Diploma work analyzes the market of weddings - the structure and needs of customers. Selection of the appropriate mix of communication tools with a focus on Web 2.0 and evaluate the results. Everything a concrete business.

The thesis Intentions of art photography. Possibilities and limits of Eco's reception aesthetics on the example of the exhibition "Thus Spoke LaChapelle" is dedicated to photographs of a significant advertising and art photographer David LaChapelle, a theory of reception of Umberto Eco. LaChapelle's photographs serve as a means in which will be analyzed the limits and possibilities of Eco's reception aesthetics. Also there will be used three different interpretations of selected photos (the photo Deluge and the photographic series Museum).

De har en gemensam slutdestination men olika stopp på vägen. Så kanprojekt med samarbete mellan beställare, fotograf och retuschör beskrivas.I projekt med flera parter är det inte svårt att förstå att förlängdadeadlines, överskridande av budget, bristande kommunikation och friktionmellan parterna kan förekomma. I detta arbete har arbetsprocesser inomframställningen av reklamkampanjer bestående av fotografiska bilderanalyserats för att definiera styrkor och svagheter. Målet var att ta framriktlinjer för de olika parterna att använda sig av vid framtida arbete.Efter intervjuer med sex personer aktiva i branschen, som syftade till attkartlägga respektive parts arbetsprocess, samt deras syn på samarbetetdem emellan, kunde välgrundade resultat nås.I de riktlinjer som studien resulterat i kan det bland annat utläsas att entydlig brief samt användandet av mallar och checklistor är centrala delar ien välfungerande arbetsprocess. Vilket bidrar till ett slutresultat av högkvalitet och leverans inom givna tidsramar.Detta arbete har utförts i samarbete med Linjepunkt Repro som arbetarmed avancerad bildretusch och grafisk produktion. Samarbetet bidrog tillen tydligare inblick i branschen och värdefulla kontakter inom de olikaområdena som undersökts och ligger till grund för arbetet. Resultatet avstudien skulle kunna gynna företaget i fråga samt deras samarbetspartnersmen kan även appliceras på andra liknande arbetsprocesser. / Projects involving clients, photographers and retouchers has a common goal but each part have different stops along the way.Extended deadlines, budget overruns, lack of communication and friction between the parties. These are all things that can occur in projects involving multiple parties. In this study, work processes in the production of advertising images has been analyzed in order to define strengths and weaknesses. The aim for this work was to develop guidelines for the parties to use in the future.In order to survey each party’s work process and their different views on the collaboration between them, six interviews were conducted. Since the interviewees’ consisted of people currently in the industry, the results were well-founded.The results from the study shows that some of the central parts of a well-functioning work process are a clear brief and the use of templates or checklists. These aspects contribute to high-quality results and delivery within deadlines.This study has been conducted in collaboration with Linjepunkt Repro, a company working with advanced image retouching and graphic production. The collaboration contributed to a clearer insight into the industry and valuable contacts. The result of the study could benefit the company and its partners, but it can also be applied to other similar work processes.

Vorläufiges Verzeichnis zusammengestellt von Frau Sarah Hoffmann, 2008

Made available in DSpace on 2014-12-17T14:20:24Z (GMT). No. of bitstreams: 1 Album 1.pdf: 3959290 bytes, checksum: 35e3890cac647623df133d99ce1411d5 (MD5) Previous issue date: 2012-02-23 / La imagen fotogr?fica la imagen despierta pulsiones, en una experiencia provocativa que acciona el campo m?tico-fenomenol?gico desc?frame o te devoro . El texto fotogr?fico no constituye s?lo un momento del real , es mucho m?s que un recorte g?lido del tiempo pasado. Sobretodo, porque la comprensi?n del lenguaje subyacente a la imagen fotogr?fica se coloca dentro y m?s all? de lo meramente dado y/o objetivado . En la comprensi?n de la imagen se disponen reg?menes de subjetivaci?n horadado por c?digos culturales, dominios del lenguaje, s?mbolos, experiencias est?ticas, creaci?n simb?lica, valores, memorias, imaginarios. En ese sentido, surge el estudio, el levantamiento y la sistematizaci?n del acervo fotogr?fico dejado por el fot?grafo autodidacta: Enoque Pereira das Neves (1918-2002), que produjo formas visuales reveladoras de orientaciones culturales colectivas y universos fotogr?ficos imaginarios. ?l fotografi? por medio siglo la vida cotidiana del campesino, en tierras potiguares y paraibanas. En la comprensi?n del acervo opte por subdividirlo en ?lbumes los cuales revelan las intimidades del fot?grafo con el lugar, una escrita de si, un estado del alma, del sujeto que observa la relaci?n sociedad y naturaleza, en una especie de simbiosis en que accionan potencias resonantes de creaci?n en el devaneo de la materia, sobresali?ndose a la pulsi?n terrestre, o enraizamiento, os rizomas del hombre unido a la tierra, las tradiciones, a rusticidad, laboral, bien como el apelo est?tico direccionado al agua: pulsi?n de vida en tierras ?ridas. La comprensi?n del inmenso acervo, evaluado en m?s de cincuenta mil fotograf?as es profundamente representativa de predilecci?n tem?tica circunstanciada por la ni?ez, la narrativa enfoca im?genes m?ticas como la del Eros nudo, la madona y el ni?o, y pr?cticas culturales del universo infantil, como el juguete y el juego. Mismo el acervo siendo un apelo est?tico a la vida surgi? la imagen fotogr?fica de la muerte, especialmente, la muerte en la ni?ez o ?ngel y la muerte de ancianos como o deseo de la ?ltima imagen de aquel entre los suyos. La investigaci?n es transversal por los siguientes objetivos: propongo un reconocimiento del acervo de Enoque Pereira das Neves en la intenci?n de comprender el universo imaginario presente en su obra fotogr?fica. Invisto tambi?n, en la posibilidad de hacer la lectura del acervo como ?lbum imaginario. / A imagem fotogr?fica desperta puls?es, numa experi?ncia provocativa que aciona o campo m?tico-fenomenol?gico decifra-me ou te devoro . O texto fotogr?fico n?o constitui apenas um instante do real , ? muito mais que um recorte congelado do tempo passado, sobretudo, porque a compreens?o da linguagem subjacente ? imagem fotogr?fica se coloca dentro e para al?m do meramente dado e/ou objetivado . Na compreens?o da imagem se disp?em regimes de subjetiva??o vazados por c?digos culturais, dom?nios da linguagem, s?mbolos, experi?ncias est?ticas, cria??o simb?lica, valores, mem?rias, imagin?rios. Nesse sentido, desponta o estudo, o levantamento e a sistematiza??o do acervo fotogr?fico deixado pelo fot?grafo autodidata Enoque Pereira das Neves (1918-2002), que produziu formas visuais reveladoras de orienta??es culturais coletivas e universos fotogr?ficos imagin?rios. Ele fotografou por meio s?culo a vida cotidiana do sertanejo, em terras potiguares e paraibanas. Na compreens?o do acervo, optei por subdividi-lo em ?lbuns os quais revelam as intimidades do fot?grafo com o lugar, uma escrita de si, um estado da alma, do sujeito que observa a rela??o sociedade e natureza, numa esp?cie de simbiose em que agem pot?ncias ressonantes de cria??o no devaneio da mat?ria, sobressaindo-se a puls?o terrestre, o enraizamento, os rizomas do homem ligado ? terra, as tradi??es, a rusticidade, laboral, bem como o apelo est?tico direcionado ? ?gua: puls?o de vida em terras ?ridas. A compreens?o do imenso acervo, avaliado em mais de cinquenta mil fotografias, ? profundamente representativo da predile??o tem?tica circunstanciada pela inf?ncia. A narrativa enfoca imagens m?ticas como a do Erus nu, a madona e a crian?a, e pr?ticas culturais do universo infantil, como o brinquedo e a brincadeira. Mesmo o acervo sendo um apelo est?tico ? vida, despontou a imagem fotogr?fica da morte, especialmente, a morte na inf?ncia o anjo e a morte de pessoas idosas como o desejo da ?ltima imagem daquele entre os seus. A pesquisa ? transversalizada pelos seguintes objetivos: proponho um reconhecimento do acervo de Enoque Pereira das Neves no intu?to de compreender o universo imagin?rio presente em sua obra fotogr?fica; invisto tamb?m, na possibilidade de fazer a leitura do acervo enquanto ?lbum imagin?rio.

Médecins Sans Frontières is one of the most respected humanitarian organisations in the world, they focus mainly on providing medical care in places of emergency and war. These places are also interesting for journalists who can take advantage of the protection on the missions while also acquiring unique stories. Working in conflicted areas under a protection of an organisation is called embedded journalism. This concept has been until now studied in connection with army when journalists travel with soldiers. Therefore, their view of war can be distorted. However, a journalist who travels with Médecins Sans Frontières may also have a distorted view of world. Twelve journalists from around the world, who visited the missions and documented the work of doctors, gave interviews for this diploma thesis. In the interviews, they described their experiences, the advantages and disadvantages of being embedded, and how the organisation may have influenced their work. Several Médecins Sans Frontières workers have also shared their experience. The interviews were put in context by a content analysis that focused on the articles and photographs made on missions by these journalists.

Am 15. Juli 2000 ist der Fotograf Christian Borchert im Alter von 58 Jahren in einem See wenige Kilometer nördlich von Berlin ertrunken. So plötzlich und grausam er aus dem Leben gerissen wurde, so sorgfältig und umsichtig wurde nach seinem Tod sein Nachlass gesichert. Vor allem der Verleger und Fotograf Hansgert Lambers, Borcherts enger Freund und Vertrauter, hat sich hier verdient gemacht, indem er die Aufteilung des Nachlasses auf verschiedene Archive und Sammlungen geschickt koordiniert hat. Im Zusammenspiel mit Ulrich Domröse von der Berlinischen Galerie, Hans-Ulrich Lehmann vom Dresdner Kupferstich-Kabinett sowie vor allem Wolfgang Hesse, dem damaligen Leiter der Deutschen Fotothek Dresden, fanden Borcherts umfangreiche fotografische Hinterlassenschaften in den Monaten nach seinem Tod den Weg in Institutionen, die sich in angemessener Weise um den ihnen jeweils anvertrauten Nachlassanteil zu kümmern vermochten. Die Berlinische Galerie erhielt mit rund 4.000 Ausstellungsabzügen und Druckvorlagen zunächst jene Bilder, die nach landläufigem Verständnis Borcherts künstlerisches Vermächtnis ausmachen: darunter zahlreiche hochwertige Abzüge mit den Blattmaßen 30 x 40 cm – seit den 1980er Jahren Borcherts bevorzugtes Ausstellungsformat. Aus diesem Fundus hat sodann das Dresdner Kupferstich-Kabinett rund 900 Abzüge erworben, bei denen es sich teils um Arbeiten mit spezifischem Dresden-Bezug und teils um Dubletten handelt. Weitere Dubletten wurden von der Berlinischen Galerie auch an die Fotografische Sammlung des Kunstmuseums Moritzburg Halle/Saale abgegeben. [Aus der Einleitung.]

Hannes Beckmann (1909-1977). Dessau - Prague - New York This PhD thesis is dedicated to an exceptional, though still forgotten personality, an artist of German descent, Hannes Beckmann |1909-1977|. A graduate of Germany's Bauhaus, he was one of the refugees fleeing Nazism to Czechoslovakia, and among many other achievements, he later became the director of the photography department of the Guggenheim Museum in New York. Through his work, he fulfilled avant-garde ideas on the synthesis of artistic fields: he was a painter, stage designer, art theorist and pedagogue, but also a creator of abstract objects moving along the boundaries of minimalistic and kinetic constructions. His fate in life and created body of work began gaining a clearer form in the framework of research on visual artists, who found sanctuary in interwar Czechoslovakia from demagogic political systems. Until that time, Hannes Beckmann had been utterly unknown to Czech art history and elsewhere. This is seen in the absence of his name in Czech technical literature, but also because he was never mentioned even in publications published by the Bauhaus with which he had been involved for some time. There was only sketchy information on his pedagogical and artistic work in the area of Op-Art (optical art) from the 1960s to 1970s in the United...

Most of the work on photography is about image and trying to understand photography as an image. Contrary to this approach, this paper deals with the experience of the photographer at the time of taking the picture, and also the influence of photography, understood as a medium, on our perception. The main topic is the photography of movement, where we can best demonstrate how photography changes both our perception and our understanding of (objective) reality. The beginning of the work is devoted to one of the greatest Czech photographers, Josef Sudek, who describes the method of his work. Sudek's definition of the moment involved in taking the picture is "when everything fits together"; the impossibility of returning to the same moment is a central feature of photography as presented in this work. Consequently, the basis for the thesis is that (1) photography and camera change the way we perceive, and that (2) photography is an actualization of the possibility of how we see what we see. The actualization of the possibility is discussed mainly in the context of Barbara Probst, whose work "Exposures" fundamentally enters the history of photography, and who - once again - does not put emphasis on the image but rather on the photographer as the creator of the image.

Der Artikel zählt ca. 200 Künstler, Fotografen, Museumsangestellte und Kunsthändler auf, die sich vom 18. bis 20. Jahrhundert in Dresdner Freimaurerlogen nachweisen lassen. Hinweise zu diversen Schriftquellen der Logen bieten eine Ergänzung zu den Lebensdaten der Personen.