Thesis (Ph. D.)--University of Michigan, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 387-405).

Thesis (M.A.)--University of Wisconsin--Madison, 1967. / Description based on print version record. Includes bibliographical references.

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1826 is the date attributed to the very first known photograph, Nicephore Niepce's "View from the Window at Gras." For traditional historians of photography this date marks the moment when the genius of man was finally able to merge the knowledge of chemistry with that of optics to create the most amazing technology of visual representation. However, those same historians recognize that the two essential components of photography---the camera and the properties of silver halides---had been known for centuries before the first photograph was ever taken. / This thesis explores two fundamental questions: Why wasn't photography invented soon after its major technological components were discovered c. 1650? And why was it invented in the early decades of the nineteenth century c. 1830? This gap of some 200 years separating the feasibility of photography from its actualization has remained largely unexplained. / The answers to both questions is found by situating the genealogy of the invention of photography within the development of the Western philosophy of vision. The fact that photography was invented at the junction of the Classical and Modern epistemes offers a unique opportunity to approach the history of photography from the perspective of the history of thought. Hence this thesis takes its inspiration from the work of Michel Foucault and some of his followers---in particular Jonathan Crary and Geoffrey Batchen. The result of this radical shift from the technical to the intellectual environment allows the history of photography to transcend the narrow confines of technology and formal appearances. From a Foucauldian perspective I argue that photography was invented as a response to the epistemic instability experienced during the transition from the Enlightenment to Modernity.

This creative project presents a comprehensive and detailed guide to the building of inexpensive studio lighting equipment. The projects include simple equipment such as backgrounds, snoots and scrims to more specialized equipment like the glassware table and softlight box.Each project includes figures and instructions for building the equipment. At the end of each project are examples of the effects of each piece of equipment in a photographic situation.Also included is a list of photographic data on how each of the photographs was taken.

Architecture exists as shelter, separating space into the inside and the outside. This separation is a crucial point in our experience of architecture. This separation is the first moment of physical interaction with the construct in our penetration of the construct. However, architecture is not only a physical language. It is nonphysical, in that architecture is defined as the art and science of building, etc. This separation, internally, both produces the architecture as well as the ideas that are produced from the architecture. Architecture is held in-between, the movement or passage from one to the other is perceived as an external transition and an internal passage into the realm of arts and sciences. The mediation in passage from one to the other may be perceived through the dialectic. This allows architecture to contain both external and internal mediation of extremes. / Department of Architecture

This thesis represents the findings from a series of experimental investigations that explore young people's transition from socially constrained image making to innovative photographic practice within the art education context. It identifies the constraints young peoples' vernacular theories about what makes a good photograph, have on their own photographic origination. It draws on the work of Berti and Freeman (1997) and Karmiloff-Smith (1992) and accepts underlying descriptions of theory of mind development in young children (Wellman 1990). The data was collected from 117 adolescents (72 girls and 45 boys) aged between 10 and 17 years old, who were attending government primary and secondary schools in Sydney Australia between late 2001 and mid 2003. The schools were located in and around Sydney's eastern, western and south-western suburbs and ranged from the inner city to the semi-rural hinterland. The students represent a range of socio-economic and cultural backgrounds. Participants' theories about photography and what makes 'good' and 'bad' photographs was ascertained by asking a series of structured questions at interview and analysing written responses to a questionnaire Five experimental situations produced 1344 photographs which were coded and analysed using ANOVA to establish between age-group and experimental task differences. The photographs were judged by expert photographers, for levels of innovation. Adolescents' explanations about the photographs they made were analysed for reflexive thinking. In order to map any shift in representational development throughout adolescence the data were divided into three age groups. 10-13 year old (n=40), 14-16 year olds (n=69) and 17 year olds(n=11). The study produced evidence that adolescents aged 10-13 years old had a na??ve theory of photography, and that 14-16 year olds had an emerging reflexive theory of photography, but they were constrained by both procedural understandings and social conventions of photography. Expert 17 year olds and adults have a reflexive theory of photography as evidenced by higher percentage of innovative images and more reflexive statements about their photographs. The findings provide baseline understandings of the cognitive processes implicit in photograph origination by adolescents and suggests implications for further research into the teaching and learning of photography as a creative medium in the Secondary School Visual Arts classroom.

Thesis (M.F.A.)--Rochester Institute of Technology, 1987. / Includes bibliographical references (leaf 15).