Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Photography, Durban University of Technology, 2012. / The aim of this research is to document and evaluate the Imvunge group of street photographers in Durban with specific reference to the development of photographic and business skills from 1999 to 2009. This study will focus on a discussion of how members of the Imvunge group started their photographic careers as street photographers and how, through participating in projects and workshops, they developed their photographic skills and became professional photographers. This will include an investigation of both photographic skills such as image capturing, lighting techniques, image presentation and visual literacy; as well as business skills such as basic accounting and marketing. Chapter One provides an account of the history of photographic techniques and street photography in Europe, Africa, South Africa, KwaZulu-Natal and Durban in order to provide a context to the formation of the Imvunge group of photographers. Chapter Two provides an historical background of the candidate’s work as a street photographer in Durban from 1969 to 1989, before registering at Technikon Natal for formal training in photography. It also discusses his life history from being a young businessman, a lecturer, in order to provide information regarding the business and photographic skills acquired and which he was able to impart to street photographers. Chapter Three documents the formation of the Imvunge Street Photographers’ group; the partnership between the Imvunge group and the Durban Art Gallery, the Imvunge group’s exhibitions and projects, the history of selected members of the Imvunge group and an analysis of their work to provide evidence of an improvement in their photographic skills. The conclusion will present findings from this research project and will include a proposal for areas of research. / DUT Postgrad Development and Support Directorate.

Lo Ka Yu. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2001-2002, design report." / Includes bibliographical references (leaves [62]-[63]). / Chapter 1.0 --- initiation / Chapter 1.1 --- statment of intent / Chapter 1.2 --- exploration / Chapter 1.3 --- initial thinking / Chapter 1.4 --- photography . tools / Chapter 1.5 --- my images / Chapter 1.6 --- Henri cartier-Bresson / Chapter 1.7 --- my moment / Chapter 2.0 --- study / Chapter 2.1 --- "ex.1, images making process" / Chapter 2.2 --- ex.2. ./. photo & arch / Chapter 2.3 --- "ex.3, abstract my images" / Chapter 2.4 --- ex.4. images of old hong kong / Chapter 2.5 --- human sense / Chapter 2.6 --- impossible triangle / Chapter 2.7 --- Chinese garden / Chapter 2.8 --- daylight / Chapter 2.9 --- shadows / Chapter 3.0 --- design / Chapter 3.1 --- site / Chapter 3.2 --- daylight study / Chapter 3.3 --- design strategy / Chapter 3.4 --- plans and sections / Chapter 3.5 --- visual sequence / Chapter 3.6 --- models / Chapter 3.7 --- special study / Chapter 4.0 --- others / Chapter 4.1 --- bibliography / Chapter 4.2 --- thanks / Chapter 5.0 --- appendix / Chapter 5.1 --- plans / Chapter 5.2 --- sections

In 1971, on the eve of his retrospective at the Museum of Modern Art, Walker Evans declared his photographs to be “documentary style” rather than documents. “A document has use, whereas art is really useless,” Evans would claim. “Therefore art is never a document, though it certainly can adopt that style.” Yet, the photographer produced the majority of his pictures as documents for various individuals and institutions throughout his life. How, then, does one reconcile this tension between the work of art and its contexts, between the photograph and its various uses, between individual autonomy and the institutions of photography in Evans’s career? This dissertation seeks to elucidate this dichotomy within the changing contexts for photography from the early 1930s to the mid-1970s. Three chapters focus on key contexts for the production and dissemination of Evans’s work. The Introduction revisits the literature on Evans and the issues of context versus style in the history of photography. The problem of “documentary style” in the 1930s is addressed in Chapter One, which examines the overlooked context of architectural surveys during that decade. Two explores how Evans engaged with mass culture through independent projects, commissioned photo essays, and his job as photographic editor at Fortune magazine from 1948 to 1965. After thirty years of working for magazines, Evans became a professor of photography at Yale University. Three exhumes his role as a theorist and didact, examining how he crafted new interpretations of his photographs and photography that suited the new institutional contexts of the art world. Through both his pictures, writings, and their presentations, Evans continually worked with and against his contexts.

The study was an investigation of the effect of different developers on contrast, grain, tonal range, density and sharpness in 35mm film and their effect on contrast and density in photographic paper.It was theorized that all normal developers do not react exactly the same, Therefore, merely changing developers would cause a significant visual change in each of the above-mentioned areas.To test the hypotheses a tightly controlled experiment was conducted using eleven normal film developers and ten normal paper developers. These developers were tested on Tri-X film, and on Oriental, Polycontrast and Polycontrast RC paper.All processing steps, except the developer, for both film and paper were standardized. A still life was used as the subject for all pictures. A densitometer was used to measure the actual differences in base density, contrast range and overall density caused by changing from one developer to the next. Prints were then made using a standard exposure time determined by zone system tests, and these prints were given to three groups of coders representing experts, advanced photo students and amateurs, for visual ranking in each of the areas being tested. The rankings obtained from these three groups were then statistically checked for a significant similarity at the .05 level.For the photographic paper tests, one negative was chosen from the film tests and used for all prints. Pictures were made on each of the three papers and developed in each of the ten normal developers under strict controls. These prints were then ranked for contrast and density changes by the three groups of coders. The rankings were subjected to the same statistical tests used for the film rankings.The film rankings proved significant at the .01 level in all areas except grain. This indicates just changing developers will cause a visually significant change in contrast, density, tonal range and sharpness. The grain tests were inconclusive, but they indicated under extreme enlargement changing developer alone will not have significant effect on the actual amount of grain.The results of the film tests were charted so that the effect of each developer could be compared directly with each of the other developers.The rankings on paper developers proved to be significant at the .01 level for density and at the .05 level for contrast, indicating there is a significant visual change in both areas caused just by changing the developer. The tests also indicated the density change is controlled by the photo paper itself, while the contrast change is controlled by the developer. These results were also charted for easy comparison.The study led the researcher to accept the hypotheses stated at the beginning, with a slight modification concerning changes in the actual amount of grain.

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 40).

Thesis (M.S.)--Rochester Institute of Technology, 1981. / Typescript. Section of magazine included as accompanying material. Includes bibliographical references (leaves 36-37).

Thesis--Syracuse University. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 612-628).

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

Thesis--Syracuse University. / Vita. Includes bibliographical references (leaves 612-628).

The purpose of this study is to look at how the figure is imaged through the photographic medium today. Through this purpose I aim to explore the individual expression of the photographer in his photographic medium; the expression of the figure within the medium and the diverse practises of this medium in society - to build up an awareness and understanding of the diverse representations of the human form. The general aims of study are: 1 - to study how these three photographers choose to photograph the figure, through their technical, compositional and individual approach. 2 - to show how diverse the usage of the photographic figure is in the visual world. 3 - to expose an awareness of the photographic figure as transformation of an expression of self. 4 - to show the relationship between the photographer and the figure, the camera and the photographer, the camera and the figure, and the photographic figure and the viewer. 5 - to study my own photographic imagery in relation to the other imagery discussed. My research information was collected through: observations, discussions, literature and practical exploration. This study will attempt to draw conclusions, from its explorations, that will highlight the importance of the individual eye: that it is the individual eye that becomes the vehicle of transformation.