Early History of Photography - A Comparative Study of the Inventions of Daguerre and Talbot

CONTENTS PLUS ◽  
2020 ◽  
Vol 18 (2) ◽  
pp. 19-31
Author(s):  
Won Jung ◽  
1984 ◽  
Vol 8 (3) ◽  
pp. 231-235
Author(s):  
Robert Graham

2021 ◽  
Author(s):  
Victoria Grace Abel

This thesis explores the development of tourist photography through stereography and Instagram utilizing Niagara Falls stereographs from three collections ranging in date from 1850-1905 and Instagram images geotagged to Prospect Point, Niagara Falls, New York, all posted in the same twenty-four hours from August 6-7, 2016. First, a literature survey explores the history of photography at Niagara Falls, the circulation of tourist imagery, and social media and the networked image. It then moves on to an early history of photography at Niagara Falls with an emphasis on stereographs. It continues into a brief history of social media and an explanation of the inner workings of Instagram. Finally, it concludes with comparisons of aesthetic choices, access, and circulation in stereographs and Instagram, all using the case study images. This thesis argues that Instagram follows the same photographic tradition as stereographs and serves many of the same purposes in tourist photography


2020 ◽  
Vol 38 (3) ◽  
pp. 84-115
Author(s):  
Tatiana Khizhaya ◽  

The paper provides the first attempt of a comparative study of the two forms of Judaizers phenomenon: the Russian Subbotnik movement and the Transylvanian Sabbatarianism. The study reveals a number of shared features in their origin, development, social makeup, religious ideas and practices as well as their relationships with the authorities. The genesis of the Transylvanian Szombatosok is directly correlated to the European Reformation, and Russian Judaizers are included in the context of the so called Protestantizing movement. Both movements were ultra-radical, spread mostly among peasants, and created similar survival strategies and identities; both experienced gradual de-Christianization and a growing impact of Judaic tradition. However, there were serious differences between the two groups: European intellectual and social elite played a key role in the genesis and early history of Transylvanian Sabbatarianism, which was, to an extent, a specific “construct” within the scope of the European religious thought of the 16th-17th centuries; in the Russian case, by contrast, the Judaizers emerged in the low social strata and had their roots in popular movements.


2021 ◽  
Author(s):  
Victoria Grace Abel

This thesis explores the development of tourist photography through stereography and Instagram utilizing Niagara Falls stereographs from three collections ranging in date from 1850-1905 and Instagram images geotagged to Prospect Point, Niagara Falls, New York, all posted in the same twenty-four hours from August 6-7, 2016. First, a literature survey explores the history of photography at Niagara Falls, the circulation of tourist imagery, and social media and the networked image. It then moves on to an early history of photography at Niagara Falls with an emphasis on stereographs. It continues into a brief history of social media and an explanation of the inner workings of Instagram. Finally, it concludes with comparisons of aesthetic choices, access, and circulation in stereographs and Instagram, all using the case study images. This thesis argues that Instagram follows the same photographic tradition as stereographs and serves many of the same purposes in tourist photography


Author(s):  
Sara Romani

In this article I explore the work of Carl Durheim (1810-1890) as a production of highly symbolic imagery geared toward the visual creation of the Swiss national identity in the wake of the establishment of the Confederation in 1848. After providing some background about Durheim and the early history of photography in Switzerland I focus on Durheim’s pictures of the so-called Heimatlose (vagabonds), which were commissioned by the Police and Justice Department in Bern. I argue that these pictures cannot be interpreted merely as mug shots taken in order to reproduce the identity of the depicted subjects; rather, using the rhetorical force of photography, these images projected onto the Heimatlose the ideal of the new Swiss society, based on bourgeois values and clearly demarcated from everything foreign through an idealized operation of drawing geographical and social borders.


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