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Over more than 30 years of commercial and fine art photographic practice, I have often noticed remarkable disparities between the scenes, objects, events or moments 'out there' I had attempted to record – and the images within the resulting photographs. These (sometimes subtle, sometimes profound, but rarely anticipatable) disparities between what I had seen and what the photograph shows me offer the tantalising suggestion that there may be something else going on here – but something which the popular conception of photography may hinder our ability to recognise. This article explores the implications of four central assumptions implicit within the popular conception of photography that may impede alternative ways of thinking about photographic practice. Supported by a number of photographs that depict scenes, events and 'moments' that I will argue were not 'taken' but were instead created by the act of photographing them, I will suggest that new opportunities for practice may be available by 're-imagining' the practice of photography as an active – or as an act of – collaboration between medium and practitioner. [ABSTRACT FROM AUTHOR]

Copyright of Études Françaises is the property of Presses de l'Universite de Montreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Croma is the property of Revista Croma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the difference in artistic and non-artistic photography and focuses on the work of photographer Louise Lawler. The author discusses photographs as artworks or documentation and suggests that Lawler's photographs of artworks and art exhibitions can be considered artworks on their own. Specific topics addressed include the photography of Larry Qualls as non-artistic, sociological aspects of photography as art, photography in comparison to other artistic media, and the aesthetic value of photographs.

Virtual Reality (VR) has absorbed a great deal of attention in new media research. However, it is not always welcomed, especially with respect to the odd experience of dealing with the virtual world it provides. This paper is an attempt to understand the fear of VR by taking photography as a parameter. By discussing the importance of materiality in visual communications, photography's taking process and VR's making process, and two types of realities (i.e. the indexical and the simulacral) provided by photography and VR respectively, this paper analyzes the reason for the fear that VR has aroused, and suggests a critical though tolerant attitude towards VR and photography. [ABSTRACT FROM AUTHOR]

This paper focuses on the International Photographic Exhibition (Iphad), held in Dresden in 1909, offering a case study to illustrate the dynamics of exhibition practice during a time of dramatic artistic and social shifts. By the end of the 1920s, a movement known as the 'New Vision' had emerged in Germany and was on its way to becoming an international style, largely through its exposure in high profile exhibitions such as Film und Foto. The New Vision rejected the pre-war mode of Pictorialist photography with its reliance on static subjects and methods borrowed from nineteenth-century painting. But rather than being a sudden development of the late 1920s, the new ways of exhibiting photography that fed into the New Vision's expansive and non-hierarchical approach can be traced back to Iphad, where critics were stunned by the sheer variety of material on display. This earlier critique of Pictorialism was sociocultural as well as technical in character and involved dialectics of juxtaposition, rigorous debates, and jockeying for influence, as is demonstrated through analysis of accompanying publications, installation shots, and published critical reception. This establishes the developmental roots of many elements of the New Vision and its display before it gained international prominence at Film und Foto, particularly the mixing and equating of scientific and artistic photography in exhibitions. The purpose of this paper is to show the complexity and social engagement of art historical shifts and to demonstrate how exhibitions, including those previously under the radar, can often hold a key to understanding these changes. [ABSTRACT FROM AUTHOR]

This article studies Paul Valery's personal reflection on photography, as it appears in his essay “Le Discours du Centenaire de la Photographie,” based on a speech given at the Sorbonne in 1939 to members of the French Academy. It stresses the relationship between this essay and the French poet's writings on painting and aesthetics, in particular his work on Corot. Moreover, it analyzes the synthetic character of Valery's critical approach, which attempts to bring together the language of poetry, philosophy and science when dealing with this utterly modern visual language. Photography is celebrated here as a unique art form that can at the same time imitate and reproduce nature perfectly, while allowing mankind to create a cosmological vision of life and the universe. In other words, the poet underlines in this text the utmost modernity of photography, at a time when many in France were still reluctant to acknowledge its artistic identity. [ABSTRACT FROM AUTHOR]

The article discusses the photography of Walker Evans during the twenty years he worked for "Fortune" magazine. The article notes that Evans emphasized the need for artistic freedom, yet worked best within an organizational structure that he could use as a departure point for his more personal approach to photography. Evans was hired by "Fortune" due to his earlier work depicting individuals in depression-era West Virginia while working for the Farm Security Administration (FSA). At "Fortune" he worked in an atmosphere that glamorized modernist corporate atmospheres but went against the grain, enlarging or narrowing the context to portray a contrary viewpoint. Known as a leftist, he insisted on keeping his photography free of politics. Resisting stereotypes, he focused on individuals.

The article reveals how the author became interested in the street theme in his practice of photography during the 1970s. The author was influenced by minimalist abstract art of the New York School artists. Also, an expiation catalog of photographs by N.E. Thing Co. has inspired him to venture into photoconceptualism. He also developed an interest in the conceptual approach to photography as opposed to fine art and formed a passion for the photography of the urban environment.

The article reports on fourteen reasons for a turn toward a new kind of photography in Vancouver, British Columbia. The reasons include universities' rationalization of cultural production, the development of mass-media as an image-economy; the neglected role of the University of British Columbia and the modernist painting and architectural and design movements. Also cited as reasons are the shifting of post-world War II from Main and Hastings as the downtown center to the Granville and W. Georgia area, the development of the art world as an independent economic and cultural field.

The article presents biography of Dr. Peter Henry Emerson Bequest taken from the Royal Photographic Society Collection, National Museum of Photography, Film and Television, Bradford. Dr Peter Henry Emerson, studied medicine for ten years, but came to prominence in pictorial photography, where his work acknowledged by the award of the Progress Medal of The Royal Photographic Society in 1895. Emerson's interest in art history had encouraged him to purchase a camera in 1882 and to study photography. Emerson explored camera techniques that attempted to replicate the way scenes were viewed by human vision. In practical terms, he determined the point of attention in a scene and then selected the appropriate plane of focus. He also made use of his specialised training by controlling the darkroom stages carefully. The correspondence is contained in the Driffield Bequest, which is part of The Royal Photographic Society Collection at the National Museum of Photography, Film and Television, Bradford. Emerson's letters are handwritten and are very difficult to read. In many instances, Driffield has had to append his own manuscript notes in unravelling key phrases.

The article examines the close relationship between creativity and technology in photography. Many critics suggest that photography is experiencing a artistic transformation by incorporating modern visual culture related to the media. Artistic photography, like painting, is composed of selecting a subject and organizing its internal elements from a formal point of view. The difference, however, is that in photography the image is processed instantly. The article explores how contemporary photographers are reinventing the artistic recognition within photography.

Focuses on photography as an art form. Photographic themes; Principles of homeostasis; Photography as a mechanical reproduction of art; Psychoanalytic understanding of photographs; Review of the book `Camera Lucida,' by Roland Barthes.

A theoretical construct of a category system for interpreting photographs is presented as a means to add specific considerations about the unique medium of photography to existing instructional art criticism formats, and to current research in art criticism questioning strategies. Past categorizations of photographs are critiqued and a new category system is offered which asks viewers to consider photographs as if they were analogous to various types of language statements: descriptive, explanatory, interpretive, ethically evaluative, aesthetically evaluative, and theoretical. [ABSTRACT FROM AUTHOR]

The article discusses photography as provider of both knowledge and art. The author mentions that photography provides objective information as well as subjective aesthetics that made it producer of art and knowledge. He explains that photography is also a product of the combined art and science with the advances of chemistry and geometry. The author also explains the distinction of pictorial photography and photography of records. He explains that photography of record provides clear and precise information while pictorial photography provides clarity of composition.

The article reports on the French photographic constructions of Australia by a Parisian artist Antoine Fauchery. It notes that Antoine has revisited Australia in 1857 to honor a promise given to the French Ministry of Public Instruction and Worship to supply written and photographic accounts of sites of interest in the region. The artist's reputation is based on his short term photographic partnership with geologist Richard Daintree in 1855. Furthermore, another photographer Jacques Villenimot and his wife Betty-Paule, began working together writing books and making films on Australia in 1954.

The article focuses on Max Dupain's "The Sunbaker." The Sunbaker depicted an image of a body of a man, with droplets of water, that lies on the beach of Culburra, New South Wales. It is known as the "Australian icon", as referred by the local press. Photographs of other artists that is compared to "The Sunbaker" is presented. "Bondi", a picture of what seems to be two giant individuals -- a male and female -- made by Dupain is also discussed. The author mentions that Dupain developed the concept of modernist photography, where New photography and documentary techniques is applied through Australian subjects and settings.

The article focuses on the impact of the American arts and crafts movement in the U.S. in the nineteenth-century. It is stated that the art movement was launched in the mid-1890s depicting the concept of simple life while criticizing the disturbing effects of the industrial revolution. As a response, almost every aspect of human activity was touched by the arts and crafts movement. Accordingly, camera clubs and photographic magazines progressed wherein numerous amateur photographers arose. The author denotes that the movement fostered a widespread revival of American handicrafts. Photographs concerning the crafts and art works during the period are also presented.

The article provides an iconographic analyzes of the art photography. According to the author, in re-examining the celebrated phenomenon of art photography, the location of the art work is crucial to the prestige and the livelihood of the artist. He also mentions that rural, urban and family idylls completely describe the extent of the art photographic iconography. While art photography is rarely a match for high art by any strict standards, the situation changes if an individual looks at pictorial photography in relation to the decorative arts. Several photographs from different known photographers are also presented.

The article discusses the history of art photography. It started with the sphere of popular snapshooting, institutional infrastructure, aesthetic principles, the range and roots of iconography and the conflicts between amateur and art photographers. Its development is attributed through the emergence of the industry's rapid growth and mass manufacturing of cheap commodities. Art photographers created their own aesthetics creed and oppose the trivial snapshot production and commercial studio photography. Artistic genius has offered the powerful motivation in pursuing art photography by leading a steady escalation of art ambitions.

The article presents information on the paradoxical status of photography within the bourgeois culture based on the large range and volume of photographic practices. It is stated that the simultaneous threat and promise of the new medium was recognized even before the daguerreotype process was used. It is also stated that although photography promises nature, it also threatens conflagration and anarchy. It is further stated that photography was to be both an object and means of bibliographic rationalization. Just as photographs were to be incorporated into the realm of the text, so also the text could be incorporated into the realm of the photograph.

The article presents the summary of articles related to the history of photography that were published in several journals including "Dialogue With Photography," edited by Paul Hill and Thomas Cooper, "Photographic Vision: Pictorial Photography, 1889-1923," edited by Peter C. Bunnell and "Notes on Swedish Photography," by Jan-Erik Lundstrom.

The article discusses ways in which the 20th-century English artist David Hockney's paintings have consistently acknowledged the presence of both abstraction and photography. Topics addressed include Hockney's enthusiasm about his collage or joiner composite photographs, motifs and models that appear in his photographs, and Hockney's efforts to add layers of time to the photographic moment.

The article discusses the legitimacy of the Modernist model of photographic practice in the U.S. The 1910 International Exhibition of Pictorial Photography, provided modern photographers a platform to further promote such modernist aesthetic. Paul Strand was the first U.S. photographer to produce a cohesive modernist expression. Beaumont Newhall has launched his photographic exhibition "Photography: 1839-1937," at the Museum of Modern Art in New York City.

The article reviews the photographic exhibitions "Angela Grauerholz:Écrins écrans" at the Centre Culturel Canadien in Paris, France from November 9, 2016 to March 24, 2017 and "Regarder," at the Musée D'Orsay in Paris from November 9, 2016 to February 5, 2017.