Browsing by Subject "Photography"

Now showing 1 - 9 of 9
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    2022 BMC Ecology and Evolution image competition: the winning images
    (Springer Nature, 2022-08-19) Harman, Jennifer; Hipsley, Christy A.; Jacobus, Luke M.; Liberles, David A.; Settele, Josef; Traulsen, Arne; IUPUC Division of Science
    In 2022, researchers from around the world entered the BMC Ecology and Evolution photography competition. The contest produced a spectacular collection of photographs that capture the wonder of the natural world and the growing need to protect it as the human impact on the planet intensifies. This editorial celebrates the winning images selected by the Editor of BMC Ecology and Evolution and senior members of the journal's editorial board.
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    The Big Dark
    (2013-05) Hoefle, Michael; Goodine, Linda Adele
    It was just about five years ago that I started off on the journey that is now coming to an end. I was unhappily working away in the commercial photo industry as a digital technician and second shooter. Not a bad gig for a young man. I was making decent money, got to do a lot of traveling, and had the freedom of being a freelancer. But there was something big missing. This supposedly "creative" job I had was a farce. I did nothing creative; it was just the opposite. I was working in a factory pumping out the same image day after day. The majority of my time was spent retouching dust spots off of gray and white backgrounds, fixing flyaway hairs from models heads, and removing blemishes from their skin. This was a far cry from the magic that got me interested in photography when I was sixteen. After much thought, I quit the photo industry and devised a plan. I would go back to school to finish my bachelors, than apply to grad school and get my masters degree in studio art. I would make a new life in art and academia. I had decided I would become an artist/educator. And so I was off in search of creativity and knowledge; off in search of illumination.
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    Empathy for the ‘Other’: Neglected Finnish Ethnographic War Photography from Occupied Soviet Territory
    (Taylor & Francis, 2023) Matila, Tuuli; Mullins, Paul R.; Ylimaunu, Timo; Anthropology, School of Liberal Arts
    This article examines a series of unsettling images from the Finnish Continuation War (1941–1944) and the memories of the war that these photographs construct for contemporary Finns. We argue that these images can be viewed through Alison Landsberg's (2004) notion of ‘prosthetic memory’, which underlines how visual media enable the acquisition of vivid memories of past events. The paper outlines how these long-ignored photographs narrate unexamined dimensions of World War II in ways that transform how Finns in particular remember the war. The images illustrate a neglected Finnish occupation of Soviet territories and the treatment of Russian civilians under Finnish rule. We argue that the images can provoke empathy for their experiences and therefor challenge traditional and nationalist Finnish war interpretations.
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    Evaluation of Photography Media and Methods According to the Expressive Therapies Continuum: A Systematic Literature Review
    (2014-05) Moffatt, Heidi N.; King, Juliet
    The first successful photography experiments occurred in the early 1800s, and since this time photography has attracted artists, scientists, amateurs, and therapists who wish to enhance the treatment of their clients. Phototherapy was defined and established in the 1970s to refer to a system of 5 interrelated techniques used by any trained therapist or counselor within therapy with the goal of increasing insight and communication. A minimal amount of art therapists have also adopted photography; however, the use of photography in art therapy differs from phototherapy. In art therapy, the creation of artwork occurs within the session and is supported by the art therapist who has training in media and the creative process. A foundational theory in the field of art therapy, the Expressive Therapies Continuum (ETC), is utilized by many art therapists and art therapy programs to evaluate the appropriateness of media for the client. This study aims to bridge the gap in art therapy literature regarding the use of photography in art therapy and photographic media and methods by conceptualizing photography within the context of the ETC. Through a systematic literature review, the definitions and interventions of photo art therapy, the role of media in art therapy, and the ETC components and variables are explored in order to find the level of information processing in which photography is predominant. This study is delimited by its focus on the ETC, and limitations include the amount of found research on the use of photography in art therapy. Implications of this study include the therapeutic effects of photographic media and the need for further research and training with photographic and other untraditional media.
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    Feminine, Like
    (2019) Pierce, Tiffany; Petranek, Stefan
    To help better understand the world around us, we develop shared assumptions about our experiences. These assumptions, or social constructs, are useful because they create order through the use of categorization. Categorization helps us quickly define, organize, and comprehend experiences. The effect of social constructs and their byproducts of categorization should be considered, as they often influence significant facets of our lives. Specifically, our idea and understanding of gender constructs is a fundamental concern because gender impacts many of these important facets. My multimedia thesis work examines the social construction of gender, and the coinciding expectations that are created. The work aims to question the validity of the stereotypes associated with gender in order to explore their limitations. The work utilizes self-portraiture and symbols, often pulled from popular culture, as well as performance to exemplify and exaggerate gender ideals. My recreations of social constructs examine how assumptions can limit our perceptions or potentially restrict our behavior.
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    First, view no harm: An examination of ethics in preserving medical photography
    (2024-08-14) LaPorte, Molly
    Physicians and other healthcare professionals and organizations have used medical imagery – illustrations, diagrams, models, videos, and photography – for centuries, for educational, clinical, research, and marketing purposes. Once these images are no longer useful or outdated, they are either disposed, forgotten, or transferred to a suitable archival repository where they await secondary use. It is this secondary historical value that drives the archival endeavor, but for some materials, those that make us take pause, the value they add to future research and societal memory should be balanced against our concerns. In this case, privacy and empathy. While much medical imagery contains potentially sensitive and graphic subject matter, photographs and videos depicting real clinical patients pose a significant ethical question: How are archivists to proceed in preserving such intimate depictions of human pain and suffering or healing and joy? This poster presents a case study of my work processing the photograph collection of the Indiana University School of Medicine held at the Ruth Lilly Special Collections and Archives. It uses existing scholarship across disciplines to examine the concepts of informed consent, patient privacy, the relationship between patient and provider, image ownership, and trauma-informed archival practice. Holding images of stereotactic brain surgery from the 1970s and infants in casts up to such ideas brings to question the value and harm in making these images accessible to researchers and how archivists can respect the dignity and autonomy of those depicted therein.
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    Hiroshi Sugimoto Transforms the Motionless
    (2022) Spence, Shannon
    While the average contemporary photographer creates a snapshot in time, Hiroshi Sugimoto (b. 1948) is unique in his ability to create life where there is none. Sugimoto photographed scenes of dioramas from natural history museums across America. Through his technical and artistic skill, as well as his ability to play off of the viewer’s expectation of photography, Sugimoto’s series, Dioramas, 1976-2014, are full of life even though the subjects themselves are not alive. From its inception in 1839, photography has been a tool to document the world as it is known and typically captures the image of a person, place, or object in situ. Sugimoto takes advantage of the viewer’s pre-conceived notion that the photograph must have been taken as it happened. The way Sugimoto frames the scene along with careful, intentional viewpoints creates an image that puts the viewer at the scene at what seems to be the actual moment in time. The artist’s use of black and white creates contrast and starkness within the images, which drifts towards timelessness, reckoning back to the early days of photography before color photography was introduced. In real life, the visitor experiences a fabricated scene, but Sugimoto’s photographs make the scene seem more alive than in person. In Dioramas, Sugimoto creates a sense of movement within the photographs by using a snapshot aesthetic with the edges of the scene cut off, by choosing to print in black and white, and by playing off viewers’ assumptions that a photographer is a documentarian.
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    I Called My Thesis This Because the F-Word Was Unacceptable in the Original Title That I Presented to the University Library
    (2015) Woolf, David; Goodine, Linda Adele
    My early work consisted of highly aestheticized photographs of natural objects taken in extreme close-up. Working as a self-described scientist, I used an unusual macro camera lens (Canon MP-E 65mm) to achieve high magnification of my subject, which I isolated from disruptive vibrations in a home "lab" of sorts. The emerging patterns in backlit leaves replicated abstract satellite imagery and introduced me to the idea of fractal patterns, naturally occurring repeating patterns similar at any viewed scale. Think of the similarities between the veins in your body, the neurons in your brain, and the tributaries of a river, all three form dendritic fractals, but at massively different scales from the micrometer, the millimeter, and the kilometer, respectively. Dendrite itself is a term originating from the Greek word dendron, meaning tree; trees too share this pattern in both their branches, roots, and in the leaf structures that my original study explored.
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    ‘Joker’ fans flocking to a Bronx stairway highlights tension of media tourism
    (The Conversation US, Inc., 2019-11-01) Holzman, Laura M.; Herron School of Art and Design