A Life More Photographic

Rubinstein, Daniel; Sluis, Katrina

doi:10.1080/17540760701785842

Cited by 137 publications

(36 citation statements)

References 6 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…One industry source estimated that 1.2 trillion digital photos were taken in 2017 (Cakebread, 2017), compared with 3 billion in 1960, 25 billion in 1980, 86 billion in 2000, and 380 billion in the mid-2000s (Schwarz, 2012). Regarding the enormity of the number of images taken, Rubenstein and Sluis (2008) write, "the value of a single photograph is being diminished and replaced by the notion of a stream of data in which both images and their significances are in a state of flux" (p. 22). With such an enormous influx of images uploaded and circulated among traditional and nontraditional media outlets, the "Golden Era" of the iconic image has come to an end (Dahmen & Miller, 2012).…”

Section: Erosion Of the Iconic Image In The Digital Eramentioning

confidence: 99%

The Influence-Network Model of the Photojournalistic Icon

Dahmen

Mielczarek

Perlmutter

2018

Journalism & Communication Monographs

View full text Add to dashboard Cite

Iconic images are those that rise to the forefront of our collective, visual public consciousness to become the defining, enduring image of an event: a naked Vietnamese girl screaming out in pain following a napalm attack, U.S. Marines raising the American flag at Iwo Jima, and a German dirigible engulfed in flames and falling to the ground. Iconic images have a discursive value that helps citizens navigate and understand the political and social contexts of complex events. Traditionally, news photographs became iconic largely through their prominent placement on the front pages of elite newspapers across the globe. But, undeniably, in the age of digital news, mobile phones/tablets, and social media, the media component has changed the equation for the formation of iconic imagery and collective visual consciousness. With the speed, ease of access, and abundance of information sources available in the current age, a volume of images can now represent a significant (or not so significant) event. This monograph traces the development of iconic image literature and then proposes a model termed the “influence-network model of the photojournalistic icon,” which predicts how photographs of events become iconic (or not).

show abstract

Section: Erosion Of the Iconic Image In The Digital Eramentioning

confidence: 99%

The Influence-Network Model of the Photojournalistic Icon

Dahmen

Mielczarek

Perlmutter

2018

Journalism & Communication Monographs

View full text Add to dashboard Cite

show abstract

“…At the same time, the act of wearing a camera at all times opens up a different relationship to space, turning everything in one's immediate environment into a potential subject for a snapshot. (Rubinstein and Sluis, 2008) Rubinstein and Sluis suggest ways of extending photography, through the networked image and the incorporation of pixels beyond the control of the photographer, perhaps suggesting a new ideology, or at least a new starting-point, which offers different interpretations of objects beyond simple two-dimensional representations; a place, perhaps, where algorithms and pixels offer new possibilities to further understand the capabilities of photography to go beyond grain and celluloid.…”

Section: C) Celebratorymentioning

confidence: 98%

Reflections on time, motion and photomechanics

Shaw

2013

Early Popular Visual Culture

View full text Add to dashboard Cite

This article is a reflection on my own practice and its connection to changing representations of time and movement within photography. In my work as an artist and photographer, I have endeavoured to develop a particular perspective on the relation between the heritage of photomechanical tools, new technologies, memory and space. In what follows, I describe a series of pivotal moments in the formation of this perspective as they exemplify a specific strand of photography, showing how they connect to wider transformations in the field of visual cultures.

show abstract

“…Such photographs can be seen to speak rather than represent their content. 34 Much like the stock photography used in advertising images, they often present culturally engrained associations that do not need to be consciously interpreted. For the right audience (e.g., the account's followers), their meaning is culturally normative, and can be instantly recognized.…”

Section: Landscape and Photographymentioning

confidence: 99%

Photogenic Urban Landscapes: Towards an Intermedial Framework for Landscape Criticism in the Age of Social Media

Despard

2018

Architecture_MPS

View full text Add to dashboard Cite

Drawing on cultural geography, visual cultural studies and theories of media ecology, this essay lays out a framework for collaboration between media scholars, architects and critics, positioning photographic social media such as Instagram as a means for pursuing questions about the changing role of landscape in the visual mediation of urban social life and public culture. While buildings and urban infrastructure also have mediating functions, I focus on designed landscapes such as public parks because they mediate visual perception in a manner that is historically intertwined with that of photography. Responding to existing interest in the critical reading of landscape values as well as research on new photographic forms and practices arising from social media use, I suggest that we take seriously the idea that landscape is itself a form of media. Attending to its ongoing interactions with other media will enable us both to specify the nature of its intermediality in a given time and place, and open a new space for reflexivity and critique. Beginning with an account of what is at stake in the visual mediation accomplished through urban landscapes on the one hand, and in the study of social media use on the other, I make a case for a critical, qualitative analysis of photographic content as opposed to quantitative analytics of the data associated with it. I then present an example of the kind of analysis I have in mind, drawing from an exploratory case study of photographs from Grand Park in Los Angeles (Rios Clementi Hale). In the process, I flesh out the concept of intermediality as it pertains to designed landscapes and demonstrate the kinds of questions and pedagogical opportunities such an approach may open.

show abstract

A Life More Photographic

Cited by 137 publications

References 6 publications

The Influence-Network Model of the Photojournalistic Icon

The Influence-Network Model of the Photojournalistic Icon

Reflections on time, motion and photomechanics

Photogenic Urban Landscapes: Towards an Intermedial Framework for Landscape Criticism in the Age of Social Media

Contact Info

Product

Resources

About