999 resultados para Portrait photography.
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Mode of access: Internet.
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The portrait, as well as the self-portrait, in his pictorial tradition built a type of own speech. The contemporary technologies offered other ways of representation that break with the tradition, at the same time in which they talk to her. How we may read a contemporary portrait? It is the question that looks for these paper from the work of art “50 Hours: Self-portrait Stolen” of the photographer Rocheli Costi. The inter – relations between others texts are, in the aesthetic texts, the mark of the contemporaneousness producing a format of hypertext, which the reading depends on the connections that the reader is going to draw.
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There has been little discussion of Julia Margaret Cameron’s Idylls of the King photographs over the past decade. My goal with this paper is to bring her Idylls of the King series back into discussion and address its success and relevance in both art history and literature. Scholars Helmut Gernsheim and Marylu Hill have questioned photography as a means to capture the imaginative content of Tennyson’s Arthurian stories and they declared Cameron’s photographs a failure. I argue that her theatrical style, use of props and costumes, obvious posing of her models, and nod to Victorian tableaux vivants capture the true essence of Tennyson’s epic. Her use of the Pre-Raphaelite female muse to portray the Arthurian characters of Elaine, Guinevere, and Vivien places her photographs in direct correlation with Pre-Raphaelite painting as well as popular literature. Her depictions of Tennyson’s epic poem are highly successful and I believe she achieved her personal goal of ennobling photography to the level of High Art.
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Mode of access: Internet.
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Includes 51 mounted albumen prints depicting members of tribes and social classes in Bombay, India.
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Contains 304 mounted albumen prints in postage stamp format.
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Mode of access: Internet.
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An unidentified couple is pictured in this early black and white tintype photograph. The date, location and name of the photographer are unknown. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Bell - Sloman families have relatives who are descended from African American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html
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A photograph of a male taken in October 1892 by Poole photography, St. Catharines.
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This paper outlines a practice as research investigation into the construction and representation of the figure and the ground in photography through overlapping multiple temporal and spatial renderings of the same subject within single photographic images.
This included a critical investigation of the representation of time, perspective, and location in historical and contemporary photography with particular attention to the synthesis, imitation, and distinction of characteristics of human vision in this medium especially where they are indicative of consciousness and attention.
This investigation informed a re-evaluation of the premises of the genre of the photographic portrait and it’s setting, especially within the unstructured environment of the Central Victorian ironbark forests and goldfields. Analogue and digital photographic experiments were conducted in superimposed shifts in camera position and their convergence on significant points of focus through repeated exposures across different time scales. The images correspond to a stage in human stereo perception before fusion, to represent the attention of the viewer, where, in these images, the ‘portrait’ is located.
The findings were applied to the large format camera production of high-definition images that extended the range and effectiveness of selected pictorial structures such as selective focus, relative scale, superimposition, multiple exposures and interference patterns.
The outcome was an exhibition at Smrynios Gallery in Melbourne in April 2004. This presentation includes a discussion of relevant work by Australian practitioners Daniel Crooks and David Stephenson.
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Self Portrait as Time Traveller' is one of a suite of drawings that responds to the work 'Kangaroo Stalking' by S.T.Gill. It also plays with certain ideas or problems in the depiction of landscape more broadly. The work plays on an old spatial illusion or trick of photography(think tourists at the Leaning Tower of Pisa). Maybe the trick works temporally as well as spatially or at least fails equally to convince us in both dimensions.
