History of photography

Drawing from an extensive and systematic collection of photographs taken by pilot-observers from the Escola de Aviação Militar (Military Aviation School) between 1930 and 1950, this study examines a specific way of seeing Rio de Janeiro: the aerial viewpoint. The archive, housed at the Arquivo Histórico do Museu Aeroespacial (Historical Archive of the Aerospace Museum), comprises hundreds of aerial photographs capturing a period of intense urban transformation in the city—such as the vertical growth of Copacabana, land reclamation projects in the downtown and South Zone, and the construction of Avenida Presidente Vargas. Parts of the North Zone appear as rural areas, with urban clusters around railway stations. Barra da Tijuca, with its sandbanks, mangroves, and no visible buildings, serves as a military training shooting range.

Why have these images of the city—sprawled between sea and mountains, a source of pride for cariocas and a key element of our visual culture—remained largely unseen, finding no dedicated space in museums or elsewhere? This research argues that war played a crucial role in shaping perceptions of aerial imagery. But why war? We explore the tangible connection between the origins of aerial photography and its belligerent purposes and uses. Yet, the tension between the observer and the observed—evident in aerial photographs of armed conflicts—was already latent in earlier aerial perspectives, such as 16th-century cartography of Rio, bird’s-eye-view paintings, circular panoramas, and cityscape vistas: synoptic gazes that erase individuals.

Aerial images of conflict, employed for annihilation, lay bare the inherent tensions of this viewpoint. By reflecting on the aerial gaze, we can interpret the photographs of Rio’s landscape taken by Aviation School students not merely as byproducts of military training but as revealing the conflicts between public authority and the largely invisible yet ever-present population within these images.
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A partir de um vasto e sistemático material fotográfico produzido por pilotos-observadores da Escola de Aviação Militar, entre 1930 e 1950, este trabalho busca refletir sobre um modo específico de ver o Rio de Janeiro: o ponto de vista aéreo. O acervo, que pertence ao Arquivo Histórico do Museu Aeroespacial, reúne centenas de fotografias aéreas de um período de intensas transformações urbanas da cidade: a verticalização de Copacabana, a construção dos aterros no centro e na Zona Sul, e a abertura da avenida Presidente Vargas, por exemplo. Parte da Zona Norte aparece como uma região rural, onde há núcleos urbanos ao redor das estações ferroviárias. A Barra da Tijuca, com restingas, mangues e nenhuma construção à vista, se revela um campo de tiro para o treinamento militar.

Por que as imagens da cidade, derramada entre o mar e as montanhas – que tanto orgulham os cariocas e fazem parte da nossa cultura visual – não encontraram um lugar próprio no museu, ou fora dele, e permaneceram praticamente inéditas até hoje? Esta pesquisa sugere que a guerra foi um marcador importante para provocar questionamentos acerca das imagens aéreas. E por que a guerra? Buscamos mostrar a relação quase palpável entre as origens da fotografia aérea, os objetivos e os usos beligerantes desse tipo de imagem. Porém, a tensão entre quem vê e o que é visto – presente notadamente nas fotografias aéreas de conflitos armados –, já estava latente em tomadas aéreas de outros tempos, como na cartografia carioca do século XVI; na vista olho de pássaro das pinturas; nos panoramas circulares; e nas vistas panorâmicas da cidade: olhares sinópticos que obliteram os indivíduos.

As imagens aéreas de conflitos usadas com a finalidade de aniquilamento escancaram as tensões presentes nesse ponto de vista. Ao refletir sobre a visada aérea, é possível ler as fotografias da paisagem carioca produzidas pelos alunos da Escola de Aviação não como um efeito colateral de um objetivo primário da preparação para a guerra. Elas criam e expõem os conflitos entre o poder público e grande parte da população, elemento invisível, porém presente em todas as imagens.

Jan Potocki described the pleasures of travel as "days of comfort and rest redeemed by days of inconvenience and toil." A more valuable reward, however, was the acquisition of knowledge about humanity and the natural and cultural world. To achieve this, the traveller had to accept the inherent risks of any expedition. Travel was a crucial tool of cognition for Potocki, explaining his extensive wanderings. Consequently, the record of dangers he faced is both extensive and varied. Through textualisation, these dangers have become a topos of travel writing, and as elements of a narrative, they can be interpreted literarily. This perspective informs the present study, which draws upon Potocki's accounts of his travels to Turkey and Egypt, the Netherlands, Morocco, the Caucasus, and China.

The digital colourisation of historical photographs has received prominent and favourable media attention since the 2010s; several museums, heritage organisations, and publishers have adopted it. In the US and British contexts, both the selection of images to colourise and the ways in which their colourisation is discussed point to the overlooked but significant role the process plays in reinforcing racial identities and extending historical biases into the present. By examining the work of high-profile colourisers and the presentation of colourised photographs in social and traditional media, I argue that digital colourisation is a form of 'white sight' which sustains whiteness and its attendant powers. Operating at the intersection of a visual economy and an affective one, digitally colourised photographs generate an emotional response and foster a collective identity geared towards whiteness. In this article, I attend to the impact of digitisation on historical photographs, the sources and subject matter of digitally colourised photographs, and the language used to discuss them, in order to reveal the structures of racial and gender bias underneath-and challenge assertions that colourisation is a form of caring for the past.

This chapter examines photographic representations of labor in and around the Tata Iron and Steel Company (TISCO)’s town of Jamshedpur during the mid-twentieth century, focusing on press advertisements by the agency J. Walter Thompson and the work of visiting photojournalists such as Werner Bischof. When placed in the context of the company’s longer history, these images reveal a deep ambivalence about the trajectory of industrial modernity in India. TISCO’s status as a private, profit-seeking business with origins in the colonial past sat uneasily with the postcolonial state’s developmentalist vision. The company’s promises of technical skilling were undermined by anxieties about automation, with the gendered body of the Adivasi (tribal/indigenous) worker imagined as the ultimate proving ground of social progress through industrialization. Photography gave concrete visual form to this long-standing discourse without resolving its contradictions. The chapter concludes by considering recent representations of laboring bodies in the steel and mining belt of eastern India, marked by a sharper dichotomy between corporate public relations and photojournalistic critique.

From 1972 to 1977 the German painter Marianne Wex undertook an extensive research project aimed at demonstrating the cultural nature of gendered physical postures, published in book form as Let’s Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures, in 1979. Emerging from Wex’s experience with feminist consciousness-raising and collective self-education, the dialectical account of her own political and personal awakening deploys the language of kinesic analysis alongside ethnographic self-study. The dialogue of Let’s Take Back Our Space with pop behavioral psychology and cybernetics is integral to Wex’s systems thinking, while her self-implication as articulated in both text and images represents a radical, even defiant, divergence from those referents in a project of what queer and trans* theorists have come to call “autotheory.”

In chapter 2, Andrianna Campbell and Ileana Selejan focus their attention on photography as, in their words, ‘a means of collective witnessing’ in ‘Margin of Life: Post-war Concerned Photography in Mexico and Guatemala, 1947–1960’. In the West, in the wake of the post-war devastation and atrocities, photography served multiple purposes, one of which was to relay and interpret the horrors of war and the struggles of reconstruction and nascent peacetime. This chapter charts the ways in which photographers instigated new modes of production and formatting layouts and examines the emergence of organisations such as Magnum Photos that supported socially engaged independent photographers. The photographer Cornell Capa, whose 1973 audio-visual presentation and book Toward the Margin of Life: From Primitive Man to Population Crisis for the Center for Inter-American Relations provides the title of this chapter, coined the term ‘concerned photography’ to indicate this focus on purportedly hon...

In this paper, I argue for a 'social art history' that embraces all protagonists of ancient Egyptian artistic production and integrates them into the global process of creating prestige through art. The raison d'être of artists is to translate their skills into material and immaterial media using culturally embedded codes and ideological trends of their time. In the process, artists-or at least top artists who accessed restricted knowledge-created value and prestige as a means of competition between rival elites (and the sub-elite emulating them). This paper aims to address the question of defining social value embedded in material artifacts, especially when owned by intermediary social categories such as the New Kingdom metalworkers. It will touch upon what was seen as valuable and prestigious from the Egyptians' perspective by looking at the iconography of New Kingdom metalworkers. The paper will examine 18th-20th dynasty goldsmiths' self-depictions as they were in charge of creating artifacts in gold, a metal connected with solar symbolism and intertwined with the divine, kingship, and membership in the high elite. Ultimately, the paper aims to tackle the question of self-presentation for people who were not part of the elite per se, i.e., the sub-elite illustrated here by the metalworkers. In so doing, it uses, in a preliminary attempt, some concepts inherited from the Chicago School of Sociology.

Tiriamas Vilniaus vaizdinys, kurį savo tekstuose XV-XVIII a. užfiksavo mieste apsilankę svetimšaliai (1). Pasakojimus apie Vilnių užrašė diplomatai, dvasininkai, amatininkai ir nuotykių ištroškę bastūnai. Papildomai tyrime remtasi užsienio intelektualų žiniomis apie miestą, kurios juos pasiekdavo per kitus asmenis ir tekstus. Tai formavo bendrą svetimšalių žinių bagažą ir nuomonę apie Vilnių bei jo gyventojus. Lietuvos Didžiojoje Kunigaikštystėje atvykėlius stebino ir žavėjo laukinė gamta. Todėl pasakojimuose apie Vilnių daug dėmesio skirta geografinei miesto padėčiai, apylinkių grožiui. Absoliuti dauguma pasakotojų aprašė miesto lokaciją, išsidėstymą, apibūdino svarbiausių pastatų architektūrą. Retsykiais fiksavo duomenis apie vietos gyventojus, miesto daugiaeniškumą ir daugiakonfesiškumą. Esama duomenų apie asmeninius atvykėlių potyrius: pramogas, maisto kokybę, amatininkų gaminius, prekių asortimentą ir jų kainas. Svetimšaliai sugalvojo ir pritaikė įvairius epitetus Vilniaus miestui: "miestas prie dviejų upių", "šiauriausias Europos miestas", "katalikiškas miestas" ir kitokių.

"Escena familiar" es una fotografía realizada por el zamorano José Gutiérrez García Filuco (1849-1925), personaje polifacético: pintor, fotógrafo, litógrafo, grabador, músico, oficial de notaría y empresario pues inventó un procedimiento para realizar ampliaciones fotográficas del agrado de Eduardo Barrón, Miquel Blay, Mariano Benlliure y Santiago Ramón y Cajal. "Escena familiar" recuerda algunas fotos de Antonio Cánovas del Castillo (Kâulak), Luis de Ocharan o Christian Franzen, escenificaciones costumbristas pretenciosamente literarias que interesaron a la industria postal. Pero Filuco nunca alcanzó el éxito.
“Escena familiar” is a photograph taken by José Gutiérrez García Filuco (1849-1925) in Zamora city. A multifaceted character: painter, photographer, lithographer, engraver, musician, intern at a notary and businessman because he invented a procedure to make photographic enlargements to the liking of Eduardo Barrón, Miquel Blay, Mariano Benlliure and Santiago Ramón y Cajal. “Family scene” recalls some photos by Antonio Cánovas del Castillo (Kâulak), Luis de Ocharan or Christian Franzen, pretentiously literary stagings of custom that interested the postcard industry. But Filuco never achieved success

This essay explores the ways in which Cold War cultural politics have shaped the legacy, reception, and discourse on the historic Bauhaus art school, focusing on American-German relations after 1945 and the role played by former Bauhäuslers, who had emigrated to the United States in the 1930s, in recording and then reinstating the historical narrative of this art school. A closer look at the narratives and omissions concerning the Bauhaus’ ideas, ideals, and practices will help to shed more light onto the question, why, up to this day, the focus remains on the Bauhaus under Walter Gropius between 1919 and 1928, neglecting the later Dessau years under Hannes Meyer and Mies van de Rohe.

La ville est l'espace de tous les exces, de l'effervescence et de l'evanescence ou tout se noue et se denoue a une vitesse euphorisante, incommensurable. Dans le cadre de ce colloque ou la question urbaine est centrale, la communication se propose de voir comment a ete pensee et percue la ville de Constantine, a travers differents moments de son histoire. Elle rassemble des regards varies, oscillant entre l'exotisme - propre essentiellement aux ecrivains et voyageurs francais du XIX° et XX° siecle - et une perception moins pittoresque, moins chatoyante - a laquelle il sera fait allusion a travers l'exemple d'Albert Camus – mais aussi d'autres ecrivains algeriens tels que Kateb Yacine, Malek Haddad, Tahar Ouettar, Rachid Boudjedra, qui voient en Constantine, un abime profond, l'incarnation meme des abysses et du neant.

This study will delve into the evolution of police photography in Europe from the 1800s to the present day, including the contemporary era up to the 2020s. The study will examine the utilization of police photography in establishing official identity records and its intersections with disciplines such as anthropology, medicine, and criminology. Additionally, it will explore photography's dual role in both identification and challenging conventional notions of the mass surveillance and governmental authority drawing from the perspectives of Althusser's ideology and Foucault's panopticon. Using photography to visually document and recognize people became popular because it solved the ongoing problem of identification. In the early 1840s, Belgian and British authorities experimented with photography and realized its potential for documenting individuals. 1 However, it took several decades for police agencies to fully adopt photography, starting with its use in aiding criminal identification rather than direct involvement in law enforcement activities. The classification of photographic records based on criminal behavior and limited specialized scrutiny by the police indicate an early reliance on traditional detection methods. Even though some successful identifications through photographs were reported after the 1870s, their use didn't always follow supposed scientific methods, conflicting with established anthropometric systems. The slow adoption of photography, despite its potential for control, raised complex questions about its role as both a tool for identification and a means of avoiding institutional

On the occasion of a Florentine exhibition dedicated to the photographers Wilhelm von Gloeden and Robert Mapplethorpe — held at the Museo del Novecento and curated by Sergio Risaliti, Elvira Francioli, and Marco Prandato — the author reflects on his personal encounter with Mapplethorpe’s work across two distinct temporal moments: the 1980s and the year 2024, in a post-Covid context.

In the first instance, during the height of the 1980s, Mapplethorpe’s photographs appeared to capture both the elegance and raw physicality of the human form. These works resonated with the cultural and political tensions of the time, embodying both the liberation and the fragility of queer identity in the pre-AIDS and early-AIDS era.
The intervening decades, marked most recently by the global trauma of the Covid-19 pandemic, cast Mapplethorpe’s images in a new light. The bodies he photographed — once emblems of strength, desire, and aesthetic perfection — now appear also as symbols of vulnerability and endurance. The gallery becomes a space not only for contemplation of beauty, but also for memory and mourning.
The essay also draws parallels with the work of Edward Steichen and with Japanese shunga prints, suggesting an aesthetic and thematic lineage. Steichen’s photography, with its play of light and shadow, echoes in Mapplethorpe’s formal compositions. Similarly, the shunga — erotic woodblock prints from Japan — offer a historical precedent for the intertwining of sensuality and artistry.
In revisiting Mapplethorpe, the author not only re-engages with the images themselves, but also with his own evolving perception — shaped by personal, historical, and global shifts. The exhibition becomes a mirror, reflecting not only the subjects on the wall, but also the shifting self of the viewer across time.

Historical discourse on photography was not a research interest until recently, either in Croatian, barring a few exceptions, or in European and
American historiography. Owing precisely to the decisive influence of
the cultural-critical discourse on the establishment of photography as an
art form, the creation of an audience, the formation of the methodology
of the history of photography, as well as on the canonisation of individual
oeuvres and works, one of the research goals of the project Ekspozicija
was to explore (critical) writing about photography from its beginnings.
Therefore, this text will present the results obtained through the analysis
of a large number of relevant writings about photography (prefaces to
catalogues, reviews, criticism, discussions, essays), published in Yugoslav,
mostly Croatian, periodicals between 1941 and the 1970s

Artigo resultante da Bolsa IMS de Pesquisa em Fotografia 2023, não publicado e depositado na Biblioteca de Fotografia do Instituto Moreira Salles em 2024. Este artigo toma como objeto de estudo a produção fotográfica sobre a atuação da Marcha para o Oeste no Brasil nos anos 1940 e 1950, que circulou em publicações impressas da época. Em especial, trabalha com fatos relacionados à Marcha no Sul do Pará, partindo das coleções dos fotógrafos Henri Ballot, José Medeiros e Marcel Gautherot no acervo do Instituto Moreira Salles (IMS). Sete casos ocorridos no período de 1945 a 1953 são estudados, evidenciando o intricado jogo entre instituições, populações regionais e povos originários naquele momento. O artigo busca compreender a ideologia manifestada nas fotografias desses sete casos, sobretudo no seu uso em publicações mais ou menos comprometidas com as narrativas desenvolvimentistas oficiais.
Simultaneamente, tenta investigar as narrativas dissidentes implicadas nessas
imagens, posto que elas sejam testemunhos visuais de seus respectivos
processos históricos.

Öz: Babüssaade Ağası Buhurî Osman Ağa'nın, Sultan I. Ahmed döneminde, Kadıköy'de kendi adına yaptırdığı cami Söğütlüçeşme Caddesi'nin bitişiğindedir. Arşivlerdeki görsel ve yazılı belgelerden, caminin 17. yüzyıl başındaki ilk inşasından sonra, mimari üslubunun değişimine sebep olan esaslı onarımlar geçirdiği öğrenilir. Bu belgelere dayanarak, yapının II. Mahmud ve II. Abdülhamid dönemlerindeki onarım ve yenilenme süreçlerinde çeşitli yapısal değişikliklere maruz kaldığı ve bazı eklerle neredeyse yeni bir görünüm kazandığı anlaşılıyor. 1965 ve 1970 yıllarında gerçekleşen son onarım sürecinde, II. Mahmud dönemindeki eklerin yanı sıra, 1878 tarihli yangından sonra yeniden tasarlanan cephe ve bezeme de yok edilmiş, özetle 19. yüzyılın tüm mimari izleri silinmiştir. Caminin günümüzdeki görünümü ise tahmini bir 17. yüzyıl yapısı esas alınarak yapılan hayali bir restitüsyona dayanır. Bu makalenin amacı, Babüssaade Ağası Osman Ağa'nın vakıf eseri olan caminin 19. ve 20. yüzyılda geçirdiği onarım müdahalelerini açığa çıkararak yapının günümüze gelemeyen özgün katman ve özelliklerini tanıtmaktır.

The Ethnological Archive of the National Museum of the Romanian Peasant (Muzeul Național al Țăranului Român, henceforward NMRP) preserves a substantial part of the photographic holdings of the former Museum of National Art in Bucharest (1906-1946). This archival core includes a fonds comprising over a thousand glass-plate negatives (re)inventoried at the beginning of the 1950s, concomitantly with the organisation of the Museum of Folk Art (Muzeul de Artă Populară). The lacunary and descriptive nature of the catalogue entries compiled on this occasion makes it clear that the archivists of the new institution could not refer to any preexisting records, relying exclusively on the visual content in the photos. Only a fraction of this fonds can be safely associated with the photographic output of the Museum of National Art and its long-term director, Alexandru Tzigara-Samurcaș; for the rest of these glass-plate negatives, questions of authorship and provenance are bound to remain open.

Going back to the primary data provided by the photographic artefacts themselves, I have identified in this fonds several series of portraits and rural views which stand out for their thematic and stylistic coherence, manifestly rooted in a good grip on fieldwork practice and familiarity with the pictured communities: by all appearances, fragments of an ample corpus of ethnographic photography taken in the last years of the 19th century in the counties of Vâlcea and Gorj. Some of these glass-plate negatives bear the marking “V.R.P. 99”. By analogy with several images published at the beginning of the 20th century, I have been able to link this marking to the work of Vitold (Witold) Rola Piekarski (1857-1909), graphic artist of Polish origins, amateur ethnographer and archaeologist, cofounder of the Gorj County Museum in Târgu Jiu (1894). The already limited art-historical literature on Piekarski only makes cursory mention of his photographic activity, while the discovery of positives ascribed to Piekarski in the collection of the Iron Gates Region Museum in Turnu Severin (E. Bosoancă, 1995) seems to have gone largely unnoticed in Romanian photo-historiography.

This presentation aims to take a firm step towards the rediscovery of Vitold Rola Piekarski’s photographic work, following the identification of the glass-plate negatives held in the Ethnological Archive of the NMRP. I shall discuss the cross-referencing methods used in the attribution and reconstruction of the corpus, applied so far to the NMRP negatives and the reproductions published during Piekarski’s lifetime, as well as to the positives identified in the collections of the Iron Gates Region Museum and the Library of the Romanian Academy. Finally, I shall touch briefly on the significance of the Piekarski corpus in the context of (proto)ethnographic photography, as practiced in Romania at the end of the 19th century.

Resumo: Este artigo reflete teoricamente sobre a fotografia para além do discurso visual, chamando a atenção para sua materialidade. Enfoca-se os retratos de família, imagens que representam diferentes dimensões da memória familiar, tais como a infância, os ritos religiosos, as formaturas, os casamentos e mesmo a morte. Compreende-se a cultura material, de acordo com as proposições do historiador Ulpiano Toledo Bezerra de Meneses, como processos cognitivos encarnados, inclusive em sua visualidade. Como discussão, sugere-se que, considerando que as fotos são coisas, é importante compreendê-las em seu processo de produção, circulação, recepção e ação, na medida em que, ultrapassando o tempo de vida de seus produtores, as fotografias ganham apropriações e usos específicos, inserindo-se em redes sociais híbridas, como sugere Bruno Latour.Palavras-chave: Retratos. Família. Cultura material. : This paper reflects theoretically about photography beyond the visual discourse, calling attenti...

Le terme « cattocommunista » a longtemps été un anathème lancé sur qui cherchait à construire des ponts, politiques et idéologiques, au-dessus des deux blocs séparés par la compétition électorale, l’esprit de Guerre froide et la solide tradition d’excommunications réciproques. Bravant les condamnations, des intellectuels et groupes politiques minoritaires ont néanmoins fait exister des courants dissidents et féconds, soucieux de concilier foi catholique et pensée marxiste, des années 1930 aux « années 68 ».

Motion photography is the art of capturing dynamic actions in a precise instant, freezing in a photograph moments that our eyes can barely appreciate. Mastering this technique allows us to transform everyday moments into energetic images that tell a unique story. While it is true that we must overcome technical challenges such as light, speed and timing, with the tips I'll share below you'll be able to take moving pictures like a pro. Essential Photo Editing Software A good motion photograph doesn't end when you press the shutter. Postprocessing can transform a good shot into an extraordinary image. Here are the essential software tools to take your action photos to the next level.

Among the institutions that supported photographers after WWII, the Still Photography Division (SPD) of the National Film Board of Canada (NFB) distinguished itself by its inherently intermedial approach. Originally established as a service provider for federal government departments, the Division quickly mutated during the 1960s into a protean institution that simultaneously functioned as image bank, photo laboratory, gallery, publisher, press agency, and multimedia project incubator. The books it published thus functioned alternatively as exhibition catalogues, coffee table books, souvenirs, diplomatic gifts, artists' books, or photobooks. This paper seeks to understand the cultural ramifications of the kind of photographic work that was championed by the SPD from the late 1960s to the early 1970s by asking the question: Why promote a specific medium, photography, based on its intermedial uses? I address this paradox through the case study of three co-temporal photographic SPD books:

The late Abdelhamid I. Sabra (1924-2013) devoted a significant part of his work to the critical edition and English translation of the optics of Abū ʿAlī al-Ḥasan ibn al-Ḥasan ibn al-Haytham, Latinized as Alhacen (d. after 1040). Alhacen's Book of Optics gained renewed interest when, in 1575, Friedrich Risner, a pupil of Pierre de la Ramée, combined it with Witelo's Perspectiva in his printed edition of the Opticae Thesaurus. Until the 1980s, optical historians only had access to Risner's edition. Those who consulted the manuscripts could occasionally note both discrepancies between the manuscripts and Risner's version-a text largely adapted and rewritten-and, even more so, discrepancies between all the Latin versions and the Arabic manuscripts. These discrepancies prompted Abdelhamid I. Sabra to undertake a critical edition of the Arabic version to serve as a reference text for historians of science. This vast project came to fruition with the publication of the Arabic text of Books I to III (Kuwait 1983), followed by the English translation (London 1989). The project was to be continued with the joint publication of the Arabic text of Books IV and V (Kuwait 2002) and the English translation, but this work was left incomplete when Abdelhamid I. Sabra died in December 2013. Jan P. Hogendijk prepared for publication Sabra's translation of Books IV and V, which is the book under review.

Tadej Pogačar, triplu câștigător al Turului Franței și campion mondial en-titre la ciclism pe șosea, a surprins lumea ciclismului anunțându-și debutul la celebra Paris-Roubaix 2025-supranumită "Infernul Nordului". Această decizie a declanșat entuziasm și emoții intense: fanii sunt electrizați de ideea ca un mare rutier de clasament general să îndrăznească să înfrunte cei peste 50 km de pavate nemiloase ale nordului Franței. În doar câteva ore de la confirmare, peste 1,1 milioane de oameni au vizionat pe rețelele sociale clipul cu Pogačar rulând prin celebra Pădure Arenberg, adunând peste 100 de mii de aprecieri și comentarii-un indiciu al interesului uriaș generat de această mișcare.

This article discusses two eras of manipulated photography -that of trick photography before 1914 and that of photomontage of the 1930s. The former had a carnivalesque character, while the latter highlighted political satire. Although profusely discussed in its days, trick photography was largely anonymous. By contrast, the 1930s brought about distinct personalities such as John Heartfield or the Soviet cartoonist Boris Klinch as well as prominent theorists, including Karel Teige or Günther Anders. Despite formal differences the article argues for a continuity of approaches: both periods represent steps that question photography as a medium that claims stable signification.

During the Great Exhibition, held in the Crystal Palace in 1851, a decision was made to produce a photographically illustrated four volume presentation set of the Reports by the Juries. The Royal Commissioners of the Exhibition were eventually to order one hundred and forty presentation sets, each containing 155 salt paper Calotype prints. This venture was by far the largest photographic publishing venture so far attempted, over 20,000 photographs having to be individually printed. The problems involved in the production of these photographic prints for the Reports by the Juries are an excellent example of the intricate difficulties and central issues which bedeviled 19th century photography, particularly during the first two decades of its existence. They are thus worthy of fuller discussion. These problems include the technical limitations of the medium, embryonic working practices, craftsmanship, copyright and patents, logistics and, that mainstay of British conversation, the weather!ss In the early summer of 1851, when the Reports of the Juries was probably conceived, Nikolaas Henneman, Talbot's former valet, photographic assistant in charge of his Reading establishment and, since June 1848, independently established in London as a commercial photographer working with a Talbotype license,s9 had more experience than anyone in the "mass production" of photographic prints. It might therefore have appeared logical that he should be given the contract. However, it is interesting to note that Henneman's track record was far from a glittering one and in other circumstances he might not have been offered the contract to produce the photographic prints for the Repmts. His prints for the Pencil of Nature, issued for June 1844 onwards, "appeared in a far more haphazard manner than

Nell'occasione di una mostra fiorentina dedicata ai fotografi Von Gloden e Mapplethorpe (Museo del Novecento, curata da S. Risaliti, E. Francioli, M. Prandato), l'autore descrive la sua esperienza davanti alle opere di Mapplethorpe in due momenti: gli anni Ottanta del Novecento e il 2024, ovvero in un contesto post-Covid. Si propongono anche alcuni confronti con le foto di Steichen e le shunga giapponesi.

AUTORE: DANIELA BONANOME
VOLUME: in brossura, Formato A4
INDICE, PREMESSA, INTRODUZIONE: pp. I-VII
TESTO: pp. 1-470
CAPITOLI: 11
APPARATO BIBLIOGRAFICO: pp. 449-470
ILLUSTRAZIONI TESTUALI (Colori/BN): figg. 769
ILLUSTRAZIONI FUORI TESTO (Colori/BN): figg. 21
Pubblicato a Roma nel maggio del 2024
CASA EDITRICE: UNIVERSITALIA DI ONORATI s.r.l., editoria@universitaliasrl.it
RESP. EDITORIALE: dr.ssa ISABEL FRATANGELI
COSTO: E 38,00

Geoffrey Hodson recounts his experiences visiting Cottingley Glen in 1921 with the two girls who took photographs of fairies. He verified the girls’ accounts and observed their clairvoyant abilities. Hodson believes fairy life still exists and discusses their nature, form, and potential interactions with humans in his book, “The Kingdom of the Gods.”

This study focuses on the hitherto unexplored case of the Clichézentrale, which was founded by Hugo Herrmann in Brno in 1929. Drawing on archival material from the Zionist Central Archive in Jerusalem and the Archive of the Jewish Museum in Prague, my proposal uncovers the central role that the Clichézentrale played in the construction of a Zionist visual sphere in the interwar period. Remarkably, most of the images of the British Mandate that appeared in prominent Jewish publications in Germany, France, Italy, Switzerland, the Czech Republic, Poland, Belarus and even China came from the clichés of this institution, providing an emblematic example of transnational circulation and dissemination. In this context, a network that reached from the periphery (Jerusalem) to the outskirts (Brno) of Western culture informed a network that included the great centres of European culture. A visual narrative produced by emigrants (like many of the photographers who made the images) to promote emigration, redefining geographies, borders and identities in between. While the photographs that were eventually published in the Jewish press depicted a serene and meticulously codified Middle East, the history of the production and dissemination of their clichés reveals a web of entangled political, cultural, ethno-religious and socio-economic structures. In order to uncover the history of the Clichézentrale, it is necessary to engage in a multifaceted investigation of material and intellectual history. According to what criteria were the clichés commissioned by photographers living under the British Mandate? What were their esthetic and technical requirements? How did the economic and legal framework of this market function? What identities and subjectivities did they exclude, and how? Ultimately, this archeology of a forgotten visual history also represents a theoretical attempt to tie the construction of an iconosphere to its material, historical, and geographical roots.

Definition Christian contribution to education, literature, common language, music, art, and architecture in the NEI particularly among the tribals is remarkable indeed. A brief introduction of the NEI and the advent of Christianity to the region are provided to set the background of the study. Inhabited by people of different genetic stocks such as Australoid, Caucasoid, and Indo-Mongoloid, there are over 220 ethnic groups living in the region.