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

L’essor de la photographie au milieu du 19ème siècle est contemporain de changements importants survenus au sein de la société française. A Paris sous le Second Empire, la forte hausse du pouvoir d’achat, due en grande partie aux travaux haussmanniens, influence l’image publique des citadins. La ville et ses grands boulevards offrent aux plus privilégiés la possibilité de se promener, de s’exhiber, de paraître selon certaines normes pour se mettre en lumière. Représentations qui seront ensuite fixées par les artistes : écrivains, peintres, sculpteurs, caricaturistes et photographes, ils concourent tous à immortaliser ce nouveau mode de vie et ses acteurs.Le portrait, ce moyen de représentation par excellence auparavant réservé à l’aristocratie, deviendra finalement accessible aux autres milieux sociaux. En comparaison avec les autres techniques, le portrait photographique gagnera davantage de succès et ce, grâce à de multiples critères : la baisse progressive de son coût, sa vitesse d’exécution, sa véracité reconnue par le public, sa capacité d’être reproduit à l’identique en grand nombre depuis l’invention du procédé collodion humide, sans oublier la naissance du portrait-carte de visite qui accélère sa démocratisation.Notre recherche repose sur un dépouillement minutieux d’archives photographiques. Elle aura comme objectif d’analyser le rôle joué par la photographie dans la procédure de représentation sous le Second Empire en répondant à un certain nombre de questions. / When portraiture was made accessible to French citizens in the nineteenth century, someconservative critics did not consider all individuals to be “portrayable”. This did notprevent people of means from hiring portrait painters to create their own “visiblememory”. In the process, they redefined the nature of the artist’s model. These newsitters, who were employers rather than employees, were not obedient: they insisted uponimposing their individual style and references. Photographic artists, on the other hand,persisted in directing their sitters—as artists did their paid academic models—and had toseek compromises that, without relinquishing their favoured styles, would satisfy theirdemanding clients. Some photographers published manuals and treatises explaining howto produce a good portrait without being unduly disturbed by the model’s whims andfancies. Furthermore, self-proclaimed experts in modern “etiquette” taught people how totalk, how to walk and how to appear in society. A careful examination of the conditionsbehind the production of photographic portraits, especially those representing fashionablecitizens taken during the era of the carte-de-visite, reveals the importance of the rolesplayed respectively by the model, the portrait photographer and the social codes ofconduct of the day.

Orientador: Luise Weiss / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T13:13:53Z (GMT). No. of bitstreams: 1 Castro_Dayande_M.pdf: 254244803 bytes, checksum: 290efbe27bd577bebcb934caa43871e2 (MD5) Previous issue date: 2014 / Resumo: O presente volume é um indagar descritivo de imagens em processo. Expõe um amalgama de referências teórico-práticas que influenciaram o caminho na produção das imagens. Estão aqui as partes fundamentais dessa busca, inquietações que relacionam-se com o contemporâneo, a fotografia e o retrato. Fundamentalmente um caminho, um paradoxo / Abstract: The purpose of this volume is a descriptive inquiring of images in progress. It exposes an amalgam of theoretical and practical issues that influenced the way the images were developed. The key parts of this quest are here along with concerns that relate to the contemporary, photography and portrait. Fundamentally a path, a paradox / Mestrado

The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed.  The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors.

No description available.

No description available.

This building is about the moment. It is about the moment when the image and the viewer begin a dialogue of existence. It is about the moment when a photographer and a model begin a relationship that is as intimate as that between a mother and child. It is about the creation of space to house those moments. It is about the creation of the image from light to negative to print to viewer. This building is about light. it is about the way light is framed. It is about the way photographs are records of light. It is about how humans see light and experience light and live in the light. It is about controlling and channeling the power of light. It is about harnessing the awesome power of light. This building is about growth. It is about a place from my past growing into an idea for the future. It is about my own growth as a person - physically, intellectually, and professionally. It is about the growth of a passion for photography and architecture in a way that I can share. / Master of Architecture

Texte de: Th. 3e cycle--Litt. comparée--Paris 4, 1980. / Bibliogr. pp. 184-194. Index.

Thesis--Bonn. / Vita. Bibliography: p. 257-279.

Thesis--Bonn. / Vita. Bibliography: p. 257-279.