In my work, I would like to close the term "Late photography". Personally, I believe that since the seventies we in the works of many artists find similar documentary strategies that relate to the concept of "Late photography". Currently, there is a certain exhaustion of this concept. For these reasons, I would like to focus on finding artists who suggest a new direction in photography while benefiting from a "photojournalist".

The main aim of my Master diploma work will be an?? effort to describe the Art Market and especially the position of photography into it. When photography began to be part of the Art Market and why? Is the entry of photography in the Art Market a reason for a change of the photographic discourse and further more is that a fact by itself which can affect the aesthetics of photography. How photography has been affected visually, thematically and even the way of the installation of the photographic image? Is it true the hypothesis which says that as bigger the size of the photograph as much bigger art it is? "Art is about life, the art market is about money." Damien Hirst said. Is that so? Or maybe nowadays art is only about money. Has art market and art become one? The above questions are some of the elements which are going to constitute the research of my diploma work.

The diploma thesis is primarily devoted to the study of contemporary aesthetics of astronomical photography. The term astronomical photography means two different, but at the same time dependent facts. The term is covering a field of scientific images of astronomical research, which is primarily intended for a narrower group of professionally trained observers, but on the other hand, we also look at the images of planets, stars and nebulae commonly encountered by the broad lay public in the media. These images act as trusted photographs, but in fact, the initial quantitative data is practically transferred to visual scenes in accordance with the conventions of photographic aesthetics. Image aesthetization was taking place at a time when astrophotography worked primarily with photo plates. New ways of detecting and visualizing, relying on digital data processing and digital image processing, transform these traditional techniques and techniques, but at the same time they continue to do so: they continue building the specific aesthetics of astronomical photography.

The thesis describes and analyses post-documentary photography with emphasis on contemporary Chinese theory and practice. The traditionally defined documentary function of photography has been challenged on many sides and the technology growth of the new media has caused the structural change of photographic language. Documentary function, the core characteristics of photographic language, is rapidly falling apart in this change. As an imported tool, photography has taken a special road in its growth in China. For well known ideology reasons, the documentary function of photography has displayed some very peculiar changes in its traditional past as well as in globalized China today. This paper will try to analyze various causes that influence the documentary function of photography, compare political and cultural differences and show the post-documentary characteristics of contemporary Chinese photography.

Thesis is focusing on two main themes of the relationship between photography and architecture and their evolution over time of massive digitization. Technologically examines new possibilities of image capture within photographing architecture and compares their with classic scanning method from the time before digital cameras and computers was normally available. Another subject is description of the new possibilities concerning presentation of architecture photography in the new digital era of cameras and improved 3D rendered image, adding to image section of printed and digital magazines, catalogues, social networks and other forms of architecture presentation, all thanks to simplicity of its acquisition and presentation.

Thesis (Doctoral)--Freie Universität Berlin, 1982.

Xue Huake is a contemporary Chinese humanistic documentary photographer. Until now he has made many successful photographic projects. He is the founder of the Photography Department at the China Academy of Art and head of the department from its very beginning. He is also a member of the Chinese Educational Photographic Society, Chairman of the Zhejiang Folk Photographic Society and a life member of the Royal Photographic Society with the highest award (Fellowship of the Royal Photographic Society). In recent years, his works have been often exhibited in the well-known galleries and other art institutions in China and abroad. Over the years in the field of photography Professor Xue has received many awards, including: the first Chinese who received the first prize in the International Exhibition of Photography by Epson. The main published books: Photography from Travels, The Mysteries of Light and Shadow, Tibetan Burial, Tibetans, Walk through Old Streets of Hangzhou etc.

The life and work of Bob Krčil have so far been known from fragments and unsubstantiated legends. The aim of this essayistic piece is to lay out the deeper motives of his personal trajectory, photographic oeuvre, and activities for the Czech exile community. Krčil’s photographic body of work is inseparably connected with his eventful life. The writing of the thesis was preceded by tracking down and putting together Krčil’s fragmented estate, sorting out his correspondence and writings, and interviewing people who knew him personally. By drawing on these materials, the thesis aims to provide insight into the life and motivations of this important figure of Czech exile culture.

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The thesis focuses on observation of resemblance, exploration of the identical and the different. At first, it considers analogy and comparation in a complex approach focusing on philosophy, logic, mathematics and linguistics. At the same time, resemblance is perceived in close connection to representation and image, semiotics, iconology, iconography, photography and processes ? as well as related concepts, such as mimesis, reference, representation, transformation, simulation, virtuality and hyperreality. The final part is concerned with resemblance and its effect on typology, original and copy ? identity, perceiving of authenticity and the function of memory. The key concepts are: non-causality of resemblance, analogy of proportionality in contrast to analogy of proportion, visual thinking and functionality of memory, resemblance as the basic power of image, and transformation as the principal form of representation.