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The article examines cinematic violence, and deals with one of the most distinctive examples of metacinema, namely, Blow up by Michelangelo Antonioni. Firstly, Blow up covers not only the the key issues of history of photography but also those of ontology. Therefore, in the article, it is returned not only to one of the pioneers of photography, William H. F. Talbot, but also to key ideas of Plato. Secondly, interpreting the notions of Roland Barthes, philosophical aspects of fashion photography are explored. Thirdly, the controversy of John Berger and Don McCullin over the issue of photography of war or agony is discussed. The article reveals Antonioni’s strategy to capture violence not directly but as a symptom or opportunity to overcome the monotony of everyday life predominant in modern society. It is argued that such access allows Antonioni to avoid the hypostasis of the status of violence, which is typical for various prophetic artistic manifests.
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A male researcher has difficulty doing research on the world seen from young girls’ point of view! This article examines the use of auto-driven photo-elicitation interviews (PEI) while engaging young girls in rural Morocco in a study of children’s role in the household in the midst of tension between tradition and rapid socio-economic changes. In this case, the article describes an example of auto-driven PEI and discusses the feasibility of this qualitative method to establish a good rapport between a group of young girls (approximately age 7 to 12) and a foreign, male researcher (age 58). The point being, the male researcher attempts to achieve insight into the children’s thoughts and views of their present situation and imagined future. The article argues for the feasibility of using auto-driven PEI for this purpose, yet applying it in a sensitive and sensible way. The road to follow is not straight forward and there are dilemmas that have to be faced in each case, for example in this case to weigh local requirements for appropriate behaviour up against a researcher’s wish for information as little as possible tainted by adult relatives or family.
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Photos can be used as supplements to written fieldnotes and as sources for mediating reflection during fieldwork and analysis. As part of a field diary, photos can support the recall of experiences and a reflective distance to the events. Photography, as visual representation, can also lead to reflection on learning and knowledge production in the process of learning how to conduct fieldwork. Pictures can open the way for abstractions and hidden knowledge, which might otherwise be difficult to formulate in words. However, writing and written field notes cannot be fully replaced by photos and visual images. Techno-anthropology students at Aalborg University, in their course titled “Portfolio in Anthropological Work,” use photography and visual abstractions for different purposes during fieldwork. This article analyzes certain excerpts from students’ portfolio works in order to show the role played by photos in their learning process. For students, photography is an everyday documentation form that can support their memory of field experience and serve as a vehicle for the analysis of data. The article discusses how photos and visual representations support fieldwork learning and analysis based on students’ initiatives and experience in using photos and photographing for a wide aspect of purposes during participant-observation.
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Although Heidegger mentioned photography in Kant and the Problem of Metaphysics, his image theory developed in that book has not yet been considered in the light of photography’s intrinsic connection with the photographic act, which I wish to put special emphasis on in this paper. Using Heidegger’s interpretation of Kant, I will first examine photographic seeing from an ontological point of view. Then, mirroring a tension in Heidegger’s early focus between a transcendental approach and the primacy of practice thesis as suggested by William Blattner, and following on from William J. Nieberding’s use of certain passages from Being and Time as applied to photography, I will further investigate the primordial practical context in which photographic vision emerges, which will help consider photographic vision as resulting from a specific shift of attitude. However, as William McNeill explains, Heidegger’s idea of a change-over (Umschlag) in seeing from initial practical sight to that of theory includes an autonomous source of the origination of theoretical vision. Thus, if photographic vision is to be considered genuinely theoretical, this compels us to explore the ‘inner source’ of seeing photographically, which I will argue depends on photographers’ understanding of camera vision.
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In the history of photography, we come across many staged and manipulated photographs. Most of these are press photos that would be intended to show as accurately as possible the recording of an event, for those who could not be there and only learn about everything that happened based on the image. The most important requirement of press ethics forums for press photos is to be as objective as possible in presenting the event. The photographer may not use any intentional image modification or manipulation to take the image. After it became clear that many of the images, we were dealing with are staged or manipulated photos, despite a lot of controversies, the reputation of the images was slightly tarnished, making the image incidental to questions about the documentary value. The photograph has become a symbol, the symbols have their own truth, believes Hans-Michael Koetzle. These cases prove that even in the case of many iconic works or photographs, the image becomes so symbolic that it adds to the background, background history and behind-the-scenes of the making of the images. They are unable to deduct anything in retrospect from the value of the work.I consider it important to examine the changes brought about by the digital revolution, both in the field of photography and in the way a press photographer works. The fundamental difference between analogue and digital images stems from the fact that although it is possible to manipulate analogue photos, we rarely encounter this, while in the case of digital images, image manipulation is the default.
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Social media have gained traction in advertising campaigns for luxury and fashion clothes using influencers, who shape trends of photography. To remain competitive, however, influencers depend on how they convey authenticity, which largely relies on the key visual elements of the photographs they post in social media. The purpose of this study is to explore the visual elements of photography used by social media influencers and to compare the main photography trends in digital media. Specifically, it aims to shed light on how new photography trends such as urban background style and fashion models with large body sizes produce effects on consumers. To accomplish this objective, an online experimental setting was prepared to compare the effect of an urban versus a solid background and a fashion model with a large versus a thin body size on perceived authenticity and purchase intent. The research finds that urban background and large body size of model significantly increase digital engagement. These results are in line with the research hypotheses that allude to the perception of authenticity as the key construct behind the effects on digital engagement. The inquiry also evaluates the interaction effect of the urban background and large body size of the model on perceived authenticity. In doing so, the present research examines the mediation role of perceived authenticity on the intention to buy. The results contribute to update theory about the influencers’ role on digital engagement and photography trends in social media. It also shows that perceived authenticity exerts a mediating role between visual elements on purchase intentions.
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Saulius Kruopis (b. 1960) is a Lithuanian painter, photographer, and organizer of plein air paintings. After graduating from Šiauliai Children Art School, in 1975–1980, he studied art design and photography at the Kaunas S. Žukas Applied Art Technical School (now Kaunas College, Faculty of Arts and Education) under the guidance of passionate orientalist photographer Mindaugas Dapkus, photography master Povilas Karpavičius, and painter Donatas Valatka. Later, in 1987–1993 Kruopis continued his studies at the Department of Painting of the Vilnius Academy of Arts (VDA) under the supervision of Linas Katinas. In the period from 1988 till 1991, he regularly participated in the creative activities of the artists’ group “EA” (later known under the title – “Good Evils“). The spiritual evolution of Kruopis had been significantly influenced by two creative visits abroad. The first one had happened in 1992. It was a three months long internship in Loburg Castle, Münster, Germany. It encouraged Kruopis to revive Nida’s Artist Colony. The second three months creative scholarship visit he spent in India, in the cities of Maya, Jaganatha Puri, Vrindavan, and Madhura. These cities with their splendor of marvelous temples reinforced the orientalist orientation of the artist. This visit happened in 1996. Since 1995, Kruopis started annual international plein air paintings in Nida. In 1999, he established the expressionist artists’ association “Bridge”, which continues the traditions of the German expressionist group “Brücke”. Eventually, he became a member of other organizations: Lithuanian Artists’ Union (since 1995), the Lithuanian-Indian Community (since 1996), the Esslingen (Germany) Painters’ Guild (since 2006), the Europa-Focus Artists’ Association (since 2013), and the ARS Arrakoski Gallery of Baltic Artists in Finland (since 2014). Kruopis also writes diaries, philosophical essays on issues of artistic life and publishes them in the Lithuanian as well as the international press. Kruopis took part in over fifty plein airs in various countries and arranged more than ninety personal and 570 collective exhibitions. His paintings adorn many interiors in Lithuania and abroad. They can be seen in many private and public art collections such as the National Art Museum of Armenia, the Kaliningrad State Art Gallery, the Pope John Paul Museum in Krakow, and the Darsa History Museum in Prerow, Germany.
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The objective of the article is to analyse the background of dramatic discussions about the aesthetics of academic naturalism and the programme of New Objectivity in photography and possibilities of their media reflection. This turbulent opinion period was primarily accompanied by attempts on separation from the academism of fin de siècle, mainly through reflection in professional journals of the interwar period of the 20th century that discussed the visual language of the photographic medium within amateur photography, the retreating influence of the impressionist and naturalistic photography, and the ever-growing dominant programme of New Objectivity that combined elements of expressionism, dadaism, and surrealism. The study compares disputes in Czechoslovak journals to disputes within Europe (England, Germany). However, to a certain extent, these aesthetic disputes also stemmed from personal preferences of a programme that individual authors professed. The main objective of the article is to clarify and examine the principles of the disputes, as well as the period in question, which was significantly affected by technological progress of the press and especially by the arrival of the cheap and new system cameras.
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Narration as such does not appear only in literature or spoken language; on the contrary, it is implied in all kinds of art and communication. Although, generally it is a sequence of events in time and a photograph is “only” a freezing of o single moment, it is also capable of telling stories. We can, therefore, propose a thesis that narration is one of the main creative and communication components of this medium. What is a narrative or storytelling, how is a story, narrative, and narration defined by different authors? Addressing a reflection of this topic in the Slovak science appears to be difficult from the start – it remains to be a problem that because we have not been able to find narration in connection to photography in domestic publications, we are working only with relevant foreign sources. We believe that the following pages could become a foundation for further studies.
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War losses in Gothic sculpture in Greater Poland are discussed. Two collections of old photographs the Author gained access to in 2013 are analysed. One of them documents historic sculptures from different regions in Poland, however mainly from the country’s north. The second collection is predominantly a testimony to Gothic sculptures from Greater Poland from before WW II. In both sets 20 presentations of lost or irretrievably damaged, yet previously unknown in their appearance, Gothic sculptures have found and identified. The first collection of photographs was amassed immediately following WW II by Aleksandra Świechowska, while the latter was created by Alfred Brosig (d. 1940) who himself photographed the historic pieces. The controversy over taking photos of historic monuments, which took place in 1936 in the course of the exhibition Greater Poland’s Gothic Fine Arts between its authors: Poznan University students, and Alfred Brosig documenting the historic art pieces brought for the exhibition is discussed. That was the occasion when the most precious segment of Brosig’s collection was created. Both sets of photographs are of high documentary value, and the circumstances of their discovering are described.
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The goal of the paper is to present photographic collection belonging to the Archive of Greater Poland and Masovia Province of the Society of Jesus. In recent years an increased interest in photographs can be observed among both professional historians and history enthusiasts alike. The Archive’s photographs document period from the beginning of 20th century to current day. First and foremost the present people: Jesuits of all levels of the Order’s hierarchy, important historical figures of Poland and the Catholic Church and lay people connected to Jesuits. Second group of photographs is the pictures of buildings belonging to Jesuits and their institutions and works, then documentary photographs of important events in Polish history. The paper concludes with presentation of photographs made by Jesuits-enthusiasts of photography.
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The holdings of the Archives of the Lutsk Diocese, held in the Centre for Church Archives, Libraries and Museums (ABMK Centre), are fragmentary and consist of the documentation produced from the Second World War until the 1960s, i.e. the death of the Ordinary Bishop A. Szelążek in Zamek Bierzgłowski in 1950 and the subsequent activities of the Lutsk priests. The archival holdings were arranged after their transfer to the ABMK Centre. As they were in total disarray, the inventory work was tedious and lengthy. The arrangement and description of the photographic documentation in accordance with archival methodology required, among other things, the identifi cation of people, places and determining the dates of taking photographs. Currently, the collection of the Archives of the Lutsk Diocese contains 434 photographs in four record groups. The record groups of legacies and iconographic collections hold the largest number of photographs. In the other two record groups, namely the Lutsk Theological Seminary and the Lutsk Cathedral Parish, photographs constitute a marginal number of non-textual material. The photographs immortalize the Catholic clergy of the diocese and the bishops of Lutsk as well as sacral buildings (Catholic and Orthodox churches) or important social and religious events. There are also photographs of secular origin, depicting, among others, Dr Tarnawski’s Natural Medicine Institution in Kosovo. The photograph collection, as well as all the records of the Archives of the Lutsk Diocese, is not made available due to its poor state of preservation. All the archival holdings of the Lutsk archives are intended to be digitalized and made available in digital form.
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The beginnings of the Tarnow diocese date back to the end of the 18th century. From the beginning of its existence, the diocese collected documentation, which became the basis for its later historical archive. However, an independent institution of the Diocesan Archives in Tarnow was established only in 1959. Until the 1950s, all documents of historical value were deposited in the premises of the Diocesan Curia in Tarnow and in the diocesan museum. The biggest breakthrough in the history of the archive took place in 2009-2015. At that time, the institution underwent a thorough revitalization, during which the entire archival resource was inventoried and put in order, including the separation of 14 photographic departments. They are diversified in terms of subject matter, volume and form of recording the photos. In 2015, the photographic documentation in this archive totaled 33.32 linear meters. These collections also include items (photographs, groups of photographs) concerning the issues of education and upbringing. They are of great cognitive value and should be taken into account as iconographic sources in the research of historians and educators dealing with these issues. The article contains a separate list of 300 such items that may be useful from the perspective of researchers of the history of education and upbringing. The list will help them with the query in the Tarnów diocesan archives or will encourage them to carry it out. The article also discusses examples of such documentation in the form of “collections” dedicated thematically: the history of the Catholic Association of Women Youth in the Tarnow diocese, the Small Theological Seminary in Tarnow, the Primary School in Wojakowa and the biography of the Servant of God Stefania Łącka.
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The holdings of National Digital Archives include photographs taken and collected by photo agencies, Polish leading professional photographers, photojournalists and amateur photographers. Photographs stored in archive can be a separate groups and can be also parts of other fonds of files. In my article I will discuss the topic of archival fonds (collections) containing only photographic documentation. The methods of proceeding with archival materials are regulated by normative acts of the director of the Head Office of the State Archives: directive no. 7 of 30 January 2018 regarding registration of archival holdings in state archives and also directive no. 8 of 30 January 2018 about registration of archival fonds and creating and accepting of inventories for fonds (collections) in state archives. The directive no. 3 of NDAP of 9 September 2019 regarding rules of archival arrangement and developing of photographic documentation in state archives orders especially the method of processing of photographs. Photographic collections should have records. When the condition of photographs raises doubts, and also makes troubles during digitalization, it’s required to consult qualified conservator and, if needed, perform conservation. Recording and digitalization, with simultaneous repackaging to protective packaging are the next steps of work on archival fond (collection). Also the archival value of processed materials is rated during those works. The introduction to archival inventory contains information complementary to possessed knowledge about materials in fond (collection) and about their author (maker of collection). For all those works is best to use Integrated System of Archival Information (Zintegrowany System Informacji Archiwalnej, ZOSIA). In National Digital Archives are stored archival fonds and collections regarding church topics. In my article they are discussed due to interesting content, method of archival developing and description, issues of copyright and possibilities of further usage by users of archival holdings and rating of archival value. Those fonds are mainly: 3/19/0 Collection of photos regarding church celebrations of Millennium of Polish Baptism, 3/43/0 Photographic archive of Stanisław Porembski, 3/76/0 Collection of photos regarding beatification celebration of priest Jerzy Popiełuszko in Warsaw, 3/78/0 Collection of digital copies of photos regarding Benedictine abbey in Tyniec, 3/82/0 Collection of Marian Romaniuk regarding Primate of Poland cardinal Stefan Wyszyński.
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The article discusses the issue of the state of photographic documentation accumulated in the Archives of the Archdiocese of Częstochowa. It is held in two rooms (storeroom number 2 and research room number 2). In the first room, it forms a photograph collection (built up over many years and consisting of 536 albums and 4484 photographs), and in the second one, it is included in five record groups which are the archival legacy of deceased clergymen (15 albums and 1104 photographs, including 175 in a digital version). This documentation is arranged in two sections named: Non-Textual Material and Files of the Clergy, which are part of Department II containing documents and files produced by the institutions of the (archi)diocese of Częstochowa. As a result of the arrangement and inventory work, 881 items were separated and combined into specific groups and collections, for which appropriate inventories were produced. However, many photographs remain unidentified, therefore further stages of inventory work are delayed. Research conducted so far has revealed that all the photographic documentation has been well preserved and its content is of high historical value.
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This article presents a collection of historical photographs in the Diocesan Archives in Zielona Góra, which holds not only photographs documenting the ecclesiastical life of the diocese of Zielona Góra and Gorzów, but also those acquired from secular institutions and laypeople. The study aims to show the process of building up this collection (since 2003). The publication focuses on the creation of the Zielona Góra Diocesan Archives and presents an inventory of the photographic documentation, as well as a method of preserving and making it available to searchers. As of 31 July 2021, the photograph collection (group no. 50) comprised 12,488 items. An electronic inventory of the photographs is available on the website of the Diocesan Archives in Zielona Góra. The collected visual documentation is an open collection, to which successive photographs are still added. As far as recommendations are concerned, the entire collection should be digitalized in the future. This article is the first publication on the photographs in the holdings of the Zielona Góra Diocesan Archives and is a contribution to more detailed research. This study could be useful to researchers working with visual sources, notably regional and church historians as well as those who are passionate about old and new photographs.
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The collection of the archival photographs in the Diocesan Archives in Kielce contains 480 archival items relating to the history of the Kielce diocese. The photographs were taken in the 20th and 21st centuries, but there are also those depicting people who lived at the turn of the 19th and 20th centuries. The photographs are annexes to the documents produced by the offices of the Diocesan Curia in Kielce. Some of the photographs are legacies of the clergy. The photographs analyzed in this study should be referred to as „photographic documentation”.
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The Provincial Archive of Bernardine Fathers in Cracow and the Archive of Bernardine Monastery in Kalwaria Zebrzydowska have the largest collection of photographs which document the history of passion-marian sanctuary of Kalwaria Zebrzydowska. In 1999 the complex was added to the UNESCO list of World Heritage Sites and since 2000 it has been recognized as a Polish historic monument. Hence, it is appropriate to depict the photographic legacy of the Sanctuary in the present article. Most of the collections of photographs require studies and digitalization. They are pending to be published online. Lots of photographs in the Provincial Archive and in the monastery’s archive require ordering. They are scattered mostly in the Provincial Archive over the personal records of particular monks. Hopefully, soon they will find their place in the National Digital Archives, formed in 2008, which stores the biggest collection of photographs.
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