog." 3. Os anos de 1954 a 1964 são considerados os anos de ouro da revista. As fotografias publicadas centram-se numa diversidade de temas, desde figuras públicas de várias áreas da sociedade, alimentação, moda, estilos de vida, desporto, e temas sociais como os direitos civis ou o estatuto da mulher. Para tal, reúne um conjunto fotógrafos como, por exemplo, Irving Penn, Stanley Kubrick, Douglas Kirkland e Frank Horvat entre muitos outros 4. François Soulages

2025

La llegada del daguerrotipo en 1839 sig-nificó un punto de inflexión en la historia y el desarrollo de la vida del hombre en general, y de las artes en particular, pues trajo consigo una nueva forma de comprender el mundo, de conocerlo y de representarlo. La fotografía generó nuevos paradigmas y se convirtió en tema de numerosos debates que han intentado hasta hoy definir su naturale-za. Sin embargo, no ha sido tarea fácil pues cada postura frente a la imagen fotográfica se ha visto naturalmente influenciada por la época en que ha surgido, y las ideas en torno a ella han evolucionado al mismo tiempo que sus modos de producción. Es decir, los desarrollos tecnológicos han permitido que lo fotográfico y lo fotogra-fiable evolucionen y, en consecuencia, se han generado otros interrogantes cuyas respuestas vienen a configurar un nuevo discurso que ha hecho replantear lo que se entendía hasta ahora por fotografía. Dicho esto, intentaremos aproximar-nos a la imagen fotográfica de nuestro t...

2025, Galaxia

O objetivo deste trabalho é apresentar e analisar a obra do fotógrafo italiano Luigi Ghirri (1943-1992), observando sobretudo as maneiras pelas quais ele buscou dar sentido às coisas do mundo e criar novas formas de olhar para lugares e objetos, obliterando discretamente a figura humana. Ghirri foi um dos mais influentes e conhecidos fotógrafos italianos do século XX. Famoso pelas séries nas quais explora imagens banais do cotidiano italiano (e europeu), paisagens anódinas e objetos comuns, Ghirri se notabilizou pelo uso da cor, da desdramatização e da trivialidade naturalista, sendo associado à tradição fotográfica americana inaugurada nos anos 1960 por, entre outros, William Eggleston e Stephen Shore. Para dar conta de alguns dos temas e abordagens associados à obra de Ghirri, dividiremos este texto em duas partes. A primeira concerne às correspondências entre a obra de Ghirri e um dos primeiros livros fotográficos da história, The Pencil of Nature, de William Henry Fox Talbot, na busca de intuições que estão, desde os primórdios da fotografia, e que persistem no olhar do fotógrafo italiano. Na segunda, exploraremos o lugar crucial que tem a Itália (e muito especialmente a Emília-Romanha) na obra de Ghirri, que pode ser pensada como um marco nas reflexões sobre a modernidade no país.

2025, Regards croisés Revue franco-allemande d’histoire de l’art, d’esthétique et de littérature comparée - Deutsch-französische Zeitschrift für Kunstgeschichte, Literaturwissenschaft & Ästhetik

Yves Peyré’s Francis Bacon ou La mesure de l’excès is a personal tribute to Francis Bacon, focusing on the artist’s deep ties to France and friendships with French intellectuals. Though Peyré promises a new perspective, his analysis largely repeats familiar insights from existing scholarship. However, its strength lies in vivid, personal recollections of Bacon, making it a valuable read for those interested in intimate, non-academic reflections on the artist.

2025, kunsttexte.de

The first issue of the online journal kunsttexte's "section photography" edited by Katharina Günther and Jule Schaffer is dedicated to the theme of Re:Visions. In four essays and two interviews, working methods and concepts of the 20th century are linked with ideas of the 19th century, the historical roots of prominent photographic phenomena of our time are examined, and the relationship between temporality and photography in photographic practice is also addressed. It turns out that a look back is always fruitful and sometimes opens up surprising new perspectives.

2025, History of Photography

2025, A fotoliteratura em exposição

2025

Das Glück des Bildes liegt darin, dass es eine Grenze am Unbestimmten ist.

Maurice Blanchot

2025, VISUAL SPACES OF TODAY ANDREAS GURSKY

2025, LA LUZ Y LA CÁMARA

Since the inception of photography and cinema, light has been the essential element that enables cameras to capture and transform reality into images. This paper explores how light interacts with camera components to capture still images and video.
It briefly explains the nature of light and the camera’s optical principles (lenses, shutter, sensor or film), contrasting analog and digital systems. Furthermore, it examines the applications of photography and cinematography in various fields: as artistic and creative media, in journalism as an informational tool (photojournalism), and in entertainment (film, television, advertising). Historical and conceptual aspects are highlighted, as well as the advantages of digital technologies for instant image availability. The paper concludes with reflections on the influence of visual media in contemporary society.

2025, Rundbrief Fotografie

In 1935, the Argentine-German botanist Ilse von Rentzell (1893–1985) published the book “Maravillas de nuestras plantas indígenas y algunas exóticas” (Wonders of our Indigenous Plants and Some Exotic Plants) in Buenos Aires, Argentina, illustrated with photographs taken by the Russian photographer Anatole Saderman (1904–1993). The publication of this book was entirely selffinanced by Von Rentzell herself, and it is one of the first in Argentina to include such a large number of photographs with this much prominence. The collaborative photographic work developed by these authors goes beyond the images included in the book. Working together, they created a corpus of photographs that each of them used in the following years to enhance their personal careers. At the time, these photographs of plants represented a break in Argentine photography, building bridges with the genealogy of botanical photographic publications
in other parts of the world.

2025

Surprisingly, holography has been on everyone's lips again in recent years. It is mainly used as a metaphor for various illusionistic forms of presentation that, technically speaking, have nothing to do with holography. It refers to an imaginary total illusion that seems to play a certain role in 21st-century media culture. The text asks how this imaginary relates to media history and what this could mean for media theory.

2025, Fotocinema. Revista Científica de Cine y Fotografía

El análisis de las relaciones entre tiempo y narratividad en la fotografía toma como punto de partida la paradoja entre instantánea y posado, tal como ha sido planteada por Thierry de Duve. De modo correlativo las nociones de estasis y narratividad se relacionan con los términos de la paradoja a partir del tiempo fenomenológico de la experiencia perceptiva y de las cualidades estéticas inherentes a la imagen fotográfica. Sin embargo, el paradigma formalista en el que se enmarca dicho análisis restringe las posibilidades narrativas de la fotografía. Los debates posmodernos en torno a la fotografía que tuvieron lugar en las dos últimas décadas del siglo XX enfocaron una nueva perspectiva para la comprensión narrativa del la imagen sobre la base de la intermedialidad. En este contexto, el concepto de campo expandido de la fotografía se propone como clave conceptual que incorpora, a los anteriores procesos de hibridación medial, las relaciones de la fotografía con el cine así como el im...

2025

Presentación y material de prensa de la Exposición itinerante sobre Karl Oenike. Como sostiene Ricardo Alonso: Las obras de Karl Oenike, un pintor y fotógrafo alemán del siglo XIX, nos deslumbran con su belleza y su valor histórico. Durante años, estos tesoros permanecieron ocultos, pero gracias a una exhaustiva investigación, han sido rescatados y ahora se exhiben en Sudamérica. A través de sus pinceladas y fotografías, Oenike nos transporta a un pasado lleno de aventuras y nos permite apreciar la riqueza cultural de nuestra región. A través de sus ojos, podemos ver cómo era el noroeste argentino hace más de un siglo. Sus pinturas y fotografías son una ventana al pasado que nos invita a valorar nuestra identidad.
Las imágenes se exhiben con el permiso del Linden Museum, Stuttgart.

2025, Urbs Várostörténeti Évkönyv

Photography cannot be reduced to a single model, nor can the research of photographs be reduced to a single approach. At different moments in the history of the medium, contemporaries (photographers and users, or users of photography) have had sometimes different, sometimes very similar, understandings of the relationship between photography and memory. What we can consider as urban researchers, looking back from the present, is precisely this multifaceted relationship, which varies and can be understood in several ways in time and space.
...
A fényképezés nem redukálható egyetlen modellre, s a fényképek kutatása sem egyetlen megközelítésre. A médium történetének különböző pillanataiban a kortársak (fényképezők és felhasználók, vagy fényképező felhasználók) egymáshoz képest olykor különbözőképpen, olykor nagyon is hasonlóan fogták fel a fényképezés és az emlékezés viszonyát. Amit a jelenből visszanézve városkutatóként megfontolhatunk, az éppen ez a sokrétű, időben és térben változó és reflektálható kapcsolat.
...

2025

Junita Arneld's photographic documentation of Un Piccolo Mondo Antico (Swiss Customs Museum, Gandria 2018) captures the unique challenges of documenting a museum inauguration aboard a moving vessel on Lake Lugano. Her adaptive methodology combines technical precision with intuitive responsiveness, employing fast shutter speeds and wide apertures to stabilize compositions amidst shifting aquatic light conditions. Arneld transforms environmental constraints into aesthetic opportunities - embracing glass reflections that layer artificial and natural light, while horizontal framings emphasize the intimate spatial dynamics between speakers and audience. This series redefines event photography as fluid storytelling, where each image preserves both the ceremonial spontaneity and the symbolic journey of crossing water to reach a new cultural institution. The photographs become visual metaphors for memory in transit, documenting not just an event but the very process of cultural arrival and institutional becoming.

2025, Digitizing the Past: The Role of Photogrammetry in Architectural Heritage Conservation

We live in an era where technology enhances every aspect of our lives,
making work and living easier. Modern architecture has significantly
evolved due to technological advancements, especially tools like BIM
(Building Information Modeling). Today, innovations such as photogrammetry are revolutionizing fields like conservation, restoration,
and the adaptation of existing buildings. This research focuses on
photogrammetry, a method that allows for the digital preservation of
architectural heritage, protecting it from decay and ensuring its future
preservation. Photogrammetry offers a more efficient and time-saving
alternative to traditional methods of documenting architectural heritage,
which often require complex software like 3D Max, Maya, or Blender.
These tools demand extensive training and time to model structures. In
contrast, photogrammetry simplifies and speeds up the process, offering
a more accessible solution. Additionally, photogrammetry promotes
sustainability by facilitating the readaptation of existing buildings rather
than constructing new ones, aligning with the Sustainable Development
Goals. The best way to promote sustainability is by repurposing and
revitalizing the built environment rather than expanding it. This paper
explores photogrammetry’s potential on a larger scale, examining its
historical development, contemporary case studies, and scholarly reviews.
It aims to offer new insights into the integration of photogrammetry
in everyday architecture, emphasizing its importance in preserving and
enhancing the built environment for future generations.

2025, Rome et Paris en regard : transferts artistiques au cœur des capitales cosmopolites (1870-1918)

Vendredi 11 avril 2025, INHA, salle Vasari Journée d’études des jeunes chercheurs 1911 represents a pivotal year in Italy's cultural panorama. The celebrations for the 50th anniversary of Italy’s unification invigorate the nation, and... more

2025, Critical Imprints

This article introduces the idea of the 'synecdochic photograph'—an image that stands in for the broader body or social type it represents—within the context of nineteenth-century British colonial photography in India. It explores how such photographs shaped state knowledge systems and institutional archives, using 'The People of India' volumes as a case study. The essay also examines the implications of digitising such photographs today, arguing for a deeper understanding of metadata and descriptive layers in digital collections.

2025, Studia Digitalia

Focusing on domestic photographic albums and the faded metadata embedded within them, this essay argues for the critical importance of visual materiality and presentational form in understanding photographs. It proposes that accurate digitisation must account for not just the content image but also the tactile, contextual, and paratextual traces of the physical photograph. Metadata becomes the mechanism through which this translation from material to digital might occur.

2025, Aisthesis

necesidad de redefinir «lo fotográfico» para, primero, poder repensar la división que se da en las prácticas fotográficas del período en relación a los usos y valores asignados a la fotografía «documental» y la fotografía «creativa» y, segundo, reflexionar sobre la irrupción del aparato fotográfico dentro del territorio de las artes visuales y de la crítica. Palabras clave: fotografía documental y experimentalismo, campo fotográfico, memoria y representación visual, Mario Fonseca, Asociación de Fotógrafos Independientes.

2025, Arte Lombarda, n. 202

Guido Modiano, a typographer and designer active in Milan between the 1920s and 1930s, played a significant role in the development of Italian graphic language through the contamination between typography and abstract art. A printer by training, Modiano revealed from a young age a curious and eclectic personality, fuelled by friendship and collaboration with Edoardo Persico in the editorial office of «Casabella», where he experimented with graphic solutions determined not only by practical needs but also by aesthetic and theoretical reasons, choises e reiterated throughout the 1930s in numerous contributions published in major industry journals (from «Campo Grafico» to «Graphicus», from «Il risorgimento Grafico» to «L'industria della stampa»). From his earliest writings, dated 1929, Modiano argued the positive contribution of abstract art and rationalist architecture in the evolution of Italian graphic-advertising language, later realized in the publication of «tipografia», a magazine edited on behalf of the reggiani Foundry, as well as in numerous editorial products created over the decade. the culmination of his relentless effort in promoting the modernism in Italian typography was his curatorship of the Graphic Art Exhibition at the 7 th triennale of Milan and the lengthy debate, Dieci anni di polemica modernista, published in installments in «L'industria della stampa» between 1941 and 1942.

2025, A Expedição Henrique de Carvalho (Lunda, 1884-1888): As invisibilidades nas coleções

A presente Dissertação insere-se no projeto FCT do IHC-Referência: UIDB/04209/2020 integrado no Projecto KNOW.AFRICA -Redes de conhecimento na África Oitocentista: uma abordagem das Humanidades Digitais dos encontros coloniais e do... more

2025

con todo mi sincero afecto, gratitud y cariño. Manuel Bojórkez (Tijuana, B. C., 1953(Tijuana, B. C., -2025) ) fue un fotógrafo profundamente vinculado a la docencia y a la promoción cultural del quehacer fotográfico, facetas que ejerció con una dedicación insuperable. Su legado no solo se mide por su producción artística, sino también por su papel como formador de generaciones y como impulsor incansable de espacios de aprendizaje y reflexión en torno a la imagen.

2025

Esta monografia é focada não só em fotografia, mas, especificamente, no fazer fotográfico em sua definição mais verdadeira: o reproduzir de uma realidade criada. No capítulo um, discuto meu processo de criação, sublinhando as razões subjetivas que me levaram à produção de fotogramas, bem como a descrição objetiva das etapas que transpus até o resultado que aqui apresento. Para situar historicamente meu objeto de estudo, trago uma rápida biografia da técnica do fotograma, referenciando meu trabalho em dois dos principais nomes desta: Man Ray e Moholy-Nagy. Concluindo, me permito surpreender em como o discurso teórico aqui elaborado, potencializa meu processo criativo, se tornando o principal catalisador para que essa produção plástica do imaginário não se encerre nesses primeiros passos aqui expostos.

2025, Österreich Maritim

Der Prager Fotograf Amand Helm übersiedelte 1864 nach Wien, wo er im Herbst 1865 das „Fotographische Geschäft Rerich“ erwarb. Bereits 1866 bereiste er mit seiner Kamera das Donautal und fotografierte systematisch Orte und Landschaften an... more

2025

Handlist of the Exhibition, Nov - Dec 2018

2025, Ars Adriatica 4/2014.

This paper presents new facts, concerning the life and work of Selman Selmanagić, the well-known
Berlin architect, designer and professor. The life of this successful Bosniak was saturated with influences from the various cultures and
communities in which he lived, studied and worked. He was born in Srebrenica and attended school in Sarajevo, Ljubljana and Dessau. He
spent the majority of his working life in Berlin where, among other activities, he led the Department of Architecture at the Kunsthochschule
for twenty years. The article focuses on his life, the development of his rich career and all of his most important achievements. It is of
particular interest that he actively took part as a main consultant in the renovation project of the Bauhaus building in Dessau in 1975.

2025, And Yet It Moves! On Cinema, Media and Mobility, atti FilmForum

Defined by Virilio as “the extreme way to see”, aviation showed a widespread relation with the cinephotographic devices since its earliest uses. The outbreak of WW1 represented a moment of exacerbation of this bond, which however has its roots in earlier scientific and spectacular traditions, e. g. the photogrammetry. The contribution aims to describe the main aerial cinematic apparatuses used in the Great War, contextualizing their technological depth in light of two paradigms of vision: the panoramic and telescopic ones, retracing therefore the military importance assumed by aviation by the search for an all-embracing gaze capable of reaching never-before-experienced distances.

2025, 15th triennal Meeting - Preprints , New Delhi, India, September 2008, ICOM Committee for Conservation, Vol. II, pp. 666-671

This paper covers the results of literature research performed to examine the various 19th century techniques used to transfer the thin collodion layer from a glass plate negative to another support. Techniques for the transfer of... more

2025, G. Cagnin, B.F. Lopez Bani (a cura di), Il restauro della colonna del pulpito di San Nicolò di Treviso. Storia di una restituzione, Crocetta del Montello, Antiga Edizioni, pp. 60-77

The text contains an excursus on the iconographic documents of the interior of the church of San Nicolò, in Treviso, produced in the 19th and early 20th centuries and analyses some photographs that constituted a source for the preparatory... more

2025, ״כל הצלמים היו סוג של דלק, המצלמה למעשה שמרה על האש״: צילום כתשתית ההפגנה במחאה נגד הרפורמה המשפטית בישראל

המאמר טוען שהמערך הצילומי במחאות מתמשכות הוא
תשתית של ההפגנה ולא רק אמצעי לתיעודה. תשתית זו, הקשורה
לטכנולוגיה הדיגיטלית ולרשת האינטרנט, תורמת לעיצוב המחאה
ומשפיעה על אופן התנהלותה. הטענה מבוססת על מחקר שבמסגרתו
ערכנו תצפיות וראיונות עם מפגינים־צלמים במחאה שפרצה בישראל
בחורף 2023 נגד הרפורמה המשפטית. צילומים נתפסים לרוב כתוצר
חזותי של התרחשות שבה מפגינים יוצאים אל המרחב המשותף כדי
למחות. דימויים יכולים להראות את אופי המפגינים ולעמוד על כמותם;
להציג מקרים יוצאי דופן של הפרות סדר ואלימות; להראות את מנהיגי
המחאה, את המיצגים והמיצבים, את המסרים שבשלטים ואת מיקום
ההפגנה. אולם מצאנו שמתקיימים יחסים מורכבים בין ההפגנה לייצוגה
החזותי — יחסים שאינם מסתכמים בתיעוד אלא מעניקים לצילום
תפקיד מכונן. בהסתמך על כתיבה תיאורטית העוסקת בתשתיות,
אנו מציגות היבטי תשתית של המערך הצילומי הנוגעים ליחסים בין
הדימויים ובין מרחב ההפגנה והתנהלותה, יצירת תצלומים והפצתם.
לצד ההבטחה הגלומה בקדמה הטכנולוגית של התשתית, נחשפת גם
התפיסה הניאו־ליברלית של מחאה בעידן הדיגיטלי.

2025

Also, without the financial support of Saudi Arabia Cultural Bureau in London and the Ministry of Higher Education in the Kingdom of Saudi Arabia. I cannot express enough thanks to my First Supervisor, Professor Ernest Edmonds, for his patient guidance, encouragement and advice he has provided throughout my time as his student. Also, I would like to thank my second supervisor, Dr. Carina Brand, for the support during her supervision since May 2017. An exceptional thanks with appreciation to Mrs. Annie Cattrell for her supervision from Oct 2013 until May 2017, this work would not have been possible to be without her guidance and support. I would also like to thank all the members of staff at De Montfort University. Nobody has been more important to me in the pursuit of this project than my family. I would like to thank my parents for their inseparable support, prayers, love and care. Most importantly, I am grateful to my father, Dr. Hamad Alwashmi, and my mom Huda Al-Tasan, and also to my wonderful stepmother Maha Raies. I would like to show my warm thank to my loved sister Dr. Reem and my beloved brothers Mr. Abdullah and Dr. Ibrahim. And a special thanks to my life sister Dr. Omniah Mansouri for her love, care and support. I must thank all my friends who supported me through the Ph.D. journey, my thanks go to Mrs. Randa Ashour, Dr. Amani Althagafi, Amal Banunnah, Dr. Nehal Almerbati, and special thanks to my beloved artist's friends the members of Ishraqat for their support, encourage and believe in me, this Ph.D. wouldn't be full of satisfaction and joy without you.

2025, "Writing Pictures: Case Studies in Photographic Criticism 1983 -2012"

Short Essays excerpted from the anthology: "Writing Pictures: Case Studies in Photographic Criticism 1983 -2012" (2012)

2025

This paper intends to talk about the work developed in the context of the classroom with a class of ninth grade whose primary concerns fo¬cused on thinking an image, mobilize interests / knowledge of students and consolidate content covered so far. By examples of work produced will demonstrate the achievement of those purposes and as helped in changing attitude towards disciplineinfo:eu-repo/semantics/publishedVersio

2025

vallée, une archéo-logie photographique », Focales n° 1, Le photographe face au flux, mis à jour le 13/06/2017, URL : https://focales.univ-st-etienne.fr/index.php?id=452 © Focales, Université Jean Monnet-Saint-Étienne La reproduction ou représentation de cet article, notamment par photocopie, n'est autorisée que dans les limites des règles de la propriété intellectuelle et artistique. Toute autre reproduction ou représentation, en tout ou partie, sous quelque forme et de quelque manière que ce soit, est interdite sauf accord préa-lable et écrit de l'éditeur.

2025, Interculturalidad, patrimonio cultural y estudios socioculturales: miradas hacia la diversidad

A finales del siglo XIX las alternativas de expresión fotográficas entre el registro preciso y la fascinación por embellecer la realidad promovieron propuestas conseguidas como parte de la experimentación fotográfica o como hallazgos accidentales que se incorporaron a los procesos creativos válidos para la creación fotográfica, como desenfoques, montajes, collages, solarizaciones, distorsiones o representaciones con modelos posando ante la cámara en situaciones oníricas, que florecieron durante las vanguardias artísticas del siglo XX como tendencias teórico-prácticas que emanaron directamente de la actividad fotográfica.
El arte de los fotógrafos encontró lugar en el pictorialismo, movimiento inspirado en el Art Nouveau, el Simbolismo, el Impresionismo, el Naturalismo y en el realismo costumbrista de la literatura contemporánea de la época; se desarrolló en Europa y se extendió rápidamente a Norteamérica, América y Asia, entre 1855 y el final de la Primera Guerra Mundial, basado en consideraciones ópticas y pictóricas, más que fotográficas, irrumpió como una expresión artística que enaltecía la impresión estética sobre la técnica, con la convicción de impulsar el desarrollo de la fotografía y posicionarla en la jerarquía del arte, con bases fundamentales en el hecho de que la valoración de una imagen fotográfica se debía realizar con los mismos criterios con los que se juzgaba una pintura, un dibujo o un grabado. Ideas que revolucionaron los esquemas del momento, porque buscaban acercar a la fotografía y al arte a través de bellas obras dignas de mostrarse en los grandes salones.

2025, Neue Zürcher Zeitung, 10.04.2025, S. 31

Tillmans meidet jede Pose. Das Dresdner Albertinum widmet dem deutschen Starfotografen eine große Ausstellung.

2025, (Nie)opowiedziane – co tkwi u podstaw fotografii i pamięci

Artykuł analizuje relację między fotografią a pamięcią w pierwszych dziesięcioleciach istnienia fotografii, w oparciu o piśmiennictwo francuskie. Analizuje teksty naukowców, krytyków sztuki oraz artystach, osadzając poruszaną przez nie problematykę w szerokim kontekście przemian kulturowych, społecznych i ekonomicznych I poł. XIX w. W rozważaniach tych fotografia widziana jest jako nośnik wspomnień, proteza pamięci czy symulakrum, a jej owy potencjał stał się jednym z argumentów za uznaniem jej swoistości i autonomiczności wobec innych sztuk.

2025

It is in the nature and tradition of artists to use the works and ideas of other artists within the context of their own work. Artists find copyright law restrictive and experience difficulty in determining where to draw the line between using other artistic works as inspiration and exploiting the skill and labour of others. In addition, the maxim that there is no copyright in ideas, only in the expression of ideas, is not as simple as it appears. This report is aimed at assisting the visual artist in aspects of copyright law, specifically in relation to the distinction between ideas and the expression of ideas in a material form. The method used in the research is an analysis of South African legislation and cases that illustrate the law in relation to ideas and the expression of ideas in an artistic work. As a result of the dearth of case law and literature in South Africa dealing with copyright and visual art, reference is made to American case law and the defence of fair use of an artistic work, with reference to artist Jeff Koons. The findings of the study are that the South African Courts are not in favour of allowing artists to monopolise ideas or combinations of ideas and the definitive threshold of originality is low. To constitute an infringement of an artistic work it is the artistic features or attributes of the work that have to be transformed or adapted, not some concept, that it conveys. An artist is therefore free to use the ideas of other artists, provided that such ideas are expressed in a material form and they do not form a substantial part of the work of another.

2025, John Palatini, Christian Drobe (eds.): NACH DEN MASCHINEN. 100 Jahre Industriefotografie aus Sachsen-Anhalt. Halle: mdv 2025

Sachsen-Anhalt versteht sich als Industrie-land mit einer langen Tradition, zu der seit dem letzten Drittel des 19. Jahrhunderts auch eine vielfältige fotografische Überlieferung gehört, die bisher allerdings noch nie zu-sammengeführt... more