Trabalhando nas ruas, praças, parques e jardins públicos das cidades brasileiras ao longo de todo o século XX, o fotógrafo Lambe-Lambe pode ser considerado um importante agente responsável pela democratização e pela popularização do retrato fotográfico entre as classes menos privilegiadas de nossa sociedade, produzindo uma documentação visual que preserva e transmite a memória coletiva de grupos comunitários e familiares. Este trabalho analisa os usos sociais das imagens produzidas por estes profissionais, e reflete sobre o papel social dos fotógrafos Lambe-Lambes, representantes de uma prática profissional que foi registrada como patrimônio cultural imaterial carioca. Nesse sentido, o enfoque de abordagem foi estruturado sobre três vertentes: as inter-relações entre fotografia e memória, as possibilidades de aproximações críticas e epistemológicas entre os retratos de família e as fotografias de Lambe-Lambes, e a atuação do campo antropológico na definição de políticas públicas de preservação e salvaguarda do patrimônio cultural. / Working on the streets, squares, parks and public gardens of Brazilian cities throughout the twentieth century, the photographer Lambe-Lambe can be considered an important agent responsible for democratisation and popularization of portrait photography among the less privileged classes of our society, producing a visual documentation that preserves and transmits the collective memory of family and community groups. This work examines the social uses of the images produced by these professionals, and reflects on the social role of photographers Lambe-Lambes, representatives of a professional practice that was recorded as intangible cultural heritage of the Rio de Janeiro city. In that sense, the focus of approach was structured on three issues: the inter-relationship between photography and memory, the possibilities of criticism and epistemological approaches between the portraits of family and pictures of Lambe-Lambes, and the participation of the anthropological field in the definition of public policies of preservation and safeguarding of cultural heritage.

Submitted by ANDRÉ CAMARGO LOPES null (heitor16@bol.com.br) on 2016-09-29T21:43:44Z No. of bitstreams: 1 TESE - ANDRÉ CAMARGO LOPES.pdf: 8769331 bytes, checksum: b2fdf83a22739c7e909b1ec7961cdc88 (MD5) / Rejected by Ana Paula Grisoto (grisotoana@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo a orientação abaixo: O arquivo submetido não contém o certificado de aprovação. Corrija esta informação e realize uma nova submissão com o arquivo correto. Agradecemos a compreensão. on 2016-09-30T17:02:35Z (GMT) / Submitted by ANDRÉ CAMARGO LOPES null (heitor16@bol.com.br) on 2016-10-02T22:36:35Z No. of bitstreams: 1 TESE COMPLETA PRONTA- VERSÃO PARA REPOSITÓRIO - set.pdf: 3821784 bytes, checksum: a58fcc4d10bb2062aad2197a77233755 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-10-03T12:39:51Z (GMT) No. of bitstreams: 1 lopes_ac_dr_assis.pdf: 3821784 bytes, checksum: a58fcc4d10bb2062aad2197a77233755 (MD5) / Made available in DSpace on 2016-10-03T12:39:51Z (GMT). No. of bitstreams: 1 lopes_ac_dr_assis.pdf: 3821784 bytes, checksum: a58fcc4d10bb2062aad2197a77233755 (MD5) Previous issue date: 2016-08-02 / Este trabalho se propõe a analisar um conjunto de imagens fotográficas coletadas em acervos de famílias de moradores da região norte do Município de Londrina (PR), cujo tema remete as poses retratadas no Santuário Nacional de Aparecida (SP) entre os anos de 1940 e 1980. A análise presente nesta pesquisa está dividida em duas etapas que se completam em seu fechamento: a primeira etapa – volta-se para o exercício de coleta e pesquisa de campo, o processo de catalogação, orientação e seleção temática a partir da persistência do tema como algo externo a rotina cotidiana, mas permanente no acervo como uma tradição religiosa destes núcleos familiais. A segunda etapa do estudo, estabelece a construção das relações produtoras do tema “Fotografias de Aparecida”. Delimitada em um recorte histórico que objetiva examinar tanto as redes como os indivíduos responsáveis pela construção e manutenção do olhar fotográfico sobre os espaços de fé no Santuário de Aparecida (SP). A pesquisa é balizada em sua temporalidade a partir da concepção das fotografias enquanto uma mercadoria de lembrança ou ex-voto explorada economicamente pelos fotógrafos ambulantes nos marcos de concentração de romeiros, especificamente as poses produzidas na Praça Nossa Senhora Aparecida. Sendo assim, propomos um recorte temporal que abarque os períodos áureos desta prática entre as décadas de 1940 a 1980. Logo, a pesquisa se volta para compor através da análise das entrevistas com os fotógrafos da Praça, proprietários das imagens e as fotografias, uma rede produtora de uma memória sobre o espaço sagrado presente no imaginário religioso popular. / This study aims to analyze a set of photographs collected from the collections of families who are residents in the northern region in the city of Londrina, in Paraná; which theme refers to poses depicted at the “Santuário Nacional de Aparecida” in the city of São Paulo (National Sanctuary of Aparecida) between the years of 1940 and 1980. The analysis presented in this research is divided into two stages that complete each other in their closure: in the first stage the research turns to the collection and field search, the cataloging process, orientation and thematic selection from the persistence of the theme as something outside the everyday routine, however, permanent to the collection as a religious tradition of these family groups. In the second stage of the research establishes the development of producing relationships in regards of “Fotografias de Aparecida” (Photografs from Aparecida). Bounded by a historical approach that aims to examine both the networks and the individuals responsible for the construction, and maintenance of the photographic look over the faith space at the Sanctuary of Aparecida in the city of São Paulo. The research is highlighted in its temporality from the concept of photographs as souvenir merchandise or votive economically exploited by itinerant photographers in devotees travelers landmark concentrations, specifically the poses produced at “Praça Nossa Senhora Aparecida” (Our Lady of Aparecida Square). Therefore, we propose a time frame encompassing the golden periods from this practice between the 1940s and the 1980s. Thus, the search turns to compose through the analysis of interviews with Square photographers, owners of images and photographs, and a network which produces memory of the sacred space in this popular religious imagery.

Thesis submitted in fulfillment of the requirements for the degree Magister of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2013 / This study investigates the perspective of Capetonian professional photographers on issues of integrity, regarding the impact of digital imaging technology. Key objectives are to establish how the concept of photographic integrity manifests itself throughout the history of the documentary genre, prior and subsequent to the introduction of digital imaging technology; to ascertain the extent to which the Capetonian professional photographer uses digital imaging technology compared to film technology; to discover how Capetonian professional photographers perceive various concepts related to integrity in a documentary photograph; to identify what Capetonian professional photographers regard as acceptable digital editing to the photojournalistic documentary photograph; to ascertain whether Capetonian professional photographers believe that digital imaging technology impacted on the integrity of the documentary photograph; and finally, to discern whether Capetonian professional photographers who have practiced professional photojournalism see the need for a national regulating body, which clearly makes known what acceptable picture taking (in terms of content, e.g. staging of a photograph) and digital editing entails, for the South African photojournalist. The rationale for this study is that we exist in an era where we are faced with a digital revolution which transforms perceptions of integrity and it is essential to ascertain how technology influences the perceptions of the very professionals who produce documentary photography images. The literature review evolves a context for this study. This empirical study’s data collection and analyses has a mixed-method design. The survey’s instrument of data collection is a questionnaire, which captured quantitative data and with half of one question captures qualitative data. I analysed quantitative data with the help of SPSS and I analysed qualitative data much akin to a case study. The statistical test used to analyse quantitative data is a chi-square test and there are 66 participants in the study. I found that a breach of integrity, for instance manipulation, was always possible in the era prior to the introduction of digital imaging technology. Now it is only done faster, more thorough and more people have access to editing technology. Many who lack moral fiber are tempted now, more than ever, to illicitly manipulate. Capetonian professional photographer’s experience in digital image creation and editing technology outweighs the equivalent in the film medium. Digital camera usage takes precedence over film cameras. An example of a perception of a concept related to integrity in documentary photography is the sub-group which has practiced professional photojournalism insisted (73.5% of them strongly agreed) that it is possible to be creative and truthful at the same time in documentary photography. With regard to what acceptable editing entails, for cropping respondents favoured slight cropping; for dodging and burning in respondents favoured very light dodging and burning in; for pasting in respondents favoured no pasting in is acceptable; and for removing of objects respondents favoured no removing of objects. The Capetonian professional photographer believes that digital imaging technology has impacted on the integrity of the documentary photograph. For instance, the study has measured and proved that a majority of Capetonian professional photographers believe that a documentary essay taken in film and processed in the traditional darkroom feels more consistently trustworthy than its digital equivalent. This study has shown that there is a need for a body that clearly makes known what acceptable picture taking and digital editing entails for the professional photojournalistic photographer in South Africa.

Trabalhando nas ruas, praças, parques e jardins públicos das cidades brasileiras ao longo de todo o século XX, o fotógrafo Lambe-Lambe pode ser considerado um importante agente responsável pela democratização e pela popularização do retrato fotográfico entre as classes menos privilegiadas de nossa sociedade, produzindo uma documentação visual que preserva e transmite a memória coletiva de grupos comunitários e familiares. Este trabalho analisa os usos sociais das imagens produzidas por estes profissionais, e reflete sobre o papel social dos fotógrafos Lambe-Lambes, representantes de uma prática profissional que foi registrada como patrimônio cultural imaterial carioca. Nesse sentido, o enfoque de abordagem foi estruturado sobre três vertentes: as inter-relações entre fotografia e memória, as possibilidades de aproximações críticas e epistemológicas entre os retratos de família e as fotografias de Lambe-Lambes, e a atuação do campo antropológico na definição de políticas públicas de preservação e salvaguarda do patrimônio cultural. / Working on the streets, squares, parks and public gardens of Brazilian cities throughout the twentieth century, the photographer Lambe-Lambe can be considered an important agent responsible for democratisation and popularization of portrait photography among the less privileged classes of our society, producing a visual documentation that preserves and transmits the collective memory of family and community groups. This work examines the social uses of the images produced by these professionals, and reflects on the social role of photographers Lambe-Lambes, representatives of a professional practice that was recorded as intangible cultural heritage of the Rio de Janeiro city. In that sense, the focus of approach was structured on three issues: the inter-relationship between photography and memory, the possibilities of criticism and epistemological approaches between the portraits of family and pictures of Lambe-Lambes, and the participation of the anthropological field in the definition of public policies of preservation and safeguarding of cultural heritage.

Orientador: Fernando Cury de Tacca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-09T06:35:14Z (GMT). No. of bitstreams: 1 Dobranszky_DianadeAbreu_M.pdf: 10503370 bytes, checksum: c254e6cff78fe2c7e2bb5c476b010897 (MD5) Previous issue date: 2002 / Resumo: Através da câmara obscura, a fotografia herdou características vindas da pintura quanto a representação tanto em termos estéticos como em relação aos conceitos de realismo. Ao mesmo tempo, seu mecanismo de funcionamento gerou discussões ao longo do tempo sobre sua verosimilhança e sobre sua peculiar ligação com o visível. O que destaca-se na imagem fotográfica é a presença do referente necessariamente real, como coloca Roland Barthes. Essa sua condição de ligação com o real evidencia sua natureza diferenciada com relação as demais formas artísticas e, com isso, oferece-lhe novos recursos plásticos que influenciaram a arte principalmente no século XX, da mesma forma como foi influenciada por ela. Essa pesquisa tem como foco principal o referente fotográfico que oferece-nos questões e discussões quanto a natureza da imagem fotográfica; que nos orienta no estudo de diferentes momentos da história da fotografia e que, por causa do experimentalismo na fotografia autoral, apresenta-se de inúmeras formas - o que aqui será ilustrado nas obras criadas em fins do século XX por seis fotógrafos brasileiros / Abstract: Not informed. / Mestrado / Mestre em Multimeios

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No. of bitstreams: 2 Dissertação - Dania Soldera - 2014.pdf: 15204983 bytes, checksum: c82bdaee340a3b058ad4adb84960cda3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research entitled Photography: conversation with pictures, between light and darkness, aims to answer the question : What are the ways of seeing and how are they given? Thus, the proposal is to discuss what is the seeing and what are the ways of seeing, especially regarding images, and propose new possibilities to perceive and relate to the images. The look of blind photographers artists Teco Barbero, Pete Eckert and Evgen Bavcar is the starting point for articulating concepts, notes, contextualizing and question the oculocentrista beliefs that the world thinks the imagery as belonging only to the visionaries. The theoretical foundation is rooted in the study of the visual culture to think that corroborate the view, photography and reflection of visually impaired people enabled by the field, and discuss issues such as image, its production and some possible ways of seeing and relating to the images. The photograph is placed on debate to advance the reflection on the ways of seeing, perceiving, thinking and create the view beyond. And think the description and language as articulators for the visually impaired relationship with photography and images in general way. When entering the world of language, translation emerges as a possibility to reflect on ways of building the images for the visually impaired. The structure of the thinking process of the seeing, perceive and relate to the imaging, is woven from the poetics of 'see', ' review ' and ' transverse ' metaphor proposed by Manoel de Barros. Also relies, in the possibilities of translation, Flusser, entering the field of visual culture studies. The field research, observation and data collection was performed with a group of visually impaired and bachelors in travel photography Visual Literacy extension, Senac - SP, where students learn how to shoot and handle the camera, doing exercises to increase awareness, perception and imaging, as well as discussion and reflection on the photographic and image production. Research indicates, among other issues, that the seeing is not something unique of the eye and that it is built from the experiences, experiments, and especially the perceptions coming from the senses. The view is a construction that relies on vision, and is completed in sensations, memories and imagination. Seeking to expand the discussion on the ways of seeing, are listed the reports, processes and photographic works of Lelo Araújo, Ana Domingues and grandson Josiah. Analysis and interpretations that cover the production of these blind photographers are not woven, since the purpose of the research is to reflect upon the possibilities of seeing in its wealth of forms and manifestations, thus increasing the knowledge about the image. / A pesquisa intitulada Fotografia: conversa com imagens, entre a luz e as trevas, tem por objetivo responder à questão: O que é e como se dão os modos de ver? Desse modo, a proposta é problematizar o que é o ver e os modos de ver, principalmente no tocante às imagens fotográficas, e propor novas possibilidades para perceber e relacionar-se com as imagens. O olhar dos artistas fotógrafos cegos Teco Barbero, Pete Eckert e Evgen Bavcar é o ponto de partida para articular conceituações, apontamentos, problematizações equestionar a convicção oculocentrista que pensa o mundo imagético como pertencente apenas aos videntes. A fundamentação teórica tem raízes nos estudos da cultura visual que corroboram para pensar o ver, a fotografia e a reflexão dos deficientes visuais viabilizada pelo campo, e discutir questões como imagem, sua produção e alguns possíveis modos de ver e se relacionar com as imagens. A fotografia é colocada em debate para avançar nas reflexões referentes aos modos de ver, perceber, criar e pensar o ver que vai além. E pensa a descrição e a língua como elementos articuladores para a relação dos deficientes visuais com a fotografia e imagens de modo geral. Ao adentrar no universo da língua, a tradução surge como possibilidade para refletir sobre os modos de construção das imagens fotográficas pelos deficientes visuais. A estruturação desse processo de pensar o ver, perceber e se relacionar com as imagens, é tecida a partir da poética do 'ver', 'rever' e 'transver', metáfora proposta por Manoel de Barros. Apoia-se também, nas possibilidades da tradução, de Vilém Flusser, adentrando o campo de estudos da cultura visual. Apesquisa de campo, observação e coleta de dados foi realizada com um grupo formado por deficientes visuais e bacharéis em fotografia do curso de extensão Alfabetização Visual, SENAC-SP, onde os alunos aprendem a fotografar e manusear a câmera, fazem exercícios de sensibilização, percepção e criação de imagens, além de debates e reflexões sobre a produção fotográfica e imagética. A investigação aponta, dentre outras questões, que o ver não é algo exclusivo do olho e que ele é construído a partir das vivências, experiências e, principalmente, das percepções oriundas dos sentidos. O ver é uma construção que se apoia na visão, e que se completa nas sensações, memórias e imaginação. Buscando ampliar a discussão sobre os modos de ver são apresentados os relatos, processos e trabalhos fotográficos de Lelo Araújo, Ana Domingues e Josias Neto. Análises e interpretações que abarquem a produção destes fotógrafos cegos não são tecidas, pois o intuito da pesquisa é refletir a respeito das possibilidades do ver em sua riqueza de formas e manifestações, com isso, ampliar o conhecimento sobre a imagem.

ln mid-1988, Brigham Young University received a high-quality collection of photographic glass plates made by Edith Irvine at the tum of the century. The plates, her camera and other photographic equipment, and miscellaneous publications were donated to BYU by her nephew, Jim Irvine. When the plates arrived and the Archives Photolab had them proofed, we realized thal not only were the San Francisco earthquake/ fire and other areas of California history recorded, but we had, in fact, the work of an outstanding photographer. As we compared the proofs with the work of other photographers who handled similar subjects, we called on faculty members qualified to judge her work. All were unstinting in their praise. As our Archives Curator, Dennis Rowley, looked at them, he said, "I've never seen a sel of photographs create a mood like these do." The more I worked with them, the greater my need to do more than just process and preserve. As I discussed the collection with the faculty members, it became evident to me that I should make a change in my graduate program. I was determined to learn more about the photographer. The collection of photographs can be viewed in the Edith Irvine Collection.

No description available.

Call number: LD2668 .T4 1985 M39 / Master of Science

Notre recherche entend déterminer les éléments constitutifs de la photographie de ruines au XIXe siècle pour tenter de définir ce modèle de représentation de la trace archéologique. Cette étude s'attache à comprendre comment les sites archéologiques de la Méditerranée ont été reproduits à travers une photographie d'archéologie dont les règles scientifiques ne sont pas encore fixées au XIXe siècle. Pour conduire cette recherche, nous nous sommes proposés d'appliquer une méthode comparative, en analysant la production réalisée par les photographes dans deux contextes géographiques et géopolitiques différents, dans le cadre de fouilles, de voyages personnels ou de voyages d'explorations archéologiques. Compte tenu de critères historiques et socio-culturels pertinents, nous avons sélectionné deux pays des deux bords méditerranéens, l'Italie et Algérie. Deux destinations scientifiques mais aussi touristiques propices à la découverte physique de l'expérience archéologique pour les photographes de la période étudiée, et ce du simple fait de la richesse et de la diversité de leur patrimoine archéologique. Deux destinations qui ont également connu une histoire de l'archéologie, et un développement des fouilles distincts sur bien des aspects. À partir d'un corpus relativement important, la démarche comparatiste que nous avons choisie d'appliquer nous a permis d'observer, de décrire et de comprendre la manière dont les photographes ont contribué à la structuration et à la circulation des imaginaires relatifs aux sites archéologiques entre l'Europe (en particulier l'Italie) et l'Afrique Nord (l'Algérie) au XIXe siècle. Aussi, par l'intermédiaire d'un protocole bien défini , et d'une sélection de corpus (principalement centrée sur la production des photographes français), nous avons pu souligner un ensemble de systèmes de représentations de la ruine lié à un imaginaire commun des pays Méditerranéens. / Our thesis wishes to determine the components of the photography of ruins in the 19th century and to try to define this model of representation of the archaeological trace. This study aims to understand how the archaeological sites of the Mediterranean sites have been reproduced through a photograph of archeology whose scientific rules are not yet predefined in the nineteenth century. In order to produce this research, we propose to apply a comparative method, analyzing the production produced by photographers in two different geographical and geopolitical contexts, in the context of excavations, persona) travels or archaeological explorations. Taking into account relevant historical and socio-cultural criteria, we selected two countries on the two Mediterranean shores, Italy and Algeria. Two scientific but also tourist destinations conducive for the physical discovery of the archaeological experience for photographers of the period studied, simply because of richness and diversity of their archaeological heritage. Two destinations that also experienced a history of archeology, and a history of their separate excavations on many aspects. Based on a relatively large corpus, the comparative approach we have chosen to apply has enabled us to observe, describe and understand the way in which photographers have contributed to the structuring and circulation of the imaginary Archaeological sites between Europe (especially Italy) and North Africa (Algeria) in the nineteenth century. Thus, by means of an established protocol and a selection of corpus (mainly centered on the production of French photographers), we have been able to highlight a set of systems of representations of the ruin linked to a common imaginary of the countries Mediterranean countries.