Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Illustrations consist of photographs mounted on pages. Includes bibliographical references.

Submitted in partial compliance with the requirements for the Degree of Master of Applied Arts in Photography, Durban University of Technology, 2017. / This research deals with both the cultural and technical aspects of the use of controlled shadow in child portraiture. This study was contextualised by setting it in a theoretical framework of visual culture, and by exploring the connotations of shadow in western culture. The theoretical framework provided by visual culture suggested that the way in which shadow is interpreted is dependent on the context in which it is set, and, in the context of child portraiture in particular, shadow tends to be avoided in commercial shoots. As the commercial viability of photography depends on the public being comfortable with the images produced, child photographs are usually staged or touched up to ensure that no sinister or foreboding connotations might be conveyed by shadow. While the use of harsh shadow is generally not aesthetically pleasing, and obscures the very lineaments which personalise and animate images, it was the contention of this study that use of controlled shadow might add depth and character to portraiture, and has the potential to create aesthetically pleasing effects in child photography. The empirical work explored both the cultural and technical aspects of photography. The cultural aspects, relating to the potentially undesirable aspects of photography, were explored in questionnaires and surveys carried out with groups of practising professional photographers and parents of young children. The technical aspects were explored by developing a technique for achieving pleasing aesthetic effects in child portraiture by use of controlled shadow, using the soft shadows cast by natural objects or those associated with play. The results suggest that photographers would be willing to use a technique such as that developed, provided that the results were acceptable to their clients, and thus commercially viable; the parent responses suggest that clients would find child portraits with controlled shadow aesthetically pleasing. / M

This study offers a history of the concept of realism in portrait photography through the examination of a set of categories that have colored photographic practices since the origins of the medium in 1839: the posed and the candid. The first section of this study deals with the practices of posing in early photography, with chapters on the daguerreotype, the carte de visite, and the amateur snapshot photograph. Considering technological advances in conjunction with prevailing cultural mores and aesthetic practices, this section traces the changing cultural meaning of the portrait photograph, the obsolescence of the pose, and the emergence of an "unposed" aesthetic in photography. The second section of this study examines three key photographers and their strategies of photographic representation, all of which involved candid photography: it looks at Erich Salomon's pioneering photojournalism, Humphrey Spender's politicized sociological photography, and Walker Evans' complex maneuvering of the documentary form. Here, the emphasis is on the ways in which the trope of the candid informed these three distinct spheres of photography in the early 20th century, and the ways in which the photographic aesthetic of candor cohered with--or contested--political and cultural developments of the interwar period in Germany, Britain, and the United States.

Os retratos fotográficos são uma forma consolidada de se representar. Refletir a partir da visão do retratado no momento em que esta se direciona no sentido oposto ao nosso olhar propõe a existência de um espaço contíguo ao corte que atravessa a quarta parede. Tal compreensão tensiona o contexto que circunda fisicamente o espaço da obtenção dos retratos. Neste trabalho, propõe-se a ampliação do espectro das análises em direção a um espaço definido pela formulação da noção de contraperspectiva: um espaço perspectivo inverso ao tradicional que se instaura no direcionamento do olhar para a câmera, e que se projeta sobre quem observa a imagem, incluindo-o, concebendo que o sentido é, também por isso, ampliado. Este espaço foi complexificado pela prática da selfie, promotora da sobreposição dos papéis do fotógrafo e do fotografado. Para tanto, propôs-se uma investigação qualitativa através de entrevistas com fotógrafos profissionais, buscando entender suas concepções e conflitos acerca dos perfis e retratos dos outros (ou de si próprios). Além da proposição teórica da contraperspectiva, este estudo propõe as noções de espacialidade constitutiva e figurativa, as quais, respectivamente, conceituam as possibilidades físicas da circunstância de obtenção e, no segundo caso, a materialização de uma escolha dentre as possibilidades. Outra percepção advinda do estudo sustenta que a presença de duas forças - que se entrecruzam no plano da imagem – atuam como vetores de entrada e saída da imagem em relação à quarta parede, estabelecendo-se em conflito constante, desperta principalmente pela posição do olhar direto. Acrescenta-se ainda, neste trabalho, a compreensão da ideia dos espaços perpendicular e paralelo, no qual o primeiro estabelece relação entre o retratado e o espaço que ele ocupa, que lhe circunda e do qual ele faz parte, e o segundo posiciona-se sobre o eixo retratado/câmera, efetuando-se na ligação estabelecida entre os olhares do sujeito retratado/visto em relação à posição da lente/observador/vidente. Neste sentido, propõe-se o entendimento que o olhar direto estabelece, mesmo que por breve instante, uma sensação de compartilhamento de espaços entre o observador e o observado. Assim, foi possível compreender em maior profundidade o espaço que permeia a obtenção e como este se relaciona, enquanto dinâmica, com as noções inclusivas nos processos de observação destes retratos. / The photographic portraits are, for human beings, a consolidated way to represent. Reflecting from the viewer's perspective, at the moment it is directed in the opposite direction to our normally projective look (at the moment the subject is looking at the lens), it suggests the existence of a space adjoining the cut, translucent, which breaks through the fourth wall. Such an understanding aims to reflect about the whole context that physically surrounds the space of obtaining the portraits, understanding it as everything that involves the production of photographs. In this paper, it is aimed the amplification of the spectrum of the analysis that comprise a movement, inflated by the practice of selfies, that brings up the theoretical frame of the counter-perspective: a perspective space inverse to the traditional one that establishes in the direction of the look for the camera, And that is projected onto the one who observes the image, including that person, conceiving that the meaning is, therefore, also enlarged. In addition, the practice of selfie, which promotes the overlapping of the roles of photographer and photographed, also stresses spatiality insofar as it subverts the role of the observer to the observed. In addition to the theoretical proposition of contraperspective, this study proposes the notions of constitutive and figurative spatiality, which, respectively, conceptualize the physical possibilities of the circumstance of obtaining and, in the second case, the materialization of a choice among the possibilities. Another perception from the study maintains that the presence of two forces act as vectors of entrance and exit of the image in relation to the fourth wall, establishing itself in constant conflict, aroused mainly by the position of the direct look . It is also added in this work the understanding of the idea of perpendicular and parallel spaces, in which the former establishes a relation between the portrayed person and the space he occupies, which surrounds him and of which he is a part, and the second position On the retracted axis / camera, effecting the established connection between the glances of the subject portrayed / seen in relation to the position of the lens / observer / sighted. In this sense, it is proposed the understanding that the direct look establishes, even for a brief moment, a sense of space sharing between the observer and the observed. Thus, it was possible to understand in greater depth the space that permeates the obtaining and how this relates, while dynamic, with the inclusive notions in the processes of observation of these portraits.

Thesis (MA--Art and Design) -- Auckland University of Technology, 2003. / Also held in print (98 leaves, ill., 30 cm.) in Wellesley Theses Collection (T 306.766 DEV)

Thesis (MFineArt)--University of Melbourne, The Faculty of the Victorian College of the Arts and Music, 2010. / Typescript. Includes bibliographical references (leaves 32-34)

Os retratos fotográficos são uma forma consolidada de se representar. Refletir a partir da visão do retratado no momento em que esta se direciona no sentido oposto ao nosso olhar propõe a existência de um espaço contíguo ao corte que atravessa a quarta parede. Tal compreensão tensiona o contexto que circunda fisicamente o espaço da obtenção dos retratos. Neste trabalho, propõe-se a ampliação do espectro das análises em direção a um espaço definido pela formulação da noção de contraperspectiva: um espaço perspectivo inverso ao tradicional que se instaura no direcionamento do olhar para a câmera, e que se projeta sobre quem observa a imagem, incluindo-o, concebendo que o sentido é, também por isso, ampliado. Este espaço foi complexificado pela prática da selfie, promotora da sobreposição dos papéis do fotógrafo e do fotografado. Para tanto, propôs-se uma investigação qualitativa através de entrevistas com fotógrafos profissionais, buscando entender suas concepções e conflitos acerca dos perfis e retratos dos outros (ou de si próprios). Além da proposição teórica da contraperspectiva, este estudo propõe as noções de espacialidade constitutiva e figurativa, as quais, respectivamente, conceituam as possibilidades físicas da circunstância de obtenção e, no segundo caso, a materialização de uma escolha dentre as possibilidades. Outra percepção advinda do estudo sustenta que a presença de duas forças - que se entrecruzam no plano da imagem – atuam como vetores de entrada e saída da imagem em relação à quarta parede, estabelecendo-se em conflito constante, desperta principalmente pela posição do olhar direto. Acrescenta-se ainda, neste trabalho, a compreensão da ideia dos espaços perpendicular e paralelo, no qual o primeiro estabelece relação entre o retratado e o espaço que ele ocupa, que lhe circunda e do qual ele faz parte, e o segundo posiciona-se sobre o eixo retratado/câmera, efetuando-se na ligação estabelecida entre os olhares do sujeito retratado/visto em relação à posição da lente/observador/vidente. Neste sentido, propõe-se o entendimento que o olhar direto estabelece, mesmo que por breve instante, uma sensação de compartilhamento de espaços entre o observador e o observado. Assim, foi possível compreender em maior profundidade o espaço que permeia a obtenção e como este se relaciona, enquanto dinâmica, com as noções inclusivas nos processos de observação destes retratos. / The photographic portraits are, for human beings, a consolidated way to represent. Reflecting from the viewer's perspective, at the moment it is directed in the opposite direction to our normally projective look (at the moment the subject is looking at the lens), it suggests the existence of a space adjoining the cut, translucent, which breaks through the fourth wall. Such an understanding aims to reflect about the whole context that physically surrounds the space of obtaining the portraits, understanding it as everything that involves the production of photographs. In this paper, it is aimed the amplification of the spectrum of the analysis that comprise a movement, inflated by the practice of selfies, that brings up the theoretical frame of the counter-perspective: a perspective space inverse to the traditional one that establishes in the direction of the look for the camera, And that is projected onto the one who observes the image, including that person, conceiving that the meaning is, therefore, also enlarged. In addition, the practice of selfie, which promotes the overlapping of the roles of photographer and photographed, also stresses spatiality insofar as it subverts the role of the observer to the observed. In addition to the theoretical proposition of contraperspective, this study proposes the notions of constitutive and figurative spatiality, which, respectively, conceptualize the physical possibilities of the circumstance of obtaining and, in the second case, the materialization of a choice among the possibilities. Another perception from the study maintains that the presence of two forces act as vectors of entrance and exit of the image in relation to the fourth wall, establishing itself in constant conflict, aroused mainly by the position of the direct look . It is also added in this work the understanding of the idea of perpendicular and parallel spaces, in which the former establishes a relation between the portrayed person and the space he occupies, which surrounds him and of which he is a part, and the second position On the retracted axis / camera, effecting the established connection between the glances of the subject portrayed / seen in relation to the position of the lens / observer / sighted. In this sense, it is proposed the understanding that the direct look establishes, even for a brief moment, a sense of space sharing between the observer and the observed. Thus, it was possible to understand in greater depth the space that permeates the obtaining and how this relates, while dynamic, with the inclusive notions in the processes of observation of these portraits.

International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.

Os retratos fotográficos são uma forma consolidada de se representar. Refletir a partir da visão do retratado no momento em que esta se direciona no sentido oposto ao nosso olhar propõe a existência de um espaço contíguo ao corte que atravessa a quarta parede. Tal compreensão tensiona o contexto que circunda fisicamente o espaço da obtenção dos retratos. Neste trabalho, propõe-se a ampliação do espectro das análises em direção a um espaço definido pela formulação da noção de contraperspectiva: um espaço perspectivo inverso ao tradicional que se instaura no direcionamento do olhar para a câmera, e que se projeta sobre quem observa a imagem, incluindo-o, concebendo que o sentido é, também por isso, ampliado. Este espaço foi complexificado pela prática da selfie, promotora da sobreposição dos papéis do fotógrafo e do fotografado. Para tanto, propôs-se uma investigação qualitativa através de entrevistas com fotógrafos profissionais, buscando entender suas concepções e conflitos acerca dos perfis e retratos dos outros (ou de si próprios). Além da proposição teórica da contraperspectiva, este estudo propõe as noções de espacialidade constitutiva e figurativa, as quais, respectivamente, conceituam as possibilidades físicas da circunstância de obtenção e, no segundo caso, a materialização de uma escolha dentre as possibilidades. Outra percepção advinda do estudo sustenta que a presença de duas forças - que se entrecruzam no plano da imagem – atuam como vetores de entrada e saída da imagem em relação à quarta parede, estabelecendo-se em conflito constante, desperta principalmente pela posição do olhar direto. Acrescenta-se ainda, neste trabalho, a compreensão da ideia dos espaços perpendicular e paralelo, no qual o primeiro estabelece relação entre o retratado e o espaço que ele ocupa, que lhe circunda e do qual ele faz parte, e o segundo posiciona-se sobre o eixo retratado/câmera, efetuando-se na ligação estabelecida entre os olhares do sujeito retratado/visto em relação à posição da lente/observador/vidente. Neste sentido, propõe-se o entendimento que o olhar direto estabelece, mesmo que por breve instante, uma sensação de compartilhamento de espaços entre o observador e o observado. Assim, foi possível compreender em maior profundidade o espaço que permeia a obtenção e como este se relaciona, enquanto dinâmica, com as noções inclusivas nos processos de observação destes retratos. / The photographic portraits are, for human beings, a consolidated way to represent. Reflecting from the viewer's perspective, at the moment it is directed in the opposite direction to our normally projective look (at the moment the subject is looking at the lens), it suggests the existence of a space adjoining the cut, translucent, which breaks through the fourth wall. Such an understanding aims to reflect about the whole context that physically surrounds the space of obtaining the portraits, understanding it as everything that involves the production of photographs. In this paper, it is aimed the amplification of the spectrum of the analysis that comprise a movement, inflated by the practice of selfies, that brings up the theoretical frame of the counter-perspective: a perspective space inverse to the traditional one that establishes in the direction of the look for the camera, And that is projected onto the one who observes the image, including that person, conceiving that the meaning is, therefore, also enlarged. In addition, the practice of selfie, which promotes the overlapping of the roles of photographer and photographed, also stresses spatiality insofar as it subverts the role of the observer to the observed. In addition to the theoretical proposition of contraperspective, this study proposes the notions of constitutive and figurative spatiality, which, respectively, conceptualize the physical possibilities of the circumstance of obtaining and, in the second case, the materialization of a choice among the possibilities. Another perception from the study maintains that the presence of two forces act as vectors of entrance and exit of the image in relation to the fourth wall, establishing itself in constant conflict, aroused mainly by the position of the direct look . It is also added in this work the understanding of the idea of perpendicular and parallel spaces, in which the former establishes a relation between the portrayed person and the space he occupies, which surrounds him and of which he is a part, and the second position On the retracted axis / camera, effecting the established connection between the glances of the subject portrayed / seen in relation to the position of the lens / observer / sighted. In this sense, it is proposed the understanding that the direct look establishes, even for a brief moment, a sense of space sharing between the observer and the observed. Thus, it was possible to understand in greater depth the space that permeates the obtaining and how this relates, while dynamic, with the inclusive notions in the processes of observation of these portraits.

With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.