Jak se mohou navzájem ovlivnit dvě naprosto odlišná média, jako jsou fotografie a psaní? Tato práce si klade za cíl odpovědět na tuto otázku. Hlavní myšlenkou této práce je určit vztah mezi poezií a fotografií. Pár vybraných fotografií poslouží jako příklady a budou podrobeny rozboru. Práce je rozdělena do pěti kapitol, přičemž první část tvoří Úvod, druhá kapitola podává základní shrnutí obou médií. Třetí kapitola se zabývá rozborem prací japonského fotografa Masaa Yamamota. Čtvrtá kapitola rozebírá několik vybraných příkladů fotografií, které jsou nahlíženy metaforicky. Poslední, pátá kapitola přináší výsledek zkoumání této práce a shrnutí, jak se navzájem ovlivňují poezie a fotografie v dějinách a v tvorbě.

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The aim of this thesis is to describe selected modern trends in photography and show their impact on society. The thesis describes the history of photography, sorting of digital cameras, and selected trends such as DSLR, mobile phones, selfie phenomenon, Polaroid, Lytro and aerial photography. In each trend there will be examples, users and financial demands.

Die Magisterarbeit stellt die Frühzeit der Fotografie in Würzburg dar, erarbeitet auf der Basis archivalischer Quellen wie Zeitungen, Adressbücher und Einwohnermeldebögen. Ausgehend vom ersten nachweisbaren Wanderfotografen im Jahr 1843 und den frühen ansässigen Fotografen ab 1849 wird ein Überblick über die Fotografiegeschichte in Würzburg bis 1933 gegeben. Für diesen Zeitraum sind mehr als 150 Fotografen nachweisbar, die alle in Kurzbiografien beschrieben werden, sowie etliche Fotoalteliers und Fotogeschäfte. Es werden kultur- und sozialgeschichtliche Aspekte beleuchtet, so etwa, dass die Fotografie zunächst von außen ins katholische Würzubrg gebracht worden war, oder die Berufsherkunft der frühen Fotografen sowie die die Bedeutung von Fotografinnen. Die Weitereentwicklung von Techniken und Verfahren sowie die Preisentwicklung bestimmten den Weg der Personenfotografie zum kommerziellen Mengenprodukt.

Large format photography refers to the photographic practice that utilizes a large light sensitive surface to capture photographs. As of 2018, large format photography is still a subset of analog photography. The digital revolution brings us into the digital era. Manufacturers and businesses in the photography industry is forced to adapt the transition from analog to digital in order to survive and succeed in the new market. Meanwhile, photography theorists find themselves facing a new set of issues because the photographs have become immediate and immaterial. While camera manufacturers have in effect accelerated the analog-to-digital transition with their proactive business strategies and relentless marketing campaigns, higher education has become the last bastion for the analog where large format camera classes teach students the tradition of photography and how to see the world contemplatively.

The aim of this diploma thesis was exploration, interpretation and proposing of the preventive care of photographic fund from the state castle Grabštejn. The theoretical part is generally dedicated to the funds and collections administered by the National Heritage Institute, their destiny after the 2nd World War and the historical context which caused movements of these funds. A separate chapter is also devoted to the methods of exploration of the funds and collections. The second part of this thesis focuses on the history of the Grabštejn castle and its last owners - the Clam-Gallas family, with whom the preserved photographs are associated, and on the transport of the funds in the postwar period. The thesis follows the main journey of the photographic fund and related archival materials from the Grabštejn state castle to the collecting sites, museums and archives. Therefore the survey also took place in the National Museum Archives, the National Archives, the Institute of Art History of the Czech Academy of Sciences and the State Regional Archives in Litoměřice. The fundamental part of the survey was carried out in the castle Grabštejn. There were also studied the specific climate conditions for the photographs, which differ in the castle from the classical museum and archival depositories. Measuring of humidity and temperature was evaluated at the end of the thesis and recommendations for the preventive care were suggested.

Susan Sontag’s reviews and descriptions of agony images is the keystone of war photography. From On photography(1977) to Regarding the Pain of Others(2003), Sontag wrote about how agony images could affect the majority of people. Media ruled photographs and used them as its own container. Through her book, the passiveness of the audiences was examined. She criticised the way of how people looked at an agony image. According to her, audiences constantly consumed other’s pain if the they are far away. She judged repeating formats and simplified messages from media which numb the sensation of people, the surfeit of similar horrendous images turned an audience into a consumer. “Is a photograph ever “real”? she asked. Firstly, within in my thesis I would like to to examine the relevancy of Sontag theory, her interests in emotion in charge of atrocity and pain. To found out the possible respond of the audience, in respect to war in contemporary art photography. When artists have the chance to turn their camera from those atrocity on sites, what could be the differences in audiences’ reactions from traditional war photojournalist. Moreover, Sontag’s concept “the audience as consumers” will be traced back to its basic elements. To scan the particular words and phrase which Sontag used in her two books. Secondly, use Regarding the Pain of Others(2003) as a starting point of the timeline, then search for the critical thoughts which against or support Sontag’s words during the decade. Furthermore, use different concepts of the agony images to examine the remarkable singular atrocity images and the art works relate to war and atrocity. To explore the change according to the interaction between atrocity and contemporary photography and their audiences. After all, use the dialects between the theories and the war in contemporary art photography to extent the perspective from Regarding the Pain of Others(2003) to get closer to our time — to build the the reference of how to see an agony image.

This Master's Thesis is focused on evolution of photography with focus on photojournalism and documentary photography and aims to prove that this genre, though it may seem that it's currently on the decline, is still important. The theoretical part contains general history and definition of photography, pointing out the relationship between photography and art and describes the most important theories of aesthetics of photography. Then the work is focused purely on photojournalism and documentary photography. It describes the relationship and the difference between these genres. Further the thesis is focused on the ethics of photography and manipulation of images. The practical section consists of analysis of technical requirements on photo equipment with regard to individual areas of photojournalism and documentary photography. The following part contains practical examples based on author's experience and the work concludes with compilation of several Czech photographers' answers to questions about photojournalism and documentary photography.

The thesis focuses on the photographer and lecturer Jan Regal. In the theoretical section summarizes his life and work as a photographic and educational activities. Jan Regal scope is predominantly in the Zlin region, where he comes from. The intention of this work is not only biography, but also his work in the context in the times.