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.

This Bachelor’s Thesis discusses the Swedish artist and photographer Birger Gabriel Sjöberg. He was born in Varberg, Sweden in the year of 1835 and died 40 years later, in the year of 1875. During his short-lived life he accomplished creating both paintings and photographs connected to his hometown. These are now of value by culture-historical means. By answering question formulations regarding his living, education and esthetic production, the main purpose is to give a synoptic presentation of both his life and work. Since Sjöberg is not a part of the widely known context of art history, the thesis also strives to bring a light to a mostly unknown and unwritten artist. This study contains of two main parts, one biographical part, and one iconological part were a chosen number of his paintings and photographs are discussed. Throughout the iconological part, the works are analysed by means of Heinrich Wölfflin’s Principles of Art History. The introducing of the works is to give an overall apprehension about what he achieved concerning his creating in both work and private life.

Vi uppfattar idag en ökning av det vardagliga fotograferandet och därav en ökning av passiva bilder bland de personliga bildarkiven. I ett försök att återaktivera de passiva bilderna utgår undersökningen från frågeställningen vad kan inspirera vardagsfotografen till att använda sitt bildarkiv för att skapa nya bildscener? Där syftet är att hitta en inspirationskälla för att uppmuntra användningen av passiva bildarkiv för att skapa nya bildscener. Vi strävar även efter att informera om de växande bildarkiven med passiva bilder och uppmuntrar till diskussion kring ämnet. För att skapa en bild av vårt valda tema har vi granskat forskning inom vardagsfotografering, personlig arkivering och bilder som minnen. Under processens gång har vi tagit hjälp av brainstorming, mindmaps och varför-metoden för att både skapa nya idéer och utveckla befintliga. Vi har även använt oss av metoderna workshop och crowdsourcing för att ta in utomstående personer i processen. Messiness var också närvarande under en stor del av processen då vi stötte på ett dilemma som vände upp och ner på vår undersökning och fick oss att ändra inställning. Vår slutsats och gestaltning, BuildBild, grundar sig i metoden transparent scenskapande av bilder vilket bygger på bilder utskrivna på plast. BuildBild är tänkt att användas som ett lekfullt verktyg för att inspirera vardagsfotografer att återaktivera sina bilder genom scenskapande. / There is an increasing amount of pictures taken everyday and thus an increase of passive pictures in our personal archives. In order to reactivate the passive pictures this bachelor thesis asks the research question what can inspire the everyday photographer to use their picture archive to create new image scenes? The aim of this analysis is to find an inspiration source to encourage the everyday photographers to use their passive images to create new image scenes. The further aim is also to inform and encourage a discussion about the everyday photography and the growing amount of pictures. As a foundation for our design process we have explored a variety of research within the field of everyday photography, personal archives and pictures as memories. We have during our design process also used a combination of methods to create and evolve ideas, for instance brainstorming, mindmapping and the “why-method”. The methods workshop and crowdsourcing were also used as a way to invite other people into the process. As a whole our process has revolved around the concept of messiness as we encountered a dilemma that turned our previous attitude towards the thesis upside down. Our design and conclusion, BuildBild, emerged through our method creating scenes of transparent images which is based on the idea of pictures printed on plastic. BuildBild is a playful tool which is meant to inspire everyday photographers to reactivate their passive pictures through creative scenes.

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.

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.

La Renaissance de la photographie entre la fin des années 1920 et le début des années 1930 en France était-elle liée au seul cercle des avants-gardes ? Les historiens de la photographie ont longtemps orienté leurs recherches sur le fait que les photographes de la Nouvelle Vision avaient sorti la photographie des errements du pictorialisme et lui avait rendu son autonomie vis-à-vis des arts graphiques, toutefois ils ont négligé une remarque formulée dès 1930 par Carlo Rim selon lequel « les images abstraites de Man Ray et de Tabard, qui annoncèrent une réaction heureuse […] ne fur[ent] qu’une vogue éphémère ». Si la Nouvelle Vision fut considérée comme un nouvel âge d’or, elle fut rapidement éclipsée en France par un retour « à l’image la plus nette du sujet le plus pauvre » généré par la redécouverte des photographes primitifs.C’est à cette part de l’histoire de la photographie que cette étude sur le photographe Emmanuel Sougez (1889-1972) est consacrée. Car si Sougez a été élevé au rang des maîtres de la photographie et célébré jusque dans les années 1950 comme le plus grand photographe français vivant, c’est pour avoir réintroduit l’usage de la chambre photographique de grand format et le tirage par contact. Ce faisant, cette étude fait apparaître une autre face de la Renaissance de la photographie en France à partir d’une figure oubliée, en évoquant le rôle crucial que Sougez a joué entre le Premier Salon indépendant de la photographie en 1928 et le dernier Salon national de la photographie en 1959. Aussi, en soulignant l’apport de ce photographe à l’histoire de son art, cette thèse révèle des aspects inédits de la photographie dans la première moitié du XXe siècle. / Is it possible for the renaissance in the field of photography that took place in France between the 1920’s and early 1930’s to be traced to a single group of avant-garde artists ? Photography historians have traditionally concentrated their research on the fact that the photographs of the New Vision released photography from the mistakes of pictorialism and gave it back its autonomy in terms of graphic arts. However, they neglected a remark made in 1930 by Carlo Rim: “the abstract images of Man Ray and Tabard, which foreshadow a joyful reaction, are nothing but an ephemeral fad.” Though the New Vision can be considered to be photography’s new golden age, in France it was rapidly eclipsed by a return “to the most in focus image of the poorest subject,” generated by the rediscovery of early photographs.It is to this era in the history of photography that this study of the photographer Emmanuel Sougez (1889-1972) is devoted. Sougez’s rise to the ranks of the masters of photography and his celebration until the 1950’s as one of the greatest living French photographers, is largely due to his reintroduction of the use of a large format view camera and contact prints. Thus, this study brings to light another facet of the renaissance of photography in France, within the context of a forgotten figure, by assessing the crucial role that Sougez played between the First Independent Salon of Photography in 1928 and the last National Salon of Photography in 1959. Furthermore, in emphasizing the photographer’s contribution to his art, this thesis reveals previously unseen aspects of photography in the first half of the 20th century.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This study aims to understand the role that 19th century photography can play in the reconstruction of an era and in the conservation of cultural heritage in the 21st century. The photo collection of William Roe, a photographer from Graaff-Reinet, is used as an example. The origin and development of Graaff-Reinet is used as background information and major events such as the Great Trek, the arrival of the railway, the Anglo-Boer War, the First World War and the Great Flu are touched upon. Aspects such as education, churches, the library and the hospital in Graaff-Reinet complement the study. An overview of the development of photography covers several early photo-making processes. These include the daguerreotype process, Talbot's paper negative process, collotype and the popular carte de visite photographs. Photography specifically in South Africa is also conferred, with particular reference to the first photographers working in the country. Reference is made to the important influences major events like the discovery of diamonds and gold as well as the Anglo-Boer War had on photography. The discussion of William Roe as human being and his legacy as a photographer forms an integral part of the study. The Victorian period is discussed since this was the period in which Roe worked and lived. It had a formative influence on his workmanship. An overview of the Victorian period in England is followed by specific focus on South Africa during this time. The rush to the diamond fields, issues with language and the trends of the times are pointed out. Many of these trends are specifically indicated and discussed as they appear in Roe’s photos. The photos have been categorized to clarify analysis of the different cultural phenomena. The architecture and historical background of Graaff-Reinet’s churches and public buildings are discussed. Streetscapes and images of the town as a whole show the development and daily activities that took place. Photos of clothing represent a reconstruction of the fashions of the concurrent Victorian era and those of public events such as sporting events, celebrations, plays and a gathering during the Anglo-Boer War, display the social life of the community. The role of human memory in the writing of cultural history is compared with the “memory” role of photographs. At the same time the ability of photographs to reflect not only physical culture, but also abstract concepts, receives attention. The use of these abilities of photography in the preservation of culture is a challenge for conservationists of the 21th century. / AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die rol wat 19de-eeuse fotografie kan vervul in die rekonstruksie van ’n era en in die bewaring van kultuurgoedere vir die 21ste eeu, aan te spreek. Die fotoversameling van William Roe van Graaff-Reinet word as voorbeeld gebruik. Die ontstaan en ontwikkeling van Graaff-Reinet word as agtergrond behandel en belangrike gebeurtenisse soos onder meer Die Groot Trek, die koms van die spoorlyn, die Anglo- Boereoorlog, die Eerste Wêreldoorlog en die Groot Griep word uitgewys. Aspekte soos opvoeding, kerke, die biblioteek en hospitaal is aanvullend bestudeer om ’n volledige beeld van Graaff-Reinet daar te stel. ’n Oorsig oor die ontwikkeling van fotografie dek verskeie vroeë fotoprosesse soos die daguerreoproses, Talbot se papiernegatief, die calotipe-fotoproses en die gewilde carte-devisite- foto's. Fotografie in Suid-Afrika word bespreek met spesifieke verwysing na die eerste fotograwe wat in die land werksaam was. Daar word verwys na die invloed wat belangrike gebeurtenisse soos die ontdekking van diamante en goud, asook die Anglo-Boereoorlog, op fotografie in Suid-Afrika gehad het. Die ondersoek na William Roe as mens sowel as sy nalatenskap as fotograaf vorm ’n belangrike onderdeel van die studie. Die Victoriaanse era word bespreek aangesien dit die tydperk was waarin Roe geleef en gewerk het, en dus ’n vormende invloed op sy werk gehad het. ’n Oorsig oor die Victoriaanse era in Engeland word gevolg deur ’n beskouing van dié era in Suid-Afrika. Die stormloop na die diamantvelde, taalkwessies en heersende modeneigings word uitgewys. Baie van die modeneigings word tydens die ontleding van die kultuurverskynsels op die Roe-foto’s opgemerk en bespreek. Die foto’s vir die ontleding van kultuurverskynsels is in kategorieë ingedeel. Die argitektuur en historiese agtergrond van kerke en openbare geboue word bespreek. Straat- en dorpsbeelde dui die ontwikkeling van en bedrywighede op die dorp aan. Kleredragfoto’s bied ’n rekonstruksie van die modes van die Victoriaanse era terwyl die foto’s van openbare geleenthede soos sportbyeenkomste, feesvieringe, toneelopvoerings asook ’n samekoms tydens die Anglo-Boereoorlog die sosiale lewe van die inwoners van die dorp aandui. Die rol van die menslike geheue in kultuurgeskiedskrywing word vergelyk met die rol van foto’s as “geheue”. Terselfdertyd word die vermoë van foto’s om nie net fisiese kultuur te weerspieël nie, maar ook abstrakte konsepte te verteenwoordig, behandel. Die aanwending van hierdie eienskappe van fotografie in kultuurbewaring is ’n uitdaging vir bewaringskundiges van die 21ste eeu.

Das gegenwärtig in der Ausstellung "Trümmer - Träume - Alltag. Das DDR-Bild der Dresdner Pressefotografen Höhne/ Pohl 1945/1990" erstmals der Öffentlichkeit präsentierte Archiv der Bildjournalisten Erich Höhne (1912-1999) und Erich Pohl (1904-1968) wurde 1992 vollständig von der Deutschen Fotothek der Sächsischen Landesbibliothek erworben...

In this essay we follow a professional female photographer on the island of Gotland in Sweden around the turn of the twentieth century. The story of Laura Stenman’s life has for a long time been hidden, but through literature- and archival studies, her biographical story was pieced together and revealed during the winter of 2019. Through this essay her family life and photographic work has emerged. In parallel, a piece of the history of photography and the first photographers on Gotland are revealed.  The essay highlights the educational opportunities and advice available to those interested in photography at this time. It also describes the photographic studios that Laura Stenman and her second husband worked in. How the studio was planned and what inventories you would find in them. It also describes which assignments were the most common, which customers they had, how they communicated with the customers and how they found new ones. The economic conditions and aspects both for the photographer and the person to be portrayed, were of the utmost importance, and this is also being discussed. Some of the photographic pictures that Laura Stenman made were found and studied in detail in order to find patterns in her work. The essay also highlights how both the married and unmarried women were affected by changes in two big reforms in Sweden. First in 1846 when new opportunities arose for those who wanted to carry on activities in the craft profession, and second in 1864 when a business freedom regulation was introduced. Laura Stenman was married twice an both marriages changed her life and her history in different directions which is also being discussed throughout the essay. / I denna uppsats får vi följa en kvinnlig yrkesverksam fotograf på Gotland under sekelskiftet 1900. Laura Stenmans historia var länge dold men genom litteratur- och arkivstudier pusslades hennes biografiska skelett under vintern 2019 åter samman. En bild av hennes familjeliv och fotografiska arbete utkristalliserade sig. Parallellt har frågor om när fotokonsten och fotograferna egentligen kom till Gotland och vilka de första fotograferna var, besvarats. Vilka utbildningsmöjligheter och råd fanns för den intresserade vid denna tid?Arbetet beskriver de fotoateljéer som Laura Stenman och hennes andra man var aktiva i. Vart de byggdes upp, hur de planerades, fungerade och vad som fanns i dem. Även vilka fotografernas vanligaste uppdrag var, vilka kunder de hade, hur de kommunicerade med dem och hittade nya. De ekonomiska förutsättningarna och aspekterna både för fotografen och den som skulle låta sig avporträtteras var av allra största vikt vilket också diskuteras. Ett antal fotografiska visitkort som Laura Stenman lämnat efter sig studerades närmare. Vid 1846 års reform avskaffades skråväsendet i Sverige vilket gav nya möjligheter för den som ville bedriva verksamhet inom hantverksyrken och 1864 infördes sedan näringsfrihetsförordning. Uppsatsen lyfter hur både gifta och ogifta kvinnor påverkades av detta. Laura Stenman själv var gift två gånger och dessa giftermål påverkade hennes liv och historieskrivning i olika riktningar vilket har diskuterats genom hela arbetet.