Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research

In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.

Distance: Closeness/Remoteness in Kim Boske’s Photographs

The work Moving Flowers #1 by the internationally known Dutch artist Kim Boske (born in 1978) was published in the first cover series HOU VOL (“Keep Faith”) of the periodical Het Parool on 30 May 2020. Following the aim of the newspaper to help cope with the disastrous consequences of COVID-19, the artist focused on how our perceptions had changed during the pandemic. If previously the content (or what is being represented) was the element that dominated in photography, then during the pandemic, the representational harmony of the content was replaced by the structural features or the way how something is being represented. The article aims to reflect on the artworks created by Boske in 2020 and to show the circulation of ideas contained in them, and with this case study to highlight more general trends in the recent art photography.

Between Art And Photojournalism : An Examination Of Henri Cartier-Bresson's The People Of Moscow

Henri Cartier-Bresson's (French, 1908-2004) career spanned more than fifty years during which he was involved with the surrealist movement, produced work for various picture magazines, helped found Magnum Photos Agency and published numerous photobooks. While his body of work is often discussed in terms of either fine art photography or photojournalism, prior to 1950s these elements tended to be isolated to separate venues. This thesis is concerned with Henri Cartier-Bresson's 1955 book The People of Moscow, a photographic survey of the Soviet people. It considers the significance of this book as a venue that combined the two aspects of Cartier-Bresson's photography, the formal aesthetics and the documentary content and thereby marked a turning point in his career. The essay describes and analyzes the elements of the book's design, such as the layout, sequencing and use of text by comparing them to the earlier Cartier-Bresson monographs, as well as to the use of the photographs from the book in Life and Paris Match.

Contextualizing the Rhode Island School of Design group portfolios and the state of art photography in the 1960s and 1970s

The students and faculty of the Rhode Island School of Design produced fourteen annual group portfolios between the years 1967-1981. The George Eastman House collection contains nine of the fourteen group portfolios created. The group portfolios add to the discourse surrounding university photographic education programs in the late 1960s and 1970s. The tradition of annual university group portfolios creates a tangible link between photographic education programs, the photography market, and collecting art photography. The Rhode Island School of Design group portfolios demonstrate that professional art photographers taught photography to make a living while inspiring the next generation of art photographers. The seriousness of teaching photography further validated photography as an art form. Also during this time, the number of university photography programs increased, the photography market flourished, and institutions developed independent photography departments. The combination of these factors progressively led to photography’s acceptance as an autonomous artistic medium.

Contextualizing the Rhode Island School of Design group portfolios and the state of art photography in the 1960s and 1970s

The students and faculty of the Rhode Island School of Design produced fourteen annual group portfolios between the years 1967-1981. The George Eastman House collection contains nine of the fourteen group portfolios created. The group portfolios add to the discourse surrounding university photographic education programs in the late 1960s and 1970s. The tradition of annual university group portfolios creates a tangible link between photographic education programs, the photography market, and collecting art photography. The Rhode Island School of Design group portfolios demonstrate that professional art photographers taught photography to make a living while inspiring the next generation of art photographers. The seriousness of teaching photography further validated photography as an art form. Also during this time, the number of university photography programs increased, the photography market flourished, and institutions developed independent photography departments. The combination of these factors progressively led to photography’s acceptance as an autonomous artistic medium.

Million Dollar Babies : Identifying And Analyzing Million Dollar Photographs Sold At Auction From 2005 Until 2011

The market for fine art photography has escalated in recent years, with 41 photographs – the

Million Dollar Babies : Identifying And Analyzing Million Dollar Photographs Sold At Auction From 2005 Until 2011

The market for fine art photography has escalated in recent years, with 41 photographs – the

Changing Images of the Democratic Party: an analysis of the aesthetic and philosophical underpinnings of Life's photo-essay "Happy days in Miami"

The purpose of this study was to examine the influence of New Journalism on the photo-essay "Happy Days in Miami" from the 21 July 1972 issue of Life Magazine. The stylistic elements of New Journalism such as scene-by-scene reconstruction, overt stylization, status details and others, are analyzed for their role in the construction of the visual and political narrative utilized in this photo-essay. Its influence on 1960s art photography as embodied by Larry Clark, Danny Lyon and the New Documents exhibition is also considered. This was analyzed through research of the various topics (New Journalism, the Presidential Convention in 1972, Life and 1960s art photography), critical readings of the photographs and original interviews with Ralph Graves, Life's managing editor in 1972 and contributing editor Richard Meryman.

Between Art And Photojournalism :An Examination Of Henri Cartier-Bresson's The People Of Moscow

Henri Cartier-Bresson's (French, 1908-2004) career spanned more than fifty years during which he was involved with the surrealist movement, produced work for various picture magazines, helped found Magnum Photos Agency and published numerous photobooks. While his body of work is often discussed in terms of either fine art photography or photojournalism, prior to 1950s these elements tended to be isolated to separate venues. This thesis is concerned with Henri Cartier-Bresson's 1955 book The People of Moscow, a photographic survey of the Soviet people. It considers the significance of this book as a venue that combined the two aspects of Cartier-Bresson's photography, the formal aesthetics and the documentary content and thereby marked a turning point in his career. The essay describes and analyzes the elements of the book's design, such as the layout, sequencing and use of text by comparing them to the earlier Cartier-Bresson monographs, as well as to the use of the photographs from the book in Life and Paris Match.