Photography: The Key Concepts

Bate, David

doi:10.4324/9781003103677

Cited by 13 publications

(9 citation statements)

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“…For the sake of parsimony in a cumulative framework, the well-known genre typology informed by the classic canon of art, that is landscape (urban/rural space etc. ), pictorial tableau (history painting as everyday life), still life and portraiture (Bate, 2016) is given preference over "other art genres such as the nude and non-art genres such as soft-core pornography, fashion photography and the snapshot" (Soutter, 2018, p. 17) (see Figure 4).…”

Section: Note(s)mentioning

confidence: 99%

“…This should not deter anyone from using them with assurance; it certainly has not in the past" (Lanham, 1991, p. xv). In this spirit analogous to verbal rhetoric, "unusual or Note(s): [1] adapted from Tate (n.d.), Bate (2016) Note(s): [1] Barthes (1964Barthes ( /1999 Language of luxury fashion striking configurations" (Lanham, 1991, p. 78) of the component elements of visual discourse are identified as visual tropes such as irony, hyperbole or oxymora (see Figure 6).…”

Section: Rhetorical Fundamentalsmentioning

confidence: 99%

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The language of luxury fashion advertising: technology of the self and spectacle

Kohrs

2020

JFMM

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PurposeUbiquitous Internet access and social media make visual consumption possibly the most vital characteristic of the experience economy. A cumulative, integrative framework for the analysis of visual artefacts has thus been called for as existing analytical tools and theoretical frameworks (such as semiotics, discourse analysis, content analysis, iconography, rhetoric and so on) each provide in isolation only a restricted perspective. To advance best practice towards shaping brand perception and consumer engagement, this paper provides a crucial analytical tool to uncover the unique and specific characteristics of identitary luxury fashion brand discourse by introducing and applying such an integrative framework.Design/methodology/approachA rigorous grounded theory approach was applied to a corpus of primary data, print advertising in Vogue (UK and US) and Vanity Fair (UK). Outcomes were distilled to first principles of meaning-making and aggregated in a framework which also integrates long-existing classics from diverse fields of knowledge to present a broad cumulative perspective for the analysis of visual discursive practice. This paper demonstrates the methodological rigour and validity of the framework, that is, its practical adequacy and explanatory power in uncovering the identitary brand discourse of luxury fashion.FindingsAn application of the integrative framework breaks new ground in uncovering the discreet identitary characteristics of the discursive practice of the luxury brands under investigation, Chanel and Gucci, which can be encapsulated as gendered technology of the confident self (Foucault) and spectacle (Debord), respectively.Research limitations/implicationsTo advance theory that illuminates understanding and shaping of brand perception and consumer engagement with luxury fashion brands, the proposed framework is the first to integrate insight from a rigorous analysis of primary data with long-existing classics from salient fields of knowledge. It, thus, provides a broader, more inclusive perspective that elucidates the multifaceted layers of meaning of luxury fashion discourse in a new and comprehensive way which existing approaches with focus on an isolated dimension such as semiotics or nonverbal behaviour and so on would not have been able to reveal.Practical implicationsThe inclusive, practicable theoretical framework provides a parsimonious and practical tool that can be applied by non-experts across disciplines to unlock meaning in fashion discourse as a route to shaping brand image and engaging consumers.Originality/valueThe paper provides a new perspective on the communication practice of luxury fashion advertising as the new integrative framework illuminates layers of meaning crucial to understanding the intricacies of identitary brand discourse and to shaping brand perception and engaging consumers.

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Section: Note(s)mentioning

confidence: 99%

Section: Rhetorical Fundamentalsmentioning

confidence: 99%

The language of luxury fashion advertising: technology of the self and spectacle

Kohrs

2020

JFMM

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“…Like the daguerreotype, the carte de visite and the Kodak Brownie snapshot, selfies are taken to express the same desire of recording memories. Despite of all these similarities with the previous forms of portrait photography, selfies do not need an intermediate (photographer or lab to develop pictures): we are the first users (Bate 2016;Brus 2017). You see yourself and you choose when to shoot.…”

Section: Selfies: the Online Social Shop-windowmentioning

confidence: 99%

Possible in Photography

Visconti¹

2020

The Palgrave Encyclopedia of the Possible

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Photography is a form of expression. It uses images to communicate. Previously called heliography, daguerreotype, or calotype, the process of capturing images in a permanent way was assigned the term photography by Sir John F. W. Herschel in 1839 (Newhall 2009, p. 21). The etymology of photography comes from the ancient Greek and it is composed by two words: photos and graphein. Photos literally means "of the light." Graphein means writing. Photography is the writing of the light. Every time we take a photograph, we are "writing" a message and it is important that we know how to 'write' this message to properly communicate. Photography uses a complex system of signs in the same way as written language does. The complexity of this system of communication arises from the way that the used signs can be misinterpreted and create different associations for each viewer/ reader. This is one of the reasons why photography as a visual language has been studied by semiologists (

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“…Photography is inescapable of perspective and the rules that define it. A camera's lens utilises light to "create an image in perspective" (Bate, 2009). Using a camera is to use a "set of predefined codes" (Bate, 2009).…”

Section: The Panorama An Extension Of Photographic Visionmentioning

confidence: 99%

“…A camera's lens utilises light to "create an image in perspective" (Bate, 2009). Using a camera is to use a "set of predefined codes" (Bate, 2009). Knowledge of perspective rules is necessary to understand how three dimensional space is converted into the two dimensional image.…”

Section: The Panorama An Extension Of Photographic Visionmentioning

confidence: 99%

The House of Marie Shannon

Apthorp¹

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<p>This thesis creatively explores the architectural implications present in the photographs by New Zealand photographer Marie Shannon. The result of this exploration is a house for Shannon. The focus is seven of Shannon's interior panoramas from 1985-1987 in which architectural space is presented as a domestic stage. In these photograph's furniture and objects are the props and Shannon is an actress. This performance, with Shannon both behind and in front of her camera, creates a double insight into her world; architecture as a stage to domestic life, and a photographers view of domestic architecture. Shannon's view on the world enables a greater understanding to our ordinary, domestic lives. Photography is a revealing process that teaches us to see more richly in terms of detail, shading, texture, light and shadow. Through an engagement with photographs and understanding architectural space through a photographer's eye, the hidden, secret or unnoticed aspects to Shannon's reality will be revealed. This insight into another's reality may in turn enable a deeper understanding of our own. The methodology was a revealing process that involved experimenting with Shannon's panoramic photographs. Models and drawing, through photographic techniques, lead to insights both formally in three dimensions and at surface level in two dimensions. These techniques and insights were applied to the site through the framework of a camera obscura. Shannon's new home is created by looking at her photographs with an architect's 'eye'. Externally the home acts as a closed vessel, a camera obscura. But internally rich and intriguing forms, surfaces, textures and shadings are created. Just as the camera obscura projects an exterior scene onto the interior, so does the home. Shannon will inhabit this projection of the shadows which oppose 30 O'Neill Street, Ponsonby, Auckland; her past home and site of her photographs. Photographers, and in particular Shannon, look at the architectural world with fresh eyes, free from an architectural tradition. Photography and the camera enable an improved power of sight. More is revealed to the camera. Beauty is seen in the ordinary, with detail, tone, texture, light and dark fully revealed. As a suspended moment, a deeper understanding and opportunity is created to observe and appreciate this beauty. Through designing with a photographer's eye greater insight is gained into Shannon's 'reality'. This 'revealing' process acts as a means of teaching us how to see pictorial beauty that is inherent in our ordinary lives. This is the beauty that is often hidden in secret, due to our unseeing eyes. This project converts the photographs beauty back into three dimensional architecture.</p>

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Photography: The Key Concepts

Cited by 13 publications

References 0 publications

The language of luxury fashion advertising: technology of the self and spectacle

The language of luxury fashion advertising: technology of the self and spectacle

Possible in Photography

The House of Marie Shannon

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