Despite present day attitudes and practices in which combinations of photography and other mediums of art are readily accepted, this was rarely the case during the 1960s and 1970s. The pioneering 1970 Museum of Modern Art exhibition Photography into Sculpture, which is the focus of this dissertation, is a compelling exception. Organized by Peter Bunnell, the exhibition highlighted work by twenty-three artists that mixed photographic imagery with three-dimensional forms. The resulting objects often dislocated "straight" photography’s reliance on the image and optical description as its primary source of meaning, characteristics presumed to be fundamental and fixed by many at the time. Bunnell argued that the physicality of the works in Photography into Sculpture made the medium visible and available for critique. This dissertation establishes the archival record and an oral history for the exhibition. It also finds that Bunnell prepared this unorthodox exhibition with John Szarkowski’s endorsement, therefore contradicting enduring views that Szarkowski’s photography program at the Modern promoted a monolithic ideology that did not include experimental modes. Peter Bunnell and Robert Heinecken are the principal figures in Photography into Sculpture. Bunnell, as curator and historian, and Heinecken, as artist and professor of photography at University of California, Los Angeles, were both committed to the idea that the photograph was not only an image but also an object. In public statements they argued that the attention placed on straight photography by many critics and educators discouraged experimentation and excluded an emerging generation of photographers eager to challenge lingering modernist traditions that emphasized the integrity of the image and conventions of display. Both men and their contemporary Nathan Lyons worked from within photography’s established institutions and organizations–including the Museum of Modern Art, George Eastman House, and The Society for Photographic Education–to advocate for alternatives. This dissertation demonstrates that the revolutionary ideas of Bunnell and Heinecken were part of a long rebellion against photographic modernism.

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Kintant fotografijos technologijoms, kito ir fotografijos mokymas, fotografinės išraiškos priemonės bei uždaviniai, keliami fotografiniam vaizdui. Dabar galima rinktis daugelį fotografinės raiškos variantų. Senieji fotografijniai procesai praplečia ribas ir sudaro galimybes kūrėjui pasirinkti savitą fotografinės raiškos būdą. Todėl svarbu atskleisti kaip galima senuosius fotografijos procesus integruoti į ugdymo procesą, plėtojant mokinių meninės raiškos priemonių pažinimą. Remiantis fotografijos ir fototechnikos istorinės literatūros, kitos temai aktualios literatūros bei mokymo programų analizė, darbe keliamas tikslas ištirti senųjų fotografijnių procesų panaudojimą mokant fotografijos. Siekiant tikslo buvo suformuluoti trys uždaviniai: atskleisti senųjų fotografijnių procesų sampratą ir pateikti fotografijos procesų istorinės raidos apžvalgą bei foto techninės raiškos tendencijas; išanalizuoti fotografijos mokymo raidą, fotografijos mokytojų rengimą Lietuvoje ir fotografijos programą; atlikti senųjų fotografijnių procesų edukacinio užsiėmimo tyrimą. Pirmojoje darbo dalyje analizuojama senųjų fotografijnių procesų samprata ir istorinės raidos apžvalga. Išryškėjo fotografinės terminologijos problematika ir specifinių terminų trūkumas lietuvių kalba. Apžvelgta senųjų fotografinių procesų padėtis šiandienos fotografijos kontekste ir išanalizuotos dabartinės foto techninės raiškos tendencijos. Antrojoje darbo dalyje apžvelgiamas fotografijos mokymas Lietuvoje, nuo ankstyvojo... [toliau žr. visą tekstą] / While the technologies of photography were changing, the photography teaching, means of expression and aims that pose the challenges for photographic view, were changing as well. Nowadays, it is possible to choose many variants of photographic expression. The old photographic processes expand limits and make possibilities for a creator to choose his own way of photographic expression. Therefore, it is important to reveal the possibilities to integrate the old processes of photography into the teaching process in order to develop the cognition of artistic means of expression of students. On the basis of historic literature for photography and photographic technology, other literature that is relevant to the topic and analysis of teaching programme, the aim of this final thesis is to research the appliance of the old photographic processes in photography teaching. For this purpose three goals were formulated: to reveal the conception of old processes of photography, to present a review of timeline of photographic processes and to introduce the tendencies of photo technical definition; to analyze the development of photography teaching, training of photography teachers and teaching programme in Lithuania; to accomplish a research of educational activity on old processes of photography. The first part of this final thesis analyzes the conception of old processes of photography and surveys the timeline. There revealed problems of terminology of photography and deficiency of... [to full text]

The Iranian artist Shirin Neshat has been living in self-imposed exile since the late 1970s, as she chose not to return to her home country following the ‘79 Islamic Revolution. Through her works Neshat examines Iran before and after the revolution and follows political and civil transformations through strong photographs of women in her country of birth.  My own use of the term exile deals with the analysis of the state of exile in relation to artistic work as a globalized and underlying motivation for art and artists. The new definition of exile is analyzed in relation with the artist’s photographs and the verbal and visual statements. The verbal and visual photographs in the work of Neshat are related to the term exile through different allegories and metaphors that are to be found in lyricist Rumi’s classical poetry, the Bible and the Quran. The artist’s use of the visual photographs where women appear with hijab covering their hair and with weapons in their hands- in some pictures without any audience at all, in others decorated with different calligraphic texts- are combined with the verbal photograph which is created through music (song) and language. The verbal and visual statements complete one another in a united effort to visualize exile as a term, therefore every attempt to separate these two a part, will inevitably deprive the audience of the statement itself, which is in this case the psychoanalytical inner exile. One does not have to be outside her home to feel the state of exile; it can be felt mentally even if one is at home. The inner exile is a global experience. This form of exile is born when the community is categorized from two extremes, with one side of the equation possessing power and the other being classified as weak and ”the other”. I use the status of women in Iran as an example in my investigation, where women are at home but are still very much outside of it, alienated for their gender (sex).

Photography and tourism have been developing in parallel with each other and leaving memories of the trip in photographs still remains as a significant part of traveling today. Tourist photograph is an effective tool to display the way tourists see the destination they visited. However, while there are studies regarding general relationships between photography and tourism, what tourists see and photograph in each destination has not yet profoundly been investigated.This study first investigates images of Kiruna, Sweden, utilized in its promotion as atourist destination to understand how it is expected to be perceived by tourists. Then these images are compared with tourist photographs to understand how they actually respond to this expectation.Also, this thesis aims to add a new perspective to the concept of ‘hermeneutic circle’ proposed by John Urry (1990). Specifically, it takes particular note of ‘nationality’ and ‘culture’, and focuses on two specific tourist groups in Kiruna, Japanese and German tourists, to investigate differences between these nationality groups in the way they perceive Kiruna as a tourist destination. In order to fulfill this aim, Volunteer Employed Photography (VEP) was applied and photographs they took in Kiruna were collected. In order to enrich the photographic data, semi-structured interviews were also conducted with each study participant.The results revealed that the study participants photographed subjects that were both appeared and not appeared in the promotional images of Kiruna. The study also revealed that there were certain differences between Japanese and German tourists in the way they perceived Kiruna and each nationality group has its own hermeneutic circle.

The Swedish photographer and artist Eva Klasson, based in Paris in the 1970s, gained attention for her series of black-and-white photography of her own naked body, which opened up for an international artistic career in the late 1970s. Despite a promising career she however abandoned photography and disappeared from the artistic sphere only a few years after her debut. There has been a renewed interest in Klasson’s work in Sweden the last decade where she has been exhibited at museums and galleries. Today she is represented at art museums and institutions including Moderna Museet, The Modern Museum of Art, in Stockholm. She is now presented as a pioneer and a forerunner to the later generation of Swedish women artists working with photo based art and staged photography in the 1990s. This historiographical study revisits Klasson’s work, career and reception in order to examine the prevalent understanding of the artist and her work. There is limited previous research on Klasson. This empirical study is therefore based on Klasson’s works that I have examined first hand at Moderna Museet and Borås konstmuseum. By tracing Klasson’s career and examining the contemporary reception in France and in Sweden one can see that Klasson not only enjoyed wider attention in France than in Sweden but also that she was received and understood differently in the two countries. Today’s prevalent reading of Klasson is to a large extent based on the contemporary reception, which disregards important aspects of her work. By discussing Klasson’s body of work in relation to photography of similar subject matter and aesthetics it become clear that one cannot only discuss her work in terms of photography. It is evident that Klasson’s work comprises of subtle elements that have largely been ignored so far. The prevalent understanding of Klasson also shows to be based on a narrow selection of her work. I argue that Klasson’s working method and artistic expression is formulaic. This becomes evident in the examination of her artist book, Le troisième angle (1976), which set off her artistic career. The artist’s book also forms a background against which this artistic project originally had been formulated and brings new light to Klasson and her work. Her two following series, Ombilic (1977) and Parasites (1978), are modeled on the artist’s book. Therefore these three series, following the same strategy, must be regarded in relation to one another. Furthermore I argue that one needs to pay attention to all parts of her artistic production that together comprise the works. In doing so, this essay, with its historiographical scope, suggests and opens up to new and alternative readings of Klasson’s work.

This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photography component, and a concepts component where students will experiment with different photographic techniques of manipulation as well as tackle photographic history, criticism, and visual literacy.

Remote sensing technologies are used to assist in the mapping and monitoring of land cover in space and time. The European Space Agency’s (ESA) upcoming Sentinel-2 MultiSpectral Instrument (MSI) to be launched in 2013 has improved spatial and spectral properties compared to the current large-swath medium-resolution satellite sensors. Prior to the deployment of future sensors it is important to simulate and test the sensor data to evaluate the sensor's potential performance in producing the existing data products and develop new algorithms. This study simulated Sentinel-2 MSI data from airborne hyperspectral data over an agriculture area in northern Alberta, Canada. The standard Sentinel-2 MSI land-cover product was evaluated by comparing it to one created from the standard Landsat 5 TM and SPOT 5 HRV data products. Furthermore the standard Sentinel-2 MSI water column content band configuration and algorithm was evaluated for atmospheric correction purposes. / xi, 90 leaves : col. ill. ; 29 cm

The dissertation examines how image-making, a common pastime, was made common. It investigates the ways in which the production and consumption of images in the context of the North American family contributed to the development of a distinctly domestic and privatized visual culture, and the transformation of the home into a site for privatized spectatorship. / Four cultural forms (No. 1 Kodak, Box Brownie, Cine Kodak and Cine Kodak 8) are specified in this development, all pioneered by the Eastman Kodak Company. The dissertation traces Eastman Kodak's direct involvement in the popularization of image practices. It analyzes strategies used by them to make this possible, namely an appeal to the becoming lifestyles of the bourgeois and middle-classes. / The analysis links the popularization of image-making and consuming practices to other popular amusements (i.e. cycling, cinema-going) to work against an artifact-centred analysis. Issues of gender and generation are critically evaluated as concepts used to instill image-making as a popular, family practice. Shifts in modern temporal and spatial experience, as well as mobility are also explored in relation to popular image-making.

Since its introduction in Australia, photography has had a profound impact on Australian culture. The modern era, it is often alleged, has been dominated by the sense of sight, and from its inception, photography was explicitly understood in relation to this prestigious notion of modern vision. The camera and its associated technologies offered a “new” and modern way of seeing that was central to the overall project of modernity. This thesis is a study of the role of photography in the increasing visualisation of Australian culture during the late nineteenth and early twentieth centuries. Drawing on debates around modernism, it explores the cultural and social expressions of photography. Each chapter of this thesis considers an aspect of photography or its use, and traces the emerging popularisation and commodification of the photographic image. The social impact of photography is explored in a selection of specific contexts that include early camera clubs and societies of the 1890s, and the growing amateur movement that followed the new “point and shoot” technology so ably depicted by the Kodak Girl. Other contexts include the professional applications of photography, official and private uses of photography during World War I, and finally the journalistic and cinematic uses of the photographic image in the 1920s. Together these contexts show how the romance and optimism of technology ignited enthusiasm for the visual medium across class and gender divides, moving from initial popularity amongst a local scientific elite, spreading to amateurs, professionals, and eventually being put to political and social uses, throughout the world. (For complete abstract open document)