We will discuss here the issue of manipulation in the digital era of photojournalism. At first we will describe the relation between photography and its referent inculding its ability to represent the reality. Depicting the contrast between analogue and digital photography we will point out the independent position of digital photography from its referent, which is creating better possibilities for manipulation and decreasing the credibility of photography. Then we will analyze the text The Dusk of Photojournalism? that is reflecting these perspective and offering the solution increasing the position of the relation between photography and its referent. By contrast we will analyze the text called Photojournalism is dead, long live photojournalism. Why digitization can increase the credibility of journalistic photography? which considers this perspective as obsolete and offers us the new perspective of the relation between photography and its viewers, that could increase the credibility of photography in photojournalism. According to these two major perspectives we will point out whether it is possible to consider this option of photography - viewers relation as a relevant alternative. Based on these conclusions we will point out the major point of credibility of journalistic photography and imply...

The diploma thesis deals with the motivation of users of Polaroid and Instagram, under the assumption that both media have nearly immediate result and may have a very similar visual stylization. The theoretical part of this thesis is devoted to a brief summary of the history of photography and philosophical opinions on that topic. It introduces Polaroid and Instagram and outlines the possible motivations of their users, using both the scientific literature, as well as personal blogs, articles and interviews. The practical part of the thesis describes the design and process of the original research, which consists of a standardized questionnaire, and its results. With its help we confirm or disprove our hypothesis.

The diploma thesis deals with the motivation of users of Polaroid and Instagram, under the assumption that both media have nearly immediate result and may have a very similar visual stylization. The theoretical part of this thesis is devoted to a brief summary of the history of photography and philosophical opinions on that topic. It introduces Polaroid and Instagram and outlines the possible motivations of their users, using both the scientific literature, as well as personal blogs, articles and interviews. The practical part of the thesis describes the design and process of the original research, which consists of a standardized questionnaire, and its results. With its help we confirm or disprove our hypothesis.

"At Face Value: Investigating Perception through Portraiture" is a body of work that examines how people process their perception in imagery. The Deadpan Aesthetic, photographic truth and American identity are discussed, as well as the amount of influence a photographer has in his work. Since perception is defined as an understanding of setting via the senses, I hope to challenge viewers by employing strategies to destabilize the viewer's reception of my photographs.

No description available.

No description available.

No description available.

Ce mémoire de maîtrise porte sur les trajectoires des photographies de Mateo Maximoff et Andrej Pešta. Après une exploration des archives de ces derniers, les photographies réalisées entre 1960 et 1980, de même que les réseaux de circulation sont abordés. Alors que tous deux militaient activement au rayonnement de la culture romani et pour défendre leurs droits en France et République Tchèque, ils contribuent par l’écriture et la photographie à une mise en visibilité de leur communauté et des enjeux intimes et sociétaux qu’ils traversent. Entre photographie vernaculaire et documentaire, l’agentivité de leur approche tisse la structure de ce mémoire. Celle-ci se déploie en deux axes. D’une part, l’agentivité des photographes est étudiée au sein de leurs mises en récit autoreprésentatives, d’autre part l’agentivité du médium photographique inscrit ces productions dans l’usage contemporain de la photographie et de ses explorations. Ce mémoire s’intéresse également à la nature mouvante de l’archive, et comment ces photographies ont pu avoir plusieurs usages, jusqu’à devenir document. / This master's thesis explores the trajectories of photographs by Mateo Maximoff and Andrej Pešta. After delving into their archives, the photographs taken between 1960 and 1980, along with their circulation networks, are examined. Both actively campaigned to promote Romani culture and defend their rights in France and the Czech Republic, contributing through writing and photography to increasing visibility for their community and addressing the intimate and societal issues they face. Navigating between vernacular and documentary photography, the agency inherent in their approach weaves the structure of this thesis. This agency unfolds between the photographers' agency within their self-representative narratives and the agency of the photographic medium, which embeds these productions within contemporary uses of photography and its explorations. The thesis also explores the dynamic nature of the archive and how these photographs have served multiple purposes, eventually becoming documents.

[ES] La presente investigación se enfoca en analizar la postfotografía y la fotografía expandida en Ecuador durante la segunda década del presente siglo. Para ello, considera a la fotografía digital como parte de un nuevo paradigma que abarca múltiples dimensiones económicas, culturales, sociales y políticas. De ahí que, el estudio se centre en comprender la evolución de la fotografía en este país andino, con especial atención en artistas locales cuyas preocupaciones e investigaciones estéticas se relacionan con estas tendencias artísticas. Se trata de una investigación holística y cualitativa que explora el contexto actual en el que las tecnologías digitales, las redes sociales y lo digital presentan nuevos desafíos en el campo artístico. Teniendo en cuenta esto, su premisa conceptual es la noción de desplazamiento de Krauss (1985), la cual desafía la linealidad histórica y el progreso en el arte. Se articula, así, la idea de la ecología de la imagen digital en relación con los fenómenos estéticos de la postfotografía y la fotografía expandida, preocupaciones éticas y estéticas fundamentales en el ámbito fotográfico, dado que la tecnología influye en cómo se experimenta la realidad y en cómo impacta en ese proceso. Por un lado, la postfotografía se estudia a partir de su segundo momento histórico en 2011, relacionado con la aparición de las redes sociales y el Manifiesto Postfotográfico de Fontcuberta (2011). Por otro lado, la fotografía expandida se examina a través del proyecto editorial AñZ, en 2021, el cual propone una respuesta a lo postfotográfico desde Colombia y plantea una revisión de ese campo. En el análisis de la postfotografía se destaca la importancia de las tecnologías digitales en la fotografía digital, incluyendo aspectos como la obsolescencia programada, la inmediatez, lo inmaterial, la omnipresencia y la hiperproducción. Además, se exploran las posibilidades de postproducción y la incorporación de tecnologías no tradicionales en el campo fotográfico, como hardware, dispositivos digitales e inteligencia artificial, entre otros. Por su parte, la fotografía expandida se concibe como una forma de práctica artística que va más allá de los límites convencionales de la fotografía, utilizando tanto tecnologías digitales como analógicas, y explorando diversas formas de presentación y exhibición; su objetivo, es ampliar el alcance y el significado de la fotografía, fomentando la interacción social y el diálogo en un entorno artístico y cultural en constante evolución. Para ilustrar estos análisis, se ofrece muestras de los trabajos de varios de sus exponentes. A partir de esto, la investigación se enfoca en las ecologías digitales y visuales en el contexto artístico ecuatoriano, buscando comprender la dinámica del entorno digital y la interconexión entre artistas, redes y sociedad en general. En esta parte, resalta la importancia de las ecologías comunicativas y visuales en un mundo globalizado, donde las tecnologías digitales han transformado las relaciones sociales y han dado lugar a nuevos grupos de interés en el ámbito artístico. Además, se explora el interés de la academia ecuatoriana en el estudio de estas tendencias y agrupaciones. Finalmente, se espera que los conceptos utilizados en esta investigación tienen la capacidad de ser aplicados en diferentes disciplinas, estableciendo conexiones conceptuales significativas. / [CA] La present investigació s'enfoca a analitzar la postfotografia i la fotografia expandida a l'Equador durant la segona dècada del present segle. Per a això, considera a la fotografia digital com a part d'un nou paradigma que abasta múltiples dimensions econòmiques, culturals, socials i polítiques. D'aquí ve que, l'estudi se centre en comprendre l'evolució de la fotografia en aquest país andí, amb especial atenció en artistes locals, les preocupacions i les investigacions estètiques dels quals, es relacionen amb aquestes tendències artístiques. Es tracta d'una investigació holística i qualitativa que explora el context actual en el qual les tecnologies digitals, les xarxes socials i el digital presenten nous desafiaments en el camp artístic. Tenint en compte això, la seua premissa conceptual és la noció de desplaçament de Krauss, la qual desafia la linealitat històrica i el progrés en l'art. S'articula, així, la idea de l'ecologia de la imatge digital en relació amb els fenòmens estètics de la postfotografia i la fotografia expandida, preocupacions ètiques i estètiques fonamentals en l'àmbit fotogràfic, atés que la tecnologia influeix en com s'experimenta la realitat i en com impacta en aquest procés. D'una banda, la postfotografia s'estudia a partir del seu segon moment històric en 2011, relacionat amb l'aparició de les xarxes socials i el Manifest postfotogràfic de Fontcuberta. D'altra banda, la fotografia expandida s'examina a través del projecte editorial AñZ, en 2021, el qual proposa una resposta al postfotogràfic des de Colòmbia i planteja una revisió d'aqueix camp. En l'anàlisi de la postfotografia es destaca la importància de les tecnologies digitals en la fotografia digital, incloent-hi aspectes com l'obsolescència programada, la immediatesa, l'immaterial, l'omnipresència i la hiperproducción. A més, s'exploren les possibilitats de postproducció i la incorporació de tecnologies no tradicionals en el camp fotogràfic, com a hardware, dispositius digitals i intel·ligència artificial, entre altres. Per part seua, la fotografia expandida es concep com una forma de pràctica artística que va més enllà dels límits convencionals de la fotografia, utilitzant tant tecnologies digitals com analògiques, i explorant diverses formes de presentació i exhibició; el seu objectiu, és ampliar l'abast i el significat de la fotografia, fomentant la interacció social i el diàleg en un entorn artístic i cultural en constant evolució. Per a il·lustrar aquestes anàlisis, s'ofereix mostres dels treballs de diversos dels seus exponents. A partir d'això, la investigació s'enfoca en les ecologies digitals i visuals en el context artístic equatorià, buscant comprendre la dinàmica de l'entorn digital i la interconnexió entre artistes, xarxes i societat en general. En aquesta part, ressalta la importància de les ecologies comunicatives i visuals en un món globalitzat, on les tecnologies digitals han transformat les relacions socials i han donat lloc a nous grups d'interés en l'àmbit artístic. A més, s'explora l'interés de l'acadèmia equatoriana en l'estudi d'aquestes tendències i agrupacions. Finalment, s'espera que els conceptes utilitzats en aquesta investigació tenen la capacitat de ser aplicats en diferents disciplines, establint connexions conceptuals significatives. / [EN] The following investigation focuses on analysing post-photography and fotografía expandida (expanded photography) in Ecuador during the second decade of the current century. For this purpose, digital photography is considered part of a new paradigm spanning multiple economic, cultural, social and political dimensions. Therefore, the study focuses on understanding the evolution of photography in this Andean country, with special attention on local artists whose aesthetic concerns and investigations are related to these artistic tendencies. It is a holistic and qualitative investigation that explores the current context, in which digital technologies, social media and the digital landscape introduce new challenges to the artistic field. Taking this into account, its conceptual premise is Krauss' theory of displacement (1985), which challenges historic linearity and progress in art. This way, the idea of an ecology of images is articulated with the aesthetic phenomena of post-photography and expanded photography, both of which are crucial ethical and aesthetic concerns in the photography field. On the one hand, post photography is studied from its second historic moment in 2011, related to the rise of social media and Fontcuberta's Post-photography manifest (2011). On the other hand, expanded photography is evaluated through the 2021 AñZ editorial project, which suggests a response to post-photography coming from Colombia, formulating a revision in the field. During the analysis of post-photography the importance of digital technology in digital photography is highlighted, including aspects such as planned obsolescence, immediacy, immateriality, omnipresence and hyperproduction. The possibilities for post-production and the incorporation of non-traditional technology are explored, such as hardware, digital devices and artificial intelligence, among others. For its part, expanded photography is conceived as a type of artistic praxis that goes beyond the conventional limitations of photography, using digital as well as analogue technology, and exploring diverse ways of presentation and exhibition; its objective being to amplify the reach and meaning of photography, encouraging social interaction and dialogue in a constantly evolving artistic and cultural environment. To illustrate the analysis, a selection of the works of several artists is provided. From this, the investigation focuses on digital and visual ecology on the backdrop of Ecuadorian art, aspiring to comprehend the dynamics of the digital environment and the interconnection between artists, networks and society in general. It emphasises the importance of communicative and visual ecology in a globalised world, where digital technology have transformed social relationships and have given rise to new focal groups in the artistic field. Furthermore, the interest of Ecuadorian academics in the study of these tendencies and groups is explored. Lastly, it is expected that the concepts utilised during this investigation can be implemented in different artistic disciplines, establishing significant conceptual connections. / Mujica Paredes, PJ. (2024). Fotografía desbordada y sus laberintos:El tránsito de las ecologías artístico-visuales concerniente a la postfotografía y fotografía expandida en Ecuador (2011-2022) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/203499

Submitted in accordance with the requirements for the for the degree of Master of Technology in Photography, Durban University of Technology, Durban, South Africa, 2015. / This dissertation is a self-study that involves inquiring into my mentoring practice to change and improve my situation and find a sense of belonging. The centre of the inquiry into 'self' lies in the search and claiming of an identity that consolidates the development of my artistic, mentoring and research practices during my 'first time' employment experience, as a junior lecturer in a Photography program, 2009-2011. I reflect on three years of lecturing experience in a tertiary education setting at the Durban University of Technology, in which doing a Masters was obligatory. I entered this position, with little experience in research and lecturing or photographic expertise. During this study, I made myself known as osmosisliza, the name of the ‘cyborg’ who journeys in cyberspace. I claim to be a ‘photographer horticulturalist’, a mentor concerned with cultivating collective online spaces, to create movement to connect in cyberspace for social learning purposes. I ask “Who is osmosisliza?”. My class motto is “what you think, know and believe helps us all to be more”, a personal belief for building knowledge through exchange and collaboration with others. I employed a variety of free Web 2.0 applications, like Gmail, Blogger, Buzz, Picasa Web Albums, Google Bookmarks and YouTube to create online spaces in which I could position my living educational theory. I called this place the Google Lens (GL). The Google Lens formed the mechanism to cultivate communities of practice for social learning, to develop confidence, motivation and engagement. The Google Lens was also the repository for qualitative and quantitative data. Mostly I analyse verbal and visual text, writings, photographs and video exchanges between learners and myself archived in the Google Lens to address my research question and sub-question. Through the lens of Google I did action research to improve my practice, and analyse my development as a newcomer to academia. I investigate how successful I was in using the Google Lens to achieve my mentoring goals. I also made photographs during the process of this inquiry to visually address abstract identity dilemmas, concerns and thoughts in my place of work, to engage my ‘I’ in my ‘eye’ as photographer. I exhibit these in cyberspace. I call these electronic postcards. Electronic postcards are blog posts in a weblog called osmosisLIZA. I made 98 blog posts and sent 98 electronic postcards in this dissertation. An electronic postcard consists of a photograph, an illustration, labels and a text heading. In this document the electronic postcards run alongside the writings for this self-study, functioning as text and message of the experiences of a developing academic as well as evidence of the developmental questions I was continuously asking to improve my practice.