Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaves 240-243).

Thesis (M.S.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaves 58-61).

Thesis (Ph. D.)--University of Washington, 1981. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. [388]-399).

Thesis (M.A.)--University of Montana, 2008. / Title from title screen. Description based on contents viewed Aug. 28, 2008. Includes bibliographical references (p. 44).

Thesis (B.S.)--Rochester Institute of Technology, 1982. / Typescript. Includes bibliographical references (leaf 52).

Thesis (M. Phil.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 272-282).

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes appendices and bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1985. / Typescript. Includes bibliographical references (leaves 35-36).

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

攝影的出現對傳統繪畫產生了創作意義上的變化；它為繪畫提供了新的閱讀的方式讓新藝術家有機會從新審視以繪畫作為媒介的創作，從而理解到繪畫和攝影之間的微妙關係。掌握攝影與繪畫兩種媒介的獨特言語，應用到創作之上是藝術家當前的首先要考慮的。 / 本文藉着引用不同以繪畫作為媒介的藝術家的例子，探討攝影如何影響到繪畫創作。並且說明繪畫創作在回應當代藝術發展的多樣性。 / The emersion of photography had made a change to the significant of traditional painting. It provides a new way of perusing painting, giving new artists an opportunity to examine creation that using painting as a media anew, in which to understand the subtle relationship between painting and photography. It is crucial for artists to grasp the unique languages of both media before applying on artistic creations. / This thesis explores how photography has or could influence painting through studying different cases of artists who used painting as a medium; and to illustrate how painting creation responded to the artistic development diversity. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 劉彥韜. / "2012年9月". / "2012 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 35). / Abstract in Chinese and English. / Liu Yantao. / Chapter 一 --- 攝影的出現 --- p.1 / Chapter 1.1 --- 「靈光」消逝的年代 --- p.2 / Chapter 1.2 --- 觀看方式的改變 --- p.5 / Chapter 1.3 --- 重新閱讀繪畫 --- p.7 / Chapter 二 --- 繪畫與攝影之間的關係 --- p.11 / Chapter 2.1 --- 曾是對立的關係 --- p.12 / Chapter 2.2 --- 互相作用 --- p.13 / Chapter 2.3 --- 攝影的元素：「知面」與「刺點」 --- p.16 / Chapter 三 --- 繪畫創作回應當代藝術的可能性 --- p.20 / Chapter 3.1 --- 照片使用的情況 --- p.21 / Chapter 3.2 --- 手藝的堅持 --- p.24 / Chapter 四 --- 附錄--我的繪畫創作 --- p.26 / Chapter 五 --- 參考書目 --- p.35 / Chapter 六 --- 圖片來源 --- p.36