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Diplomsko delo vključuje spoznavanje visoko hitrostne fotografije, kaj to je in kaj želimo z njo doseči. Podrobneje je predstavljena vsa potrebna oprema, ki nam bo omogočila oziroma vsaj olajšala nastanek visoko hitrostnih fotografij. Delo zajema tri različne motive visoko hitrostnih fotografij: pljusk rezine sadeža, eksplozijo vodnega balona in odsev v kapljici vode. Pri vsakem motivu je opisan proces, kako ga fotografirati torej, katero opremo in katere nastavitve opreme potrebujemo, kako in kam postaviti studio (če nimamo možnosti fotografiranja v svetlobno kontroliranem prostoru) ter na kaj moramo biti pozorni med samim fotografiranjem. Torej da si že vnaprej predstavljamo, kako naj bi končni izdelek izgledal, ali je zanj potrebno združiti več fotografij v eno ter v kakšnem vrstnem redu zajeti fotografije, v kolikor jih potrebujemo več (če fotografiramo pljusk vode v kozarcu, si na končni fotografiji želimo čist kozarec, zato, še preden začnemo s pljuski, najprej fotografiramo čist kozarec s čisto podlago). Predstavljene so tudi nekatere pogoste težave pri nastajanju visoko hitrostnih fotografij, kot je iskanje pozicije bliskavice, da bo ta lepo osvetlila fotografiran objekt in ozadje, iskanje pravega trenutka za proženje fotoaparata in prilagajanje zamiku proženja ter iskanja novih rešitev po spodletelem poskusu. Za konec je pri vsakem motivu podrobneje obrazloženo, kako s pomočjo naprednih programskih orodij za obdelavo fotografij le-te tudi obdelati (združevanje več fotografij v eno, barvna korekcija). The thesis includes learning about "high-speed" photography, what it is, and what we want to achieve with it. We look closer at all the necessary equipment, which will enable or at least ease the process of creating "high-speed" photos. The thesis includes three different motifs of "high-speed" photographs: a splash of a slice of fruit, an explosion of a water balloon, and a reflection in a water droplet. For each motif, the process of how to make a photograph is described that is, which equipment and which equipment settings we need, how and where to set up the studio (if we do not have the option of taking photos in a light-controlled room), and what we must pay attention to during the photography itself. We must imagine in advance how the final product should look like, whether it is necessary to combine several photos into one, and in what order to capture the photos if we need to capture more (if we take a photo of a splash of water in a glass, we want a clean glass in the final photo, so before we start splashing, we first take a photo of a clean glass with a clean surface). We will also learn about some common problems when creating "high-speed" photos, such as finding the good position of the speedlight so that it will illuminate the photographed object and the background, finding the right moment to trigger the camera and adjusting the trigger delay, and finding new solutions after a failed attempt. Finally, for each motif, it is explained in more detail how to process the images with the help of advanced software tools for processing photos (combining several photos into one, color correction).

Koncept destrukcije in transformacije dela v drugo delo je umetniška praksa, ki vključuje uničenje in hkratno preoblikovanje obstoječega umetniškega dela za stvarjanje nove umetnine. Pri tem je poudarjena ideja, da je umetniško delo dinamično in nenehno v procesu spreminjanja ter da lahko že obstoječe ideje in umetnine uporabimo kot osnovo za novo kreativno izražanje. Ta koncept se uporablja tudi v sodobni umetnosti, skozi katero umetniki izražajo kritično mišljenje o svojih ali tujih umetniških delih in njihovem vplivu v družbenem kontekstu. Namen takšnega ustvarjanja je spodbujanje razmišljanja o umetnosti, avtorstvu, vrednotah in kontinuiteti umetniškega dela. Koncept umetnikom omogoča izražanje novih sporočil v obliki edinstvenih in provokativnih umetnin, ki vedno znova rušijo in gradijo temelje sodobne umetnosti. Implementacija koncepta destrukcije in transformacije v pouk likovne umetnosti dijakom omogoča, da po vzoru umetnikov raziskujejo in širijo svoje ustvarjalne sposobnosti ter razmišljajo o umetnosti na inovativen način. Destrukcija in transformacija predstavljata precejšen izziv, saj zahtevata razmislek o tradicionalnih normah umetnosti na eni strani ter uničevanju in preoblikovanju posameznih elementov prvotnega dela na drugi. Izpostavljen je pomen divergentnosti, eksperimentiranja in raziskovanja različnih možnosti likovnega izražanja. Konceptualni konstrukt dijake spodbuja, da se osredotočijo na ideje, ustvarjalni proces, da kritično razmišljajo in aktivno participirajo v družbenem okolju. Nagovarja jih, da se skozi lastno ustvarjalno izkušnjo naučijo ceniti tako preteklo umetnost kot tudi sodobno umetniško prakso. Na eni izmed srednjih šol v Ljubljani smo v šolskem letu 2022/23 izvedli kvazieksperiment, v okviru katerega so dijaki ustvarili prvi likovni izdelek (ready made), ki je bil predpogoj za nadaljnje uničenje in preobrazbo v drug likovni izdelek. Ker nas je zanimal vpliv dvojnega izhodiščnega pristopa koncepta destrukcije in transformacije glede na nastanek prvega likovnega izdelka (zavedanje in nezavedanje prihodnjega uničenja in preobrazbe), smo v raziskavo vključili dva razreda dijakov prvih letnikov, pri čemer je en razred predstavljal kvazieksperimentalno, drugi pa kvazikontrolno skupino. V obeh razredih smo izvedli štiri šolske ure, znotraj katerih smo zbirali podatke s pomočjo tehnik kvalitativnega (opazovanje z udeležbo, nestandardiziran intervju, dokumenti) in kvantitativnega pristopa (anketni vprašalniki). Ugotovili smo, da dijaki s predhodniki in kasnejšimi predstavniki konceptualne umetnosti niso seznanjeni in da so jim tovrstna dela nerazumljiva. Potrebna je bila diskusija in razlaga konteksta ter idejnih ozadij, da smo dela nekoliko približali dijakom. Sicer pa sta obe nekonvencionalni likovni nalogi dijake pritegnili in jih motivirali za delo. Posebej jih je navduševala možnost destrukcije, ki je zanje predstavljala sprostitev, nekaterim celo izziv, kako čim bolj uničiti objekte. Nasprotno pa se je kar nekaj dijakov odločilo za bolj minimalističen pristop s poudarkom na transformaciji. Več težav jim je delalo koncipiranje in preoblikovanje idej, a so ob ustrezni spodbudi na koncu vsi uspešno realizirali nalogo. Na koncu je bila prav ta dejavnost med najbolje ocenjenimi aktivnostmi z njihove strani. Nastali likovni izdelki obeh skupin kažejo ustvarjalne vsebine tako v likovnih formalnih rešitvah kot v idejah. Smo pa kljub temu ugotovili, da je zelo malo dijakov v fotografiji prepoznalo potencial drugačnega likovnega izraza, saj dokumentiranju procesa večinoma niso namenili veliko pozornosti. V povezavi z izhodiščnim dvojnim pristopom smo med skupinama zaznali nekaj razlik, predvsem pri koncipiranju drugih idej glede na naravo njihove preobrazbe. Sicer pa smo ugotovili, da zavedanje ni imelo bistvenega vpliva na stvarjenje prvih likovnih izdelkov, na kasnejši proces destrukcije in transformacije ter vizualno podobo končnih likovnih izdelkov obeh skupin. The concept of destruction and transformation of a work into another work is an artistic practice that involves the destruction and simultaneous transformation of an existing work of art to create a new one. It emphasizes the idea that a work of art is dynamic and constantly in the process of change, and that the existing ideas and works of art can be used as a basis for new creative expression. This concept is also used in contemporary art, where artists express their critical thinking about their own or other people's works of art and their impact in a social context. The purpose of such creation is to stimulate thinking about art, authorship, values and continuity of the work of art. The concept allows artists to express new messages in the form of unique and provocative works of art, which repeatedly destroy and build the foundations of contemporary art. The implementation of the concept of destruction and transformation in art lessons allows students to follow the example of artists, explore and expand their creative abilities and think about art in an innovative way. Destruction and transformation represent a challenge, as they require students to reflect on the traditional norms of art on one hand and the destruction and transformation of individual elements of the original work on the other. The importance of divergence, experimentation and exploration of different possibilities of artistic expression is highlighted. The conceptual construct encourages students to focus on ideas, the creative process, to think critically and to actively participate in the social environment. The concept encourages students to learn to appreciate both past art and contemporary art practice through their own creative experience. We conducted a quasi-experiment at one of the secondary schools in Ljubljana in the 2022/23 school year. The students created the first art product (ready made) meant for the future destruction and transformation into another art product. Since we were interested in the influence of the double starting point approach of the concept of destruction and transformation in relation to the creation of the first art product (awareness and unawareness of future destruction and transformation), we included two classes of first-year students in the research: one represented a quasi-experimental group and the other one a quasi-control group. In both classes, we had four school lessons, during which we collected data using the qualitative method (participant observation, non-standardized interview, documents) and quantitative approach (questionnaires). We found out that students are not familiar with the predecessors and later representatives of conceptual art which is why such artwork is incomprehensible to them. It was necessary to discuss and explain the context and conceptual backgrounds in order to bring this art a bit closer to the students. Luckily, both unconventional art assignments attracted the students and motivated them to work. They were particularly fascinated by the possibility of destruction, which represented relaxation for some of them, and even a challenge, how to destroy the objects as much as possible. Contrary to this, quite a few students also opted for a more minimalist approach with an emphasis on transformation. They had several problems with conceiving the ideas and transforming them, but in the end they all successfully completed the task. Moreover, the activity was among the best rated activities by the students themselves. The resulting art products of both groups show creative content, both in artistic and formal solutions and in the ideas a such. But we also found out that very few students recognized the potential of a different artistic expression in photography, as they mostly did not pay much attention to documenting the process itself. With regard to the initial dual approach, we noticed some differences between the groups, especially when conceiving other ideas according to the nature of their transformation. Otherwise, we found that awareness had no significant effect on the creation of the first art products, on the subsequent process of destruction and transformation, and on the visual image of the final art products in both groups.

V diplomski nalogi sem se ukvarjala s tem, kako ohraniti fotografijo na netipičnem nosilcu. To bom počela s pomočjo fotografske emulzije. Ukvarjala se bom s tem, kako fotografijo razviti in jo kasneje tudi fiksirati oz. zamrzniti na jabolku. Raziskovala bom tudi, kako jabolko razpada in se razkraja ter kako to vpliva na motiv. S svojim diplomskim delom želim bolje spoznati fotografsko emulzijo, njeno zgodovino, delovanje in njene meje. Raziskovala bom avtorje, ki se ukvarjajo s podobnimi eksperimenti ali pa mi je vsebina njihovega dela na kakršenkoli način pomagala pri mojem delu. In my thesis, I will deal with how to preserve a photograph on an atypical medium. I will do this with the help of photographic emulsion. I will conquer developing and fixing or freezing a photo on an apple. I will also investigate how the apple decays, disintegrates and affects the motive. With my thesis, I want to comprehend photographic emulsion, its history, operation, and limits. I will research authors who are engaged in similar experiments or who have helped me in my work in any way due to the content of their work.

V diplomski nalogi sem raziskovala in razčlenjevala prostor gradbišča. Ukvarjala sem se z neantropološkim delom prostora, ki znotraj sebe ne opredeljuje človeka in njegovih odnosov (nekraj), hkrati pa sem razčlenjevala prav ta antropološki del prostora (kraj). Spraševala sem se, ali lahko ta dva svetova obstajata neodvisna drug od drugega. Ali lahko prostor živi brez ljudi ter vseeno ohranja svoj primarni atmosferski občutek in ali ljudje in prostor potrebujejo drug drugega, da dosežejo svoj polni potencial, ter ali lahko prostor gradbišča zajema definicije tako pojmov kraja kot nekraja in kako se posameznikova percepcija prostora spreminja z integracijo v skupnost. V praktičnem delu naloge sem formirala vizualizacijo takšnega prostora, eksperimentirala z medijem fotografije in njenim prevodom v prosotor. In my bachelor’s thesis, I researched and analyzed the space of the construction site. I dealt with the non-anthropological part of space, which does not define a person and his relationships within it (non-place), and at the same time I analyzed this very anthropological part of space (place). I wondered if these two worlds could exist independently of each other. Can a space live without people and still retain its primary atmospheric sense or each other to reach its maximum, can the space of a construction site encompass definitions of both place and non-place, and how an individual's perception of space changes through community integration. In the practical part of the assignment, I designed the visual space of such a space, experimented with media photography and its translation into space.

Predmet pričujoče magistrske naloge je raziskava dejavnosti Fotokluba Ljubljana med letoma 1931 in 1941, od ustanovitve do prekinitve delovanja z nastopom druge svetovne vojne. Prva polovica naloge je posvečena aktivnostim Fotokluba s poudarkom na okoliščinah ustanovitve, vsebinskih nalogah kluba in njegovih članih. Razčleniti poskušam tudi njihovo obsežno razstavno dejavnost, znotraj katere najbolj izstopajo tri mednarodne fotografske razstave, ki jih je klub organiziral leta 1934 (Hedžet–Koritnikova palača), 1936 (Jakopičev paviljon) in 1938 (Ljubljanski velesejem). Drugi del magistrske naloge obravnava tematiko fotografij članov Fotokluba in njihovo iskanje nacionalnega izraza v idiličnih motivih slovenske krajine. Skozi analizo motivov in primerjave z drugimi evropskimi državami poskušam v nalogi slediti zapletenim odnosom med umetnostjo in politiko, obenem pa raziskati pozicijo medija fotografije znotraj sfere umetnosti v tridesetih letih. Raziskava temelji na obstoječi literaturi, arhivskem materialu ter sočasnih zapisih v časopisju. The following thesis is an exploration of the activities of Fotoklub Ljubljana, a photography club active between 1931 and 1941, until their activities were interrupted by World War II. The first half of the thesis is dedicated to Fotoklub itself, their activities and the circumstances of their founding, their tasks and members. I will attempt to dissect their extensive exhibition activities, in which three international photography exhibitions are a clear stand out – the ones the club organised in 1934 (Hedžet–Koritnik palace), 1936 (Jakopič pavillion) and 1938 (Ljubljanski velesejem). The second part of the thesis is dedicated to the research of the motifs Fotoklub members employed and their search for national expression through idyllic, romaticized scenes of the Slovene landscape. By analysing what is depicted and comparing it with other European countries, I attempt to follow the complex relations between art and politics, while investigating the position of photography as a medium in a wider context of art in the thirties. The research is based on existing literature, archival material and articles published in contemporary newspapers and magazines.

Med 2. svetovno vojno se je po okupaciji slovenskega ozemlja na naših tleh razvila Osvobodilna fronta, iz katere je zrasla partizanska vojska. Tej so v kolaboraciji z nemško in italijansko oblastjo nasprotovale različne skupine, najbolj učinkovito Slovensko domobranstvo. Ob srditem konfliktu, ki je deloma spominjal na državljansko vojno, sta obe strani razvili močan propagandni stroj. Preko tiska, umetnosti, javnih shodov, fotografije, radia in plakatov sta legitimizirali svoje delovanje in kritizirali nasprotnike. Diplomsko delo se posveča partizanski in domobranski propagandi, s poudarkom na propagandi, ki prikazuje medsebojni odnos obeh strani. Diplomsko delo poskuša osvetliti različne načine medsebojnega zaničevanja in očitanja. During the Second World War, during the occupation of Slovenian territory, the Liberation front developed on slovenian soil, from which the partisan army grew. In collaboration with the German and Italian authorities, this was opposed by various groups, the most effective being the Slovenian Home Guard. In the midst of a fierce conflict that was partly reminiscent of the Civil War, both sides developed a powerful propaganda machine. Through the press, art, public rallies, photography, radio and posters, they legitimized their actions and criticized the other side. The diploma thesis focuses on partisan and Home Guard propaganda, especially those parts that relate to the relationship between both sides and tries to shed light on various ways of their contempt and reproach for eachother.

Diplomska naloga se ukvarja s spomini in procesom pomnjenja kot osnovnim principom delovanja spomina. V praktičnem delu so zbrani nenavadni in nikoli dokumentirani spomini ljudi, ki so nato fotografsko interpretirani. Fotografska serija je razvita v slogu magičnega realizma, preučevanem skozi več umetniških medijev, kot so film, literatura in fotografija. Delo je osredotočeno na inscenirano fotografijo in analizo avtorjev, ki se v svojemu delu ukvarjajo z elementi magičnega realizma. Predstavljena fotografija naj bi dosegla to magično vzdušje, zaradi katerega je določenim spominom v odnosu do drugih pripisan poseben pomen. In my diploma thesis, I am exploring the process of remembering as a basic principle of memory. In the practical part, I collected unusual and never documented memories of people and interpreted them through the medium of photography. I developed the photographic series within the style of magical realism, which I studied through several artistic media such as film, literature, and photography. I focused on staged photography and analyzed authors who deal with elements of magical realism in their work. In my photography, I tried to achieve a magical atmosphere, because of which we attach special significance to certain memories compared to others.

Zaključna seminarska naloga je razdeljena na tri dele in obravnava fotografijo kot potencialen vir za raziskovanje arhitekturnega razvoja Kranja. V prvem delu naloge so združeni kratek pregled razvoja fotografije, njenih različnih rab, razlaga pojma dokumentarnosti ter pristopa do nje, ko jo obravnavamo kot vir za raziskovanje arhitekturne zgodovine. Drugi del naloge se ukvarja s fotografijo v Kranju njenim razvojem ter načrtnim ustvarjanjem in zbiranjem fotografij, ki prikazujejo Kranj in njegovo stavbno dediščino. V tretjem delu je predstavljen arhitekturni razvoj mesta, ki mu sledimo ob analizi in primerjavi fotografij nastalih med 1868 in 1999. Obravnavane fotografije so v hrambi Gorenjskega muzeja, Zavoda za varstvo kulturne dediščine Slovenije – OE Kranj ter Muzeja novejše zgodovine Slovenije. V pregled je zajet razvoj savskih nabrežij, starega mestnega jedra ter območij Koroške ceste, Vodovodnega stolpa, Zlatega polja in Planine. The bachelor thesis is divided into three parts and deals with the potential use of photography as a historical source for research on the architectural development of Kranj. The first part consists of a short overview of the history of photography and its uses, the concept of the documentary, and the approach to photography when treated as a historical source for architectural history research. Part two deals with photography in Kranj its history and the formation of photo archives containing documentary photographs of the city and its architectural heritage. Part three is an overview of the architectural development of Kranj based on an analysis and comparison of photographs taken between 1868 and 1999. Used photographs belong to The Gorenjska Museum, The Kranj Regional Office of Institute for the Protection of Cultural Heritage of Slovenia, and the National Museum of Contemporary History of Slovenia. The overview is focused on the following areas: Sava embankments, the old city center, Koroška cesta, Vodovodni stolp, Zlato polje, and Planina.

Za diplomsko delo je bil izdelan videoposnetek za objavo na družbenem omrežju Instagram z uporabo 2.5D paralakse v fotografiji. V teoretičnem delu je predstavljena teorija fotografije, katere razumevanje je pomembno predvsem v začetnih fazah dela, da vemo, kako doseči želene rezultate z izbiro pravih nastavitev. Razloženo je, kaj je paralaksa in na katerih drugih področjih je uporabljena v naravi, znanosti in umetnosti. Razloženo je tudi, kaj je 2.5D paralaksa in uporaba kamere v tem kontekstu. Opisani so oblikovanje gibanja s pomočjo premikanja kamere v 3D prostoru in dodatni učinki ter tehnike za poudarjanje gibanja, kar je pomembno za pripravo končnega predstavitvenega videoposnetka. Na koncu so podani še primeri uporabe 2.5D paralakse. V eksperimentalnem delu je prva faza zajemanje fotografij. V tem delu, podkrepljenim z znanjem o teoriji fotografije, s fotoaparatom na stojalu zajamemo kakovostne fotografije, ki so primerne za nadaljnjo obdelavo. Druga faza je obdelava fotografije v programih Adobe Lightroom Classic, kjer so fotografije po potrebi združene in kjer je opravljena barvna korekcija, ter Adobe Photoshop, kjer so odpravljene nepravilnosti na fotografiji in razrezane ter dorisane posamezne plasti. V tretji fazi postavimo plasti v 3D prostor v programu Adobe After Effects. V četrti fazi so opisani postopki za izdelavo predstavitvenega videoposnetka v programu Adobe After Effects, za katero sledi še zadnja faza izvažanja končnega videoposnetka s programom Adobe Media Encoder in objava na družbenem omrežju Instagram. V rezultatih in razpravah je komentirana uspešnost končnega izdelka ter izvedba vsake posamezne faze kot tudi izzivi, ki so se pojavili tekom dela. Končni videoposnetek je primerjan z izdelki drugih avtorjev. Dodan je tudi slikovni material končnega izdelka in povezava do objave na Instagramu. V zaključkih je ovržena hipoteza in podani so predlogi za nadaljevanje dela. In this thesis a video with 2.5D parallax in photography was created and posted on Instagram. The theoretical part introduces the theory of photography, which is important to understand, especially in the initial stages of work, to achieve desired results by choosing the right settings. It explains what parallax is and in which other fields in nature, science and art it is used. It also explains what 2.5D parallax is and the use of camera in this context. Motion design is described by moving the camera in 3D space, as well as additional effects and techniques to accentuate motion, which is important for creating the final presentational video. Finally, examples of the use of 2.5D parallax are given. Experimental part consists of five phases. First phase is capturing photos. In this phase we use our understanding of the theory of photography to capture appropriate photographs with a camera on a tripod. In the second phase we edit the photos, first by using Adobe Lightroom and then Adobe Photoshop. Here we merge photos, correct the colour, the imperfections, and we cut and refine the individual layers. The third phase involves positioning layers in 3D space in Adobe After Effects. The fourth phase describes the procedures for creating the final presentational video in Adobe After Effects, followed by the fifth and final phase where the final video is exported using Adobe Media Encoder and posted on Instagram. In Results and Discussions section, the success of the final video and of each phase is commented on, as well as any challenges encountered during the process. The final video is compared to products of other authors. Visual material and link to the final product are added. The hypothesis is challenged and refuted, followed by suggestions for continuing the work.

Namen diplomske naloge je združiti slikarstvo in fotografijo v skupno celoto. Čas renesančnega slikarskega obdobja se bo povezal z današnjim časom, ko tehnologija vedno hitreje napreduje. Cilj je uporabiti zajete fotografije po poteh florentinskih slikarjev v sami Italiji, natančneje v Toskani, ter jih s programsko opremo urediti do te mere, da bodo čim bolj spominjale na tehnike renesančne umetnosti. V teoretičnem delu sta ločeno predstavljeni obe tehniki – slikarstvo in fotografija. Pri slikarstvu je fokus na renesančni umetnosti, natančneje na florentinsko slikarstvo ali drugače imenovano florentinsko šolo. Predstavljena so tudi dela najbolj znanih slikarjev. Del o fotografiji predstavi razvoj fotografije, vključno z vso mehansko opremo, ki je pripomogla k nastajanju fotografij danes. Proti koncu se bosta obe tehniki povezali, raziskan bo njun skupni jezik in vse skupne lastnosti. V eksperimentalnem delu je najprej predstavljena popotniška pot po mestih Toskane. Pozneje se osredotočimo na fizično opremo, ki je bila uporabljena pri zajemanju fotografij. Predstavi se programska oprema, ki omogoča naprednejšo obdelavo fotografij, ki se uporablja tudi za digitalno slikanje in risanje. Sledi predstavitev postopka obdelave fotografij, ki so pozneje predstavljene v rezultatih in razpravi. The purpose of the diploma thesis is to combine painting and photography into a common whole. The time of the Renaissance painting period will be connected with the present time, where technology is advancing faster and faster. The aim is to use the captured photographs along the paths of Florentine painters in Italy itself, specifically in Tuscany, and to edit them with software to such an extent that they will be as reminiscent as possible of Renaissance art techniques. In the theoretical part, both techniques, painting, and photography, are presented separately. In painting, the focus is on Renaissance art, specifically on Florentine painting or otherwise called the Florentine school. The works of the most famous painters are also presented. The photography section presents the development of photography including all the mechanical equipment that helped create photographs today. Towards the end, the two techniques will come together, where their common language and all common features will be explored. In the experimental part, the travel route through the cities of Tuscany is first presented. Later, we focus on the physical equipment used to capture the photographs. Software is introduced that enables more advanced photo processing, which is also used for digital painting and drawing. The following is a presentation of the process of processing photographs, which are later presented in the results and discussion.

Ali lahko prepoznamo retuširano fotografijo? Se zavedamo, v kolikšni meri so fotografije v medijih retuširane? Nam ogled navidezno popolnih fotografij vzbudi negativne občutke? Retuširanje fotografij že dolgo ni prisotno samo v oglaševalski in modni industriji. S pojavom pametnih telefonov je postalo dostopno vsem uporabnikom, družbena omrežja pa so omogočila objavljanje in deljenje takih fotografij na spletu. Retuširane fotografije, za katere ljudje ne vedo, da so retuširane, pripomorejo k postavljanju težko dosegljivih lepotnih standardov v današnji družbi, kar posledično negativno vpliva na njihovo duševno zdravje. To diplomsko delo s pomočjo ankete in avtorskih fotografij ugotavlja, ali ljudje znajo prepoznati retuširano fotografijo, če to ob fotografiji ni posebej označeno. Hipoteze določajo, da večina anketirancev ne bo za vse fotografije v anketi pravilno prepoznala, ali so retuširane ali ne, ter da bodo ženske anketiranke pri ocenjevanju retuširanih delov fotografij uspešnejše kot moški anketiranci. V teoretičnem delu so poleg programa Adobe Photoshop predstavljeni trenutni lepotni standardi in psihološki vpliv retuširanih fotografij na posameznika. Eksperimentalni del opisuje postopek izdelave fotografij in ankete. Fotografije so retuširane po trenutnih lepotnih standardih. Na fotografijah so izvedene različne vrste retuš različnih kakovosti. Diplomsko delo potrošnike in uporabnike družbenih omrežij poziva, naj dvomijo o pristnosti fotografij, ki jih vidijo v medijih. Čeprav so bili rezultati ankete boljši, kot je bilo pričakovano, je treba imeti v mislih, da so anketiranci lahko predvidevali, da je določeno število fotografij v anketi retuširanih, saj je bila prav to tematika ankete. V oglaševanju in na družbenih omrežjih pa v večini primerov ni nakazano, da je objavljena fotografija retuširana, kar je lahko zavajajoče. Can we recognize a retouched photo? Are we aware of the extent to which photos are retouched in the media? Does viewing seemingly perfect photos evoke negative feelings? Photo retouching is not only present in the advertising and fashion industry. Smartphones made it accessible to all users, and social media enabled posting and sharing such photos online. Retouched photos generally contribute to setting unrealistic beauty standards in today’s society, but people do not know that these photos are retouched, which negatively affects their mental health. With the help of a survey and photographs, this diploma thesis determines whether people can recognize a retouched photograph if it is not specially marked. Hypotheses stipulate that most respondents will not correctly identify whether or not the photographs in the survey are retouched and that female respondents will be more successful in assessing retouched parts of photographs than male respondents. The theoretical part presents Adobe Photoshop as well as current beauty standards and the psychological impact of retouched photographs on the individual. The experimental part describes the process of making photographs and surveys. The photos, which are retouched according to current beauty standards, utilize different types of retouches of different qualities. The diploma thesis urges consumers and social media users to question the authenticity of the photos they see in the media. Although the results of the survey were better than expected, one should keep in mind that respondents were able to assume that a certain number of photos in the survey were retouched, given that this was the topic of the survey. However, in most cases in advertising and on social media, it is not indicated that the photo has been retouched, which can be misleading.

V diplomskem delu je najprej na kratko obrazložen pojem »nova topografija« in od kje izvira sam izraz. Nato sledi opis pojma pokrajina in kaj je ta pojem pomenil v slikarski umetnosti, zatem pa še opis pokrajine v fotografijah in kako so te krajinske fotografije prešle iz funkcionalnosti v umetnost. Besedilo nato nekoliko podrobneje opiše razstavo New Topographics (Rochester, New York, 1975) in avtorska dela sodelujočih avtorjev. Po predstavitvi razstave sledi opis objektivnega stila fotografije, ki je bil ključnega pomena za razstavo, in kako je ta vplival na kasnejše fotografe, ki pa se niso osredotočali zgolj na krajinsko fotografijo. Teoretični del se konča s predstavitvijo štirih avtorjev – Bernd in Hilla Becher, Edward Burtynsky in pa Chris Jordan, ki so bili velik navdih za fotografije v praktičnem delu moje diplomske naloge in pa po mojem mnenju tudi pomembni predstavniki fotografske razstave New Topographics. Nato sledi praktični del diplomske naloge z opisom moje fotografske serije Barje s priloženimi fotografijami.

V magistrski nalogi se posvečam obdelavi intermedijske podobe. Ta vključuje in prepleta medije slikarstva, grafike in fotografije. V podobi je posamičen motiv grajen glede na celoto podobe, lahko pa je razumljen tudi avtonomno. V mojih delih vizualno prevladuje medij fotografije. Ta je najpogostejši most med posameznimi motivi. Prek fotografije se uprizarja razlika med objektivnostjo in subjektivnostjo podobe. Fotografije, ki jih oblikujem, preslikavam in kot orodna sredstva vključujem v celoto podobe, gradim po principu diahronije tako, da združujem podobe iz različnih časov. Povezuje jih proces asociativnega spomina, v katerem se povežeta čas in prostor iz več raznorodnih sekvenc. Vidnost podobe temelji na vsakdanjem pogledu na svet, prikazanem prek fotografskega objektiva, kar pa še ne pomeni, da je ta popolna, objektivna reprezentacija sveta pred nami. Fotografija je vsem dostopen medij, katerega prikaz sveta si prilaščamo in povzemamo kot nekaj, kar bi lahko bilo pred nami v katerem koli trenutku. V ta objektivni prikaz vključujem subjektivne poteze, ki se pojavijo znotraj tega pogleda na svet. Tako se skušam približati simulaciji videne/gledane podobe ter uprizoriti to, kar se stoji za njo. In my master's thesis I dedicate myself to the process of the intermedia image. This includes and intertwines the media of painting, printmaking and photography. In the image, an individual motif is built for the sake of the overall image, but it can also be understood as an autonomous work. The medium of photography is visually predominant in my works. It is also the most common bridge between individual motifs. The difference between the objectivity and subjectivity of the image is seen easier through photography. The photographs that I rework and incorporate as tools in the corporate image are built on the principle of diachrony by combining images from different times. They are connected by a process of associative memory in which time and space are connected from several diverse sequences. The construction of visuality is based on the everyday view at the world, which is shown through a photographic lens, which does not mean that it is a complete, objective representation of the world before us. Photography is an accessible medium for everyone, whose portrayal of the world we appropriate and summarize as something that could be in front of us at any given moment. In this objective view, I include the subjective traits that emerge within this view of the world. So I try to get close to the simulation of the seen image and stage what is behind it.

Z lažjim dostopom do tehnologije in svetovnega spleta je danes vizualno gradivo preprosto dostopno in uporabljeno. V magistrskem delu smo se osredotočili na obravnavo vizualnega gradiva kot učila pri poučevanju geografije Alpskih pokrajin Slovenije. Preko literature smo opisali pomen in vlogo vizualnih gradiv pri poučevanju geografije, saj se le-ta uporabljajo že zelo dolgo, z njimi lahko posredno prikažemo geografske procese in pojave, ki jih učencem sicer ne moremo pokazati v učni enoti obravnave. Veliko geografskih pojavov in procesov lahko opazujemo prav v Alpskih pokrajinah Slovenije, zato smo v nadaljevanju preko literature opisali naravnogeografske ter družbenogeografske značilnosti Alpskih pokrajin. V osrednjem delu magistrske naloge smo z vidika vključenosti vizualnih gradiv analizirali učni načrt za geografijo v 9. razredu osnovne šole ter izbrali učne cilje, ki obravnavajo omenjene pokrajine. Nato smo za izbrane operativne učne cilje naredili in predstavili izbor fotografij in videoposnetkov z območja Alpskih pokrajin Slovenije ter k vizualnemu gradivu dodali še nekaj pripadajočih nalog, ki so uporabne tako za učitelje geografije kot za učence devetih razredov. With easier access to technology and the World Wide Web, visual material is now more easily accessible than ever. The master's thesis focuses on the use of visual materials as a teaching method in the process of teaching the geography of the Alpine regions of Slovenia. In the thesis, we describe the role of visual material in teaching geography and it's importance as it has been in practice for a very long time. It alows us to indirectly show geographical processes and phenomena that we could not otherwise show students in the learning unit. Many geographical phenomena and processes can be observed in the Alpine regions of Slovenia, therefore in the following literature we describe the natural-geographical and socio-geographical characteristics of the said regions. In the central part of the master's thesis we analyzed the 9th grade geography curriculum from the point of view of the inclusion of visual materials and selected learning objectives that deal with the mentioned landscapes. After we shot and presented a selection of photographs and videos from the Alpine regions of Slovenia for the selected operational learning objectives. We also included some tasks related to the visual material, which are useful for both geography teachers and 9th grade students.

Pogledi na grdo so raznovrstni in le nekateri od njih so v strokovni literaturi temeljiteje obravnavani. V diplomskem delu skozi analizo referenčnih avtorjev proučujem pojave in dojemanje grdega v zahodni kulturi z vidika teorije estetike, zgodovine, umetnosti in filozofije. Grdoto v vsakdanjem življenju pogosto srečujemo, nima pa enotne definicije svoje vloge za posameznika in družbo. Sprašujem se, kaj je grdo na osebni in kulturni ravni, kako priti do grdega in ga prepoznati ter zakaj je grdo potrebno in uporabno. Definiram pojme estetika, gledanje, videnje, fotografska in estetska percepcija. Ugotovitve poenotim v tri kategorije grdega in opisujem proces iskanja ustreznih podob grdega okoli sebe. Te na koncu najdem v sebi in zgradim objekt, ki služi kot motiv za serijo fotografij in fotozin. Ugotavljam, da se grdo vedno vzpostavlja v odnosu do gledalca v svojem bistvu je stvar percepcije posameznika. Enotnega odgovora na Kaj je grdo? ni, in to hkrati tudi je odgovor. Views on the ugly are diverse and only a few of them are more thoroughly discussed in the technical literature. In my dissertation, through the analysis of referential authors, I study the phenomena and perceptions of the ugly in Western culture from the perspective of the theory of aesthetics, history, art and philosophy. Ugliness is often encountered in everyday life, but it does not have a unified definition of its role for the individual and society. I wonder what is ugly on a personal and cultural level, how to get to the ugly and recognize it, and why the ugly is necessary and useful. I define the concepts of aesthetics, viewing, seeing, photographic and aesthetic perception. I unify the findings into three categories of ugly and describe the process of finding relevant images of ugly around me. I eventually find these in myself and build an object that serves as a motif for a series of photographs and a photozin. I find that ugly is always in relation to the viewer it is essentially a matter of individual perception. There is no single answer to What is ugly?, and that at the same time is the answer.

Magistrsko delo Razvoj tiskarskih barv za kapljični tisk iz trajnostnih/naravnih virov in njihova uporaba pri raziskovanju botanične fotografije združuje osebno fascinacijo nad naravnimi barvili in botanično fotografijo ter njuno medsebojno povezanost. Opisuje in prikazuje eksperimente v pridobivanju naravnih rastlinskih barvil v cmyk odtenkih, ki so kasneje uporabljena kot tiskarske barve za kapljični tisk. Vzporedno raziskuje polje botanične fotografije preko referenčnih umetnikov in odkrivanje lastnega avtorskega pristopa. Kot rezultat naniza serijo botaničnih fotografij, natisnjenih z rastlinskimi kartušami, ki služijo kot končen rezultat naloge. Master's thesis The development of inkjet printing inks from sustainable/natural sources and their use in the study of botanical photography combines personal fascination with natural dyes and botanical photography and the interconnection between them. Describes and demonstrates experiments in the production of natural plant dyes in cmyk shades, later used as ink cartridge dyes. In parallel, it explores the field of botanical photography through reference artists and discovering my own authorial approach. As a result, it shows a series of botanical photographs printed with natural inks that serve as the end result of the thesis.

Namen diplomske naloge z naslovom Zgodba v komercialni fotografiji je ustvariti serijo komercialnih fotografij, ki na pripoveden način sporočajo vizijo in poslanstvo izbrane blagovne znamke. Osredotočili smo se na kolesarsko industrijo in se v ta namen povezali z realnim naročnikom na slovenskem trgu. Izbrali smo podjetje Berk Composites, ki izdeluje ultralahke kolesarske komponente, znani pa so predvsem po svojih kolesarskih sedežih izdelanih iz karbonskih vlaken. Najprej smo spoznali različna področja, ki jih komercialna fotografija pokriva, ter zakaj nekatere blagovne znamke v oglaševanju uporabljajo zgodbe, kar smo tudi podkrepili s primerom dobre prakse po vzoru podjetja Rapha. Ker je fotografija tesno povezana s svetlobo, smo prav tako obravnavali osvetlitev, osnovne lastnosti svetlobe in svetlobne vire, ki se uporabljajo v industriji. Skupaj z izbranim podjetjem smo nato pripravili plan dela in začrtali smernice za ustvarjanje fotografske zgodbe. Serija fotografij ni produktno usmerjena, ampak je produkt vključen zgolj kot vezni element, ki predstavlja rdečo nit in pripoveduje zgodbo. Med fotografiranjem smo se osredotočili izključno na kolesarske sedeže, razdelili pa smo ga na dva dela v prvem smo prikazali izdelavo sedeža, v drugem pa uporabo produkta med kolesarjenjem. Pri delu smo uporabljali vso potrebno fotografsko opremo, bliskavice, svetlobne modifikatorje ter tako znanje iz teoretičnega dela uporabili tudi v praktičnem delu. Izdelali smo analizo celotnega procesa obdelave fotografij, ki zajema vse korake v postprodukciji. Končni rezultat diplomskega dela je serija izbranih šestnajstih fotografij, ki jih naročnik lahko uporabi za lastne promocijske namene. The purpose of the diploma thesis entitled Storytelling in commercial photography is to create a series of commercial photographs that represents the vision and mission of the chosen brand in a narrative way. We have focused on the cycling industry and connected with a real client on the Slovene market. We chose the company Berk Composites, which manufactures ultra-light cycling components and is best known for its carbon fiber cycling saddles. We first learned about the different fields covered by commercial photography and the reason why some brands use stories in their advertising, which we also supported with an example of good practice from the brand Rapha. Photography is closely connected with light, therefore we also described lighting, the basic characteristics of lighting and light sources that are used in today's industry. Together with the chosen company, we prepared the work plan and outlined guidelines for creating a photographic story. The series of photographs is not product-oriented, the product only serves as a connecting element and represents the main object which tells the story. During the photo shoot, we focused exclusively on cycling seats. We've divided the executive part into two parts: in the first one we showed the production of the saddle and in the second we showed the use of the product during cycling activity. We have used all the necessary photographic equipment, flashes, light modifiers and the knowledge gained from the theoretical part in the practical part. We have also created a detailed description of the entire photo editing process, covering all the steps in the post-production. The final result of the diploma thesis is a series of sixteen chosen photographs, which our client can use for their own promotional purposes.

V magistrski nalogi bom obravnaval fotografijo kot osnovni gradnik umetniškega dela. Poskusil bom razviti sebi lasten jezik, s katerim bom s pomočjo uporabe različnih interdisciplinarnih praks gradil nova umetniška dela. Raziskoval bom, ali lahko na ta način o ustvarjenem delu sploh še govorimo o fotografiji. V praktičnem delu magistrske naloge bom na novo konstruirani jezik vizualiziral na način, da bo definiral osnovna pravila lastnega jezika ter različna možna želena ali neželena odstopanja od njih, pri tem bom črpal iz lastnega arhiva ali pa si bom fotografije drugih avtorjev izposodil s spleta. Za namen vizualizacije jezika ne bom uporabljal fotoaparata. In my master's thesis, I will consider photography as a basic building block of a work of art. I will try to develop my own language with which to build new works of art through the use of various interdisciplinary practices. I will ask myself whether we can even talk about photography in this way. In the practical part of the master's thesis, I will visualise the newly constructed language in a way that will define the basic rules of my own language and various possible desired or unwanted deviations from them, drawing from my own archive or appropriating photos of other authors from the web. I will not use a camera for the purpose of visualising the language.

Diplomsko delo se ukvarja s proučevanjem modne fotografije v obdobju kriznega zgodovinskega trenutka. V prvem delu je predstavljen zgodovinski pregled modne fotografije. V nadaljevanju sledi analiza modnih publikacij in njihove vloge v distribuciji modne podobe. Sledi premislek o modni fotografiji kot komercialnem ali umetniškem delu, kot tudi o družbenem komentarju v modni fotografiji, kjer sta podani analizi dveh primerov. Kot izhodišče je postavljena potencialna vzporednica kriznega trenutka sedanje pandemije z obdobjem španske gripe med obema vojnama, sledi vpogled v kratko zgodovinsko analizo obdobja nadrealizma, od koder so črpana glavna vizualna izrazna sredstva za nastanek praktičnega dela, postavljenega nazaj v sedanjost pandemije. Predstavljeni so tudi ključni avtorji za razvoj mojega avtorskega dela, kjer opišem in analiziram izhodišča, izvedbo in ovrednotenje nastalega dela v končnem formatu fotoknjige. The key subject of the thesis is researching fashion photography in a historical moment of crisis. The first chapter defines fashion photography through history. It is followed by an analysis of the role of fashion photography and fashion publishing in disseminating the fashion image. The third chapter discusses fashion photography as art or commerce. The following chapter contemplates fashion photography as a critical social message through two case studies. As the conceptual starting point, a potential parallel is drawn between the timeframe of World War One and Spanish influenza against the crisis of the current pandemic. For further analysis, there is a short chapter on surrealism that serves as a potential source for the visual means used in the practical part, set back in the presence of the pandemic. A few key authors, fundamental to the development of my work are mentioned, and lastly, the analysis of the practical part where I describe and analyze the starting points, execution, and evaluation of the final work which will be the format of a photobook.

Končni rezultat v obliki grafičnega lista mora biti prepričljiv kot iluzija realnosti in delovati logično, zato je med drugim potrebno obvladovanje likovne teorije. Poznati moram tudi fizične lastnosti človeške figure in prostora. Treba je biti pozoren na lastnosti in učinke različnih svetlobnih virov, naravnih in umetnih. Raziskovanje svetlobe je pomembno, da zajamem emocionalno nabit trenutek, ki stimulira gledalca. Na moje delo je najbolj vplival ogled razstave Rembrandtovih grafik v Dulwich Picture Gallery v Londonu januarja 2020. Njegove študije učinkov svetlobe so zelo dobri učni primeri. V mojem nadaljnjem študiju grafike me še posebej zanimata fotografija in uporaba tehnologije v tradicionalnih grafičnih tehnikah. Ideja spojitve več fotografij izhaja iz moje grafike z naslovom Mama, ata in pes iz leta 2017. Nove motive izbiram iz lastnega fotografskega arhiva. Na grafikah upodabljam družino, prijatelje … v okolju, ki ga pogrešam. Predvsem pa me zanima, kako v realističnem upodabljanju prikazati trenutek v trajanju. The end result in the form of a print must be convincing as the illusion of reality and it has to be logical. This is why it is necessary to understand basics of theory of art. It is important to know physical properties of the human figure and space and be aware of the effect of various light sources either natural or artificial. Researching light is crucial when dealing with emotionally charged moment which stimulates the viewer. My work was mainly influenced by the exhibition of Rembrandt’s prints which I have seen in Dulwich Picture Gallery in London in 2020. His study of light is a perfect example. In my own study of printmaking I was especially interested in the use of photography in combination with traditional printing techniques. The idea of making picture out of several photographs was first applied in my work entitled “Mom, Dad and a Dog” printed in 2017. Since then I have used my own photo archive to create new work. Themes I choose I select from photographs I took of family, friends and gatherings I have been part of. Most of all I aim to find a lasting moment in whatever situation.

Cilj magistrskega dela je bil definirati glavne dejavnike današnje hiperproduktivne družbe, ki vplivajo na način, kako umetnik ustvarja svoja umetniška dela. Teoretični del raziskuje izbor zunanjih dejavnikov, s katerimi se morajo umetniki spopasti, če želijo biti sprejeti v sedanjem, globalnem svetu umetnosti. Ti dejavniki so naslovi poglavij teoretičnega dela magistrskega dela in se glasijo takole: Hiperkapitalistične oblike produkcije, institucionalizem (Akademija in umetniški trg) ter Novi mediji in platforme za samo (Re) prezentacijo. Ugotovitev, ki izhaja iz raziskovanja teh dejavnikov, je, da čeprav je umetniški trg navidezno obseden z idejo pristnosti in inovativnosti, je nastavljen tako, da vzgaja ravno nasprotno: hiperprodukcijo idej in konceptov, ki umetnike omejijo na standardizirana, pa tudi močno homogenizirana in omejena izrazna sredstva. V zadnjem poglavju teoretičnega dela, z naslovom Avtentičnost?, je vprašanje umetniške inovacije v 21. stoletju podrobneje razčlenjeno. V praktičnem delu z naslovom Produkcija vrednosti in vrednost reprodukcije je nastala serija grafik z naslovom “Wetprints” (Mokri odtisi), ki je bila interpretirana tako iz komercialnega vidika, kot tudi iz bolj konceptualnega. Serija je ustvarjena s kapljanjem, potapljanjem in izpostavljanjem kapljičnih tiskov morju in dežju, kar ustvarja nekakšen akvarelni učinek. Vsaka slika, ki tako nastane je edinstvena, a kljub temu neizogibno klišejska zaradi svojih motivov – ovenilih šopkov. Zadnje poglavje podrobno obravnava tako komercialne kot konceptualne procese, ki so vodili do končne predstavitve projekta, razstave z naslovom “A to je to?”, ki je potekala oktobra 2020 v Projektnem prostoru Fotopub. The goal of this thesis was to decipher the main factors of today’s hyper-productive society, which effect the way in which an artist produces their art works. The theoretical part explores a selection of external factors, which artists must tackle if they wish to be accepted within the current, global world of art. Those factors are the titles of the chapters of the theoretical part of this thesis and go as follows: Hyper-capitalistic Forms of Production, Institutionalism (Academia and The Art Market), and New Media and Platforms for Self (Re)presentation. The conclusion which is drawn from the exploration of these factors is that although the art market is seemingly obsessed with the idea of authenticity and innovation, it is set up to breed exactly the opposite: the hyper-production of ideas and concepts, which confine artists to a standardised, as well as greatly homogenised and limited means of expression. In the final chapter titled Authenticity?, the subject of artistic innovation in the 21st century is explored more thoroughly. Within the practical part, titled The Production of Value and The Value of Production a series of prints named Wetprints is executed both via their commercial potential, as well as through a more conceptual interpretation. The series is created through the act of dripping, dipping, and exposing Inkjet prints to sea and rain, which creates a sort of water-colour effect, each image unique, and original, yet inescapably cliche because of its subjects- wilted bouquets. The last chapter discusses both commercial and conceptual processes in detail leading up to the final presentation of the project, So This Is It?, an exhibition which took place in October 2020 in the Fotopub Project Space.

Zaradi ljubezni do različnih likovnih intervencij v mediju fotografije sem se začela zanimati za fotografijo, ki se pojavlja v likovni umetnosti. V magistrski nalogi sem tako odkrivala nabor umetnikov, ki so delovali na tem likovnem področju, ter tehnike v katerih so ustvarjali. Teoretičen del naloge vsebuje dva vsebinska sklopa: fotografijo in likovno umetnost ter fotografijo in pojem destrukcije. Slednje sem dodala zaradi želje po združitvi pojma destrukcije in fotografije, saj sem opazila, da omenjena kombinacija še ni toliko raziskana na področju sodobne umetnosti. Destruktivne tehnike v umetnosti vpeljejo žganje, rezanje, topljenje plastike itd., kar privede do zanimivih rezultatov, tudi pri uporabi v fotografiji. Poleg destrukcije sem poskušala predstaviti različne vloge fotografije v likovni umetnosti, od samega izuma fotografije pa do 21. stoletja. Izpostavila sem posamezne avtorje ter njihovo delo na umetnostno-zgodovinski in likovno-teoretski način ter pozornost posvetila tudi vlogi fotografije, ki jo ima v umetnosti. Obravnavala sem avtorje, ki v svojem ustvarjalnem procesu uporabljajo medij fotografije, tako na mednarodnem kot tudi v domačem kontekstu. Poznavanje vlog fotografije v likovni umetnosti je pomembno zaradi poznavanja različnih možnosti ustvarjanja v povezavi s fotografijo ter zaradi boljšega razumevanja zgodovinskih prepletov z likovno umetnostjo. Kot avtorici magistrske naloge ter likovni ustvarjalki mi je pregled vlog služil tudi pri raziskovanju novih možnosti ustvarjanja v povezavi s fotografijo. V sklopu avtorskega ustvarjanja sem sestavila nabor destruktivnih tehnik v fotografiji in problematizirala aktualno tematiko glede retuširanja fotografij v medijih. Ustvarjalni proces zajema fotografiranje ter retuširanje fotografij z motivom avtoportreta, ki sem jih za nadaljnji proces natisnila. Tiskane fotografije sem nato nadgradila z načrtno uporabo destruktivnih tehnik. Preverjala sem tehnike, kot so žganje, beljenje z odstranjevalcem madežev, praskanje in trganje fotografij. Končni likovni izdelki so predstavljeni po sklopih posameznih destruktivnih tehnik ter v obliki foto zgodb. Pri likovno-didaktičnem empiričnem delu magistrske naloge sem izvedla kvalitativno raziskavo med srednješolci likovnih smeri, pri čemer sem uporabila vprašalnik ter analizo likovnih del. Postavila sem si več aktualnih vprašanj glede na tematiko »lažnih in varljivih podob v medijih,« ki sem jo pokomentirala z dijaki in jo povezala z likovnimi deli. Predstaviti dijakom nove možnosti izražanja v fotografiji z destruktivnimi tehnikami in preverjati njihovo dosedanje znanje glede fotografije v likovni umetnosti, je bil moj osrednji raziskovalni problem. In my master thesis, I am exploring interventions in photography and merging it with other fine art disciplines. My initial research was inspired by my interest in the medium of photography and wish to explore various roles of photography in fine arts. First part of the research process was gathering information about artists, who are working in the area of photography and are inplementing various art techniques in their work. The theoretical part of the thesis consists of two main contents: photography in combination with various art media and destructive techniques in contemporary art photography. I felt the need to further research the latter, since I haven't found much information about similar studies in the field of contemporary fine arts. Destructive techniques include work with fire, cutting, melting photo prints with the use of heat, etc. , which creates interesting results in completed artworks. In addition to destruction, I have tried to present different usages of photography in the fine arts, from the very invention of photography to photography in the 21st century. I highlighted individual artists and their work in an art-historical and art-theoretical context and I also presented role of photography in fine arts. I studied international and domestic authors, who use the medium of photography in their creative process. Knowing the roles of photography in fine arts is important, since this knowledge enables us to recognize various possibilities it has as an art media and helps us to better understand its historical intertwining with other fine arts. Exploring these roles helped me in the process of writing my master thesis and also allow me to explore new possibilities of self expression in connection to photography. Part of my personal work was also to compile a set of destructive techniques in photography and present problematic subject of retouching photographs in the public media. The creative process included taking self portraits, retouching them, printing them and finally implementing destructive techniques to alter the images. I experiment with techniques like burning, melting colors with a stain remover, scratching and tearing photos, etc. The final art products are presented according to sets of individual destructive techniques and in the form of a photo story. In the art didactical research part of the thesis, I conducted a qualitative research among high school fine art students, using a questionnaire and analysis of their works of art. I came up with several cocurent questions regarding the topic of "false and deceptive images in the media," which I commented on with students and linked them to their works of art. Introducing students to new possibilities of expression in photography with destructive techniques and testing their current knowledge of photography in fine arts was the central goal of my research.

V svojem diplomskem delu sem obravnavala razvoj ličenja, trendov in lepotnih standardov Zahodne kulture v 20. stoletju ter raziskovala vpliv medijev na reprezentacijo žensk. V teoretičnem delu sem se ukvarjala z razvojem in prerodom standardov in trendov, ki so se uveljavili na področju ličenja in lepotne industrije. Osredotočala sem se na ličila in uporabo teh, pojave lepotnih idealov in trendov, ki so nekoč že bili aktualni, njihove spremembe in razvoj ter raziskovala, kakšen vpliv imajo nanje zunanja dogajanja v povezavi z mediji. V praktičnem delu sem na osnovi zgodovine in razvoja ličenja, ki sem ju raziskala, opredelila tipične značilnosti posameznih obdobij 20. stoletja ter jih na modelu oblikovala v celoto. Fotografirala sem digitalno, in sicer doprsne portrete na nevtralnem, studijskem ozadju. Stil fotografij sem prilagajala posameznemu obdobju, da je skupaj z njim tvoril koherentne celote. Odločila sem se za avtoportrete, saj me je zanimalo, do kolikšne mere lahko spreminjam en sam obraz in ga vključim v popolnoma različna obdobja tako, da bo deloval prepričljivo in pristno. Hkrati sem raziskovala, kako se lahko sama identificiram z različnimi trendi, in tako prenesla vprašanje osebne identitete tudi na praktični del diplomskega dela. In my diploma thesis I am addressing the topic of the development of make-up, trends and beauty standards of Western culture in the 20th century and exploring the influence of the media on the representation of women. In the theoretical part of the thesis I am dealing with the development and revival of standards and trends that have established themselves in the field of makeup and beauty industry – I am focusing on makeup, the emergence of beauty ideals, trends that were once relevant, how they have changed and developed and what impact external events had on them in combination with media. In the practical part, based on the researched history and the development of makeup, I designed the typical characteristics of individual periods of the 20th century and formed them into a whole. I photographed digitally, in the form of bust portraits on a neutral, studio background and adapted the style of each photography according to the chosen period. I opted for self-portraits and working on myself – I was interested in the extent to which I could change the same face and include it in completely different periods so that it would still work convincingly and authentically and at the same time, I researched how I can identify with different trends and thus transfer the issue of personal identity to the practical part of the thesis.

Izhodišče magistrske naloge so deformirani družinski portreti. V prvem delu raziskujem obraz in njegovo upodabljanje ter reprodukcijo, za kar sem našla izhodišča v delu Hansa Beltinga: Faces – Zgodovina obraza. Zanima me, kakšen pomen je imel obraz skozi zgodovino. Raziskujem, kaj se zgodi z obrazom, ko se spremeni v portret. Pomembno se mi zdi vprašanje, kakšno moč imajo podobe in kako lahko vplivajo na ljudi med drugim navedem primere iz dela Davida Freedberga: Moč podob – Študije iz zgodovine in teorije odzivanja. Ker pri svojem procesu dela pretvorim analogne fotografije v digitalne, na kratko predstavim tudi témo o fotografiji in njeni zgodovini ter o razlikah med digitalno in analogno fotografijo. Napišem definicijo slikarstva in navedem nekaj primerov, kako se lahko fotografija in slikarstvo med seboj povezujeta. Temu sledijo reprodukcije mojih slikarskih del, kjer predstavim tudi referenčne umetnike, ki ustvarjajo na podoben način. This MA thesis is based on deformed family portraits. In the first part, I study the face and how it is portrayed and reproduced, which is addressed in Hans Belting's Faces: Une histoire du visage. I want to determine the significance of the face through history and study what happens to the face once it is transformed into a portrait. I find it important to address the power of images and their effect on people among others, I list examples from David Freedberg's The Power of Images: Studies in the History and Theory of Response. As my work process entails transforming analogue photographs into digital photographs, I also discuss photography, its history, and the differences between digital and analogue photographs. I then define painting and list some examples, showing how photography and painting can be mutually linked. I go on to portray reproductions of my paintings, presenting also referential artists who adopt a similar approach to art.

V diplomskem delu z naslovom “Fotografija na različne materiale” je fokus na različnih alternativnih postopkih, materialih, tehnikah, emulzijah, ki nas pripeljejo do željenega končnega rezultata. Vsak način je edinstven in zahteva določeno znanje ter raziskovanje, in v nekaterih primerih ni vse odvisno od nas samih in našega dela. Velik vpliv na rezultat ima tudi okolje, v katerem ustvarjamo. V prvem delu je predstavljena teorija, ki je bistvena, da se lahko potem v drugem, eksperimentalnem delu, izvede. Veliko informacij je bilo pridobljenih iz opisa v knjigah, na spletu, zelo veliko znanja pa je bilo pridobljenega od fotografov, ki so te tehnike tudi sami preizkušali in vsak pogovor z njimi je prinesel nova spoznanja ter pustil odprtih mnogo vprašanj, s katerimi smo se potem ukvarjali v eksperimentalnem delu diplomske naloge. Rezultati v tem delu so bili večkrat drugačni od pričakovanj, zato je bilo potrebno postopke, kar večkrat ponoviti, potrebne spremembe pa analizirati za željene rezultate. Namen naloge je bil raziskati nove, alternativne tehnike, ki so dostopne vsakemu posamezniku željnemu ustvarjanja. Vprašanje je bilo, kako združiti različne materiale in emulzijo, zraven pa vključiti tudi naravo. Namen je bil najti tehnike, ki so zanimive, s katerimi lahko ustvarjamo v domačem okolju in ne vsebujejo škodljivih kemikalij, a nam še vedno dajejo velik del svobode pri kreativnem delu. Bistvo vsega je raziskovanje in ustvarjanje, saj to osmišlja življenje in nas postavlja pred nenehne izzive, razmišljanja in nas ohranja žive. In the thesis titled “Photography on different materials” we encounter various alternative procedures, materials, techinques, emulsions, which can provide us with the desired result. Each method is unique and requires a certain amount of knowledge and research. In some cases not everything depends on the person and the person’s work, but often the environment influences the final result. In the first part of the thesis, we looked into the theoretical aspects, and that allowed us to dive into the experimental part. Some information can be gained from books and online, as well as from photographers, who had tried these techniques. Each conversation with them brought new insights but left unanswered questions, which we tried to answer later. Many results came out different than I had expected, so we repeated the procedures as many times as possible to find the best results. The purpose was to find new, alternative techniques, which are accessible to anyone who’s eager to try them. The task was combining various materials and emulsion and it was important to also include nature. We wanted to find techiques, which are interesting but not harmful. The goal was to find techniques that can be used at home without any special equipment and those that give us freedom and allow creative work. The essence of it all was exploring and creating – basically what makes our lives more beautiful, represents a challenge to us and makes us feel alive.

V diplomskem delu je opisan postopek analize uporabe fotografije na družbenih omrežjih, pri katerem je bila uporabljena tudi anketa. Predstavljen je razvoj od umetniških risb skozi zgodovino, od prve nastale fotografije in nadaljevanje razvoja fotografije do današnjega dne, ko se je fotografija razvila do te mere, da ima vsak pametni telefon vgrajeno kamero. Opisan je postopek razvoja umetniških del do njihove digitalizacije in dostopnosti objavljenih fotografij vsem z internetnim dostopom, po celem svetu. Navedene so aplikacije družbenih omrežjih, ki se uporabljajo za deljenje fotografij in njihov namen za uporabnike. Opisan je vpliv njihovega obstoja oziroma vpliv različnih fotografij, ki jih uporabniki teh aplikacij delijo v svet. Omenjeni so tudi programi in aplikacije, tako brezplačne kot plačljive, ki ponujajo možnost manipuliranja fotografij, tako na računalniku kot na telefonu oziroma drugih pametnih napravah, ki jih nato z uporabniki delijo na družbenih omrežjih. Predstavljeni so profili Instagram uporabnikov, ki uporabljajo tako izvorne fotografije, kot zelo obdelane, oziroma obdelane na naraven način, za lažje predstavljanje raznolikosti objavljenih fotografij. V podkrepitev navedb diplomske naloge je bila izvedena spletna anketa. Pokazala je kakšna vrsta fotografije je ljudem bolj všeč, izvorna ali naravna fotografija brez obdelave. Dodatno je tudi osvetlila, kateri dejavniki še vplivajo na izbiro določene vrste fotografije (spol, starost, aktivnost na družbenih omrežjih ...) in kako velika je razlika v odgovorih. Grafi in stolpičnimi diagrami s podatki iz ankete prikazujejo razlikovanje in ujemanje odgovorov pri obeh aplikacijah, ki so bili uporabljeni pri anketi – Instagram-u in Facebook-u. In this graduate paper, the procedure of analysis of photo usage on social media, including the survey research is presented. The development through history from the first photograph taken and how photography continues to evolve to the present day, when it is expanded to such an extent that each smartphone has a built-in camera is described. The process of art development, to its digitalization and accessibility of those published photographs all over the world, to all with internet access is described thoroughly. The applications, that are used on social networks used for photo sharing have been presented, as well as their purpose for users. The influence of their existence and the influence of various photos used on these applications by users to share in the world, is described. Furthermore, the applications, free and paid ones, that are made for editing photos on smartphones and computers, which we later upload on social networks, have been listed. The profiles of Instagram users, that post original, processed and processed photos with a natural look, have been presented for easier visual presentation of photo diversity. In the end, the survey was used to analyse what kind of photography people like more, edited and manipulated or natural photography without retouching. It was found out which factors also influence the choice of a certain type of photography (gender, age, activity on social networks ...) and how big the difference in the answers is. Graphs and bar charts were used to show the differentiation and matching of responses in the two applications we used in the survey - Instagram and Facebook.

V diplomski nalogi se bom ukvarjala s tem, kako s pomočjo fotografije prikazati, za kakšno duševno stanje oziroma duševno motnjo gre. Ukvarjala se bom z upodobitvijo krhkih vizualnih podob, ki jih bom dosegla predvsem z napakami v fotografskem postopku in z uničevanjem filmskih negativov. S svojo fotografsko serijo želim prikazati mentalna stanja in občutke, ki jih posameznik doživlja pri določeni duševni motnji. S svojim diplomskim delom želim bolje spoznati duševne motnje, jih analizirati, in to upodobiti skozi avtorsko serijo fotografij. Raziskovala bom avtorje, ki se ukvarjajo z duševnimi boleznimi, zgodovino upodabljanja duševnih bolezni v umetnosti, duševne motnje in na kakšne načine jih lahko prikažemo s fotografijo. My thesis highlights the depiction of mental illness and state of mind through photography. I will be exploring fragile visual representations and portraying them mostly by errors in the photographic process along with destroying the negatives of the film. The intent of my photographic series is to illustrate various mental and emotional states as experienced by individuals with a specific mental illness. In my thesis I want to learn about various mental illnesses, analyse them and portray them through my original photo series. I will focus on authors who are exploring the complex issues of mental health and emotions through photographic projects and artworks, depiction of mental illness in art history, mental illness in general and how to depict them with photography.

Fotografija velja za najbolj konkretno referencialen medij, ki beleži čas in zaustavlja podobe, ki so se v določenem zgodovinskem trenutku znašle pred objektivom. Ravno zaradi pričevanja o eksistenci določenega pojava ali bitja, sem si jo izbrala kot glavni navdih pri utemeljevanju večkrat problematične dokumentarne praznine v zgodovini žensk. Želela sem pokazati, da fotografije lahko zapolnijo takšen manko, če si prizadevamo in jih iščemo. Kot vir pričevanja ima svoje omejitve, saj je potrebno upoštevati vedno prisotne tendence fotografa in kontekst, v katerem je bila fotografija posneta. Dokumentarnost tako ni nujno tudi objektivnost, pač pa vrednotenje določenega trenutka, ki si ga je izbral fotograf in ga označil kot vrednega fotografiranja. Slednje se je pomembno zavedati sploh v času druge svetovne vojne, za katero lahko trdimo, da je bila tudi vojna podob, v kateri je videz odigral pomembno vlogo. Zanimala sta me predvsem (partizanska) vojna in povojna izkušnja žensk ujeta na fotografijah, saj gre za prelomno obdobje, ko ženske stopijo iz sfere zasebnost v javnost. V delu raziskujem predvsem ozadje fotografij pri liku bork in pri liku (partizanskih) mater. Vodilo me je vprašanje, koliko so bili revolucionarni koraki res revolucionarni in koliko tradicionalni v novi povojni preobleki. Kot dragoceno nahajališče izbranih fotografij se je izkazala fototeka Muzeja novejše zgodovine Slovenije. Z izbrano literaturo sem podkrepila historično ozadje fotografskih podob. Photography is considered to be paramount reference medium that records time and stops images in front of the lens at the certain historical moment. Because of the testimonies of the existence of a certain phenomenon or being, I chose it as the main inspiration for the often problematic documentary gap in the history of women. I wanted to display that photos can fill such documentary gap, but we have to strive and seek them out. As a source of testimony, it has its limitations, as the photographer’s tendencies and the context in which the photograph was taken are always present. Documentarity is thus not necessarily objectivity, but the evaluation of a certain moment, chosen by the photographer and marked as worth photographing. The latter is important to be aware of at all during the Second World War, for which we can argue that the war, in which appearance was played important role. I was mainly interested in the (partisan) war and the post-war experience of a woman captured in photographs, as this is a turning point when women stepped out of the sphere of privacy in the public. In this work, I mainly explore the background of photographs in the character of the fighters and in the character of (partisan) mothers. I was guided by the question of how revolutionary the revolutionary steps really were and how traditional in the new post-war disguises. The photo library of the Museum of Modern History of Slovenia has proved to be a valuable location for selected photographs. With selected literature, I reinforced the historical background of the photographic images.