Fashion Photography Archive

Review of Fashion Photography Archive, Reviewed December 2017 by Alice Eng, Electronic Resources Librarian Z. Smith Reynolds Library, Wake Forest University [email protected]

Growing up in the new age

This issue of Fieldstudy was published as part of the Growing up in the New Age project. It features the archive photographs of Dave Walkling, made in a 1970s' squatted house in South London and at the Kirkdale Free School. It also presents the photographs of Marjolaine Ryley, who was a child in living in the collective housing photographed by Walkling. Ryley has collected Walkling's photographs, and her own new series is a mediation on history and memory

University for the Creative Arts staff research 2011

This publication brings together a selection of the University’s current research. The contributions foreground areas of research strength including still and moving image research, applied arts and crafts, as well as emerging fields of investigations such as design and architecture. It also maps thematic concerns across disciplinary areas that focus on models and processes of creative practice, value formations and processes of identification through art and artefacts as well as cross-cultural connectivity. Dr. Seymour Roworth-Stoke

ANALISIS KUALITAS TUGAS FASHION PHOTOGRAPHY PADA MATA KULIAH PUBLIKASI MODE

Fashion Photography merupakan tugas mahasiswa dalam mata kuliah publikasi mode yaitu memotret model dengan segala kelengkapan busana untuk menginformasikan atau mempublikasikan berbagai hal tentang busana. Tujuan penelitian untuk memperoleh data mengenai kualitas tugas fashion photography ditinjau dari beberapa aspek pengaturan seperti fungsi kamera, komposisi, pencahayaan, fokus pada lensa kamera, pose, ekspresi, efek foto dan mengintegrasikan prinsip seni fotografi. Metode yang digunakan dalam penelitian ini adalah deskriptif analitik dengan sampel purposive yaitu mahasiswa paket Manajemen Desain yang telah mengikuti dan menyelesaikan tugas pembuatan fashion photography pada mata kuliah publikasi mode, yang berjumlah 30 arsip tugas fashion photography. Hasil penelitian menunjukkan bahwa lebih dari setengahnya mahasiswa mampu mengatur shutter speed, jarak pemotretan, pose dalam mendukung karakteristik tampilan busana, dan menyesuaikan ekspresi dengan jenis busana yang ditampilkan dengan kualitas sangat tinggi. Setengahnya mahasiswa sudah mampu mengatur fokus dalam menghasilkan detail gambar yang jelas dengan kualitas sangat tinggi. Kurang dari setengahnya mahasiswa mampu memanfaatkan sumber cahaya dengan kualitas sangat tinggi, mengintegrasikan prinsip kesatuan dengan kualitas tinggi, serta pengaturan efek foto dengan kualitas rendah. Kata Kunci : Fashion Photography, Publikasi Mode Fashion Photography is a student assignment on the subject of mode publication, photographed models with all fashion instrument to inform or publish things about fashion. The research purposes is to obtain data on the quality of fashion photography assignment in term of several aspects such as camera function, composition, lighting, camera lens focus, poses, expressions, photo effects and integrates the principles of art photography. The method used in this research is descriptive analytic with purposive sample from student of design management who attended and completed the task of making fashion photography course on mode publication subject, which amounts to 30 archive fashion photography assignment. The result showed that more than half of student are able to set shutter speed, shooting distance, and poses in favor of fashion display characteristic’s, and adjust the expressions with the clothing displayed with very high quality. Half of the students have been able to set the focus to produce clear image details with very high quality. Less than half students are able to exploit of the light source with a very high quality, integrating principle of unity with high quality and setting photo effects with low quality. Keywords: Fashion photography, Mode publication

Research students exhibition catalogue 2011

The catalogue demonstrates the scope and vibrancy of current inquiries and pays tribute to the creative capacity and investment of UCA research students. It brings together contributions from students who are at different stages in their research ad/venture. Their explorations are connected by the centrality of contemporary material practices as focal point for the reconsideration of societal values, cultural symbols and rituals and their meaning, and the trans/formation of individual, collective and national identities The media and formats employed range from cloth, jewellery and ceramics to analogue film, the human voice and the representation of dress and fashionin virtual environments. Thematic interests span from explorations at the interface of art and medical science to an investigation of the role of art in contested spaces, or the role of metonymy in ‘how the arts think’ And whilst the projects are motivated by personal curiosity and passion, their outcomes transcend the boundaries of individual practice and offer new insights, under-standing and applications for the benefit of wider society. Prof. Kerstin Me

Image Sources: A guide to finding photographs, pictures and graphics

A Library Research Guide to finding and using print, electronic and web images for use in coursewor

Locating image presentation technology within pedagogic practice

This article presents data gathered through a University for the Creative Arts Learning and Teaching Research Grant (2009-2010); including a study of existing image presentation tools, both digital and non-digital; and analysis of data from four interviews and an online questionnaire. The aim of the research was to look afresh at available technology from the point of view of a lecturer in the visual arts, and to use the information gathered to look more critically at the available technology

ROTOЯ Review

The ROTOЯ partnership between Huddersfield Art Gallery and the University of Huddersfield was established in 2011. ROTOЯ I and II was a programme of eight exhibitions and accompanying events that commenced in 2012 and was completed in 2013. ROTOЯ continues into 2014 and the programme for 2015 and 2016 is already firmly underway. In brief, the aim of ROTOЯ is to improve the cultural vitality of Kirklees, expand audiences, and provide new ways for people to engage with and understand academic research in contemporary art and design. Why ROTOЯ , Why Now? As Vice Chancellors position their institutions’ identities and future trajectories in context to national and international league tables, Professor John Goddard1 proposes the notion of the ‘civic’ university as a ‘place embedded’ institution; one that is committed to ‘place making’ and which recognises its responsibility to engaging with the public. The civic university has deep institutional connections to different social, cultural and economic spheres within its locality and beyond. A fundamental question for both the university sector and cultural organisations alike, including local authority, is how the many different articulations of public engagement and cultural leadership which exist can be brought together to form one coherent, common language. It is critical that we reach out and engage the community so we can participate in local issues, impact upon society, help to forge well-being and maintain a robust cultural economy. Within the lexicon of public centered objectives sits the Arts Council England’s strategic goals, and those of the Arts and Humanities Research Council – in particular its current Cultural Value initiative. What these developments reveal is that art and design education and professional practice, its projected oeuvre as well as its relationship to cultural life and public funding, is now challenged with having to comprehensively audit its usefulness in financially austere times. It was in the wake of these concerns coming to light, and of the 2010 Government Spending Review that ROTOЯ was conceived. These issues and the discussions surrounding them are not completely new. Research into the social benefits of the arts, for both the individual and the community, was championed by the Community Arts Movement in the 1960s. During the 1980s and ‘90s, John Myerscough and Janet Wolff, amongst others, provided significant debate on the role and value of the arts in the public domain. What these discussions demonstrated was a growing concern that the cultural sector could not, and should not, be understood in terms of economic benefit alone. Thankfully, the value of the relationships between art, education, culture and society is now recognised as being far more complex than the reductive quantification of their market and GDP benefits. Writing in ‘Art School (Propositions for the 21st Century)’, Ernesto Pujol proposes:‘…it is absolutely crucial that art schools consider their institutional role in support of democracy. The history of creative expression is linked to the history of freedom. There is a link between the state of artistic expression and the state of democracy.’ When we were approached by Huddersfield Art Gallery to work collaboratively on an exhibition programme that could showcase academic staff research, one of our first concerns was to ask the question, how can we really contribute to cultural leadership within the town?’ The many soundbite examples of public engagement that we might underline within our annual reports or website news are one thing, but what really makes a difference to a town’s cultural identity, and what affects people in their daily lives? With these questions in mind we sought a distinctive programme within the muncipal gallery space, that would introduce academic research in art, design and architecture beyond the university in innovative ways

Visual witness: a critical rereading of Graciela Iturbide’s photography

This article underlines the importance of Latin American photography at a time when the visual turn of Hispanism is increasingly evident. At the time of writing, Graciela Iturbide is one of the foremost living photographers in Latin America. This article reengages with Iturbide’s work using notions of photography as witness and drawing on photography scholar Ariella Azoulay’s structure of the civil contract of photography—in addition to concepts from other visual experts—to identify and underline the several fundamental elements to which Iturbide’s photography testifies. To achieve this result, this article studies her first solo visual narrative, Los que viven en la arena