Subjects -> PHOTOGRAPHY (Total: 20 journals)
Showing 1 - 10 of 10 Journals sorted alphabetically
British Journal of Photography     Full-text available via subscription   (Followers: 25)
Ciel variable : Art, photo, médias, culture     Full-text available via subscription   (Followers: 1)
Color Research & Application     Hybrid Journal   (Followers: 4)
Depth of Field     Open Access   (Followers: 9)
Études photographiques     Open Access   (Followers: 9)
Fotocinema : Revista Científica de Cine y Fotografía     Open Access   (Followers: 10)
Getty Research Journal     Full-text available via subscription   (Followers: 4)
History of Photography     Hybrid Journal   (Followers: 36)
Imaging Science Journal     Hybrid Journal   (Followers: 4)
International Journal of Multimedia Intelligence and Security     Hybrid Journal   (Followers: 9)
ISPRS Journal of Photogrammetry and Remote Sensing     Hybrid Journal   (Followers: 79)
Journal of Imaging Science and Technology     Full-text available via subscription   (Followers: 8)
JPhys Energy     Open Access  
Peritia     Full-text available via subscription   (Followers: 8)
Philosophical Papers and Review     Open Access   (Followers: 3)
Photographies     Hybrid Journal   (Followers: 13)
Photography and Culture     Hybrid Journal   (Followers: 26)
Rivista di studi di fotografia. Journal of Studies in Photography     Open Access   (Followers: 1)
The Photogrammetric Record     Hybrid Journal   (Followers: 11)
Trans-Asia Photography Review     Free   (Followers: 5)
Similar Journals
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Trans-Asia Photography Review
Number of Followers: 5  

  Free journal Free journal
ISSN (Online) 2158-2025
Published by Michigan Publishing Homepage  [29 journals]
  • Ten Years of the Trans Asia Photography Review
    • Authors: Sandra Matthews
      Abstract: As I write this, a pandemic is destroying human lives and economies in many countries, including my own — while also illuminating just how interconnected our world is. My hope is that by the time the 2020 issue of the Trans Asia Photography Review is released, the beginnings of recovery will be under way. Because this issue is being completed at a turning point in world history, perhaps it can be seen as a valuable record — and a timely reminder — of the continuing worth of human creativity, collaboration, and perseverance.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Wuhan’s Family Photographs
    • Authors: Laura Wexler
      Abstract: Family Photographs, Wang Jia Zui, 2014, © Laura Wexler.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • “Film und Foto” Redux in Japan’s 2010s
    • Authors: Shota T. Ogawa
      Abstract: I recently had the chance to survey the wide range of scholarship within the field of Japanese cinema studies in the process of compiling Routledge Handbook of Japanese Cinema (coedited with Joanne Bernardi; forthcoming). The book ended up covering a broader terrain than initially anticipated, looking more like a handbook of Japanese eizō (the Japanese word eizō refers not only to moving images, but also to various other mechanically reproduced images, such as photography and magic lantern projection). Given my disciplinary background in cinema studies rather than photography, I will limit my goal here to offering episodic summaries of changes in and around Japan in the past ten years that may motivate researchers to work across disciplines and media, bringing cinema studies in closer contact with photography studies.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Orientalism and the Politics of Photographic Representation
    • Authors: Ali Behdad
      Abstract: Photographer unknown, Untitled (Woman posed in ‘harem’ by window), 1890s, 250 x 199 mm, from the Ken and Jenny Jacobson Orientalist Photography Collection, The Getty Research Institute Special Collections.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • A Western Bibliomania for Japanese Photobooks
    • Authors: Russet Lederman
      Abstract: International interest in Japanese photobooks exploded in 2001 with the release of Andrew Roth’s book-on-books anthology, The Book of 101 Books, and its documentation of illustrious works such as Eikoh Hosoe’s Barakei (Killed by Roses; 1963), Kukiji Kawada’s Chizu (The Map; 1965), Nobuyoshi Araki’s Senchimentaru na tabi (Sentimental Journey; 1971), and Daido Moriyama’s Shashin yo sayonara (Bye Bye Photography, Dear; 1972).
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • The Middle Ground of Early Chinese Photography
    • Authors: Anthony W. Lee
      Abstract: Some years ago, the historian Richard White proposed a “middle ground” in trying to describe the tense, often violent, but also surprisingly productive relationship between European settlers and Indigenous Peoples in the early history of what is today Canada. The world these people created was certainly not free of misunderstanding or, even less, bloody conflict; but by looking carefully at the many moments of encounter, in between all the bloodshed and brutality, White suggested that the constituencies also engaged in something like a give-and-take that allowed them to live together. They carefully monitored each other, frequently interpreted (and even more frequently misinterpreted) the many actions and gestures of the others, and based on their crude observations and (mis)interpretations, were able to offer and accept a whole series of compromises that were hatched in accordance to what they thought their adversaries would find intelligible and, more importantly, consent to. This relationship operated not only at the level of formal diplomacy but also on the ground in daily interactions. Self-interest ruled the day, of course, but such ambitions always confronted the realities of what was possible to obtain and what overtures and behaviors were mutually understandable. The arrangements and concessions were rarely based on a good comprehension of the others’ beliefs or motives, but they brought about a certain adequacy and tenuous concordance. That’s to say, the people engaged in a series of “creative misunderstandings,” and the accumulation of such things enabled Europeans and Indigenous Peoples to live side-by-side in some kind of balance – “harmony” might be too strong a description. The middle ground was remarkably durable and lasted, in White’s calculation, for more than 150 years.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Being in the World
    • Authors: Jamie Maxtone-Graham
      Abstract: Fig. 1. Dao, Ha, Untitled, from the All Things Considered series, 2019, © Ha Dao.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Surface Tension: Hong Kong Photographs in Wei Leng Tay’s Abridge
           Project
    • Authors: Olivier Krischer
      Abstract: In 2018, Wei Leng Tay began a new project and returned to Hong Kong to start the familiar process of interviewing the subjects she proposed to video and photograph, this time working more with an older generation of southern Chinese migrants, many of whom had swum or hiked illegally, in the 1950s and 1960s, to the quasi-mythical safe haven of the British colony. On the same trip, she took video of her bus trip along the newly completed Hong Kong–Zhuhai–Macau Bridge, the world’s longest sea bridge, a 55-km-long stilted highway. Tay was interested in the intersection of these migrant histories with a huge infrastructural construction that seemed to formalize the contentious political, economic, and social integration of Hong Kong to Mainland China.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • A Fragile Past: Exploring One Family’s Narrative Through the
           Photographs They Buried
    • Authors: Charles Fox
      Abstract: Between 1975 and 1979, Cambodia closed itself off to the world under the rule of the Khmer Rouge, an ultra-communist regime driven to purge the country of the corruption of the ruling elite and return it to an agrarian utopia. The reality, though, cost the lives of almost two million Cambodians through sickness, starvation, and murder.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • The Creative Distractions of Manobina Roy
    • Authors: Sabeena Gadihoke
      Abstract: Fig. 1. Bimal Roy, 1966. Photo by Manobina Roy, courtesy the family of Manobina Roy.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Photodemos – Citizens of photography: the camera and the political
           imagination
    • Authors: Christopher Pinney
      Abstract: Citizens of Photography: the Camera and the Political Imagination is an empirical anthropological investigation of a hypothesis about the relationship between photographic self-representation and different societies' understanding of what is politically possible. The project is based within the Department of Anthropology at University College London and is funded by a European Research Council Advanced Grant.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Contemporary Photography Magazines in Korea and Taiwan: Vostok and Voices
           of Photography in Context
    • Authors: Jeehey Kim
      Abstract: Fig. 1. Cover Images of Vostok.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Matca: Creating Conversations around Photography in Vietnam
    • Authors: Ha Dao
      Abstract: Fig. 1. Nhung Ngay Doi Nang (Days in the Sun) exhibition at Matca Space for Photography, Hanoi, Vietnam, August - October 2019, photo courtesy of Matca.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • PannaFoto Institute: Teaching Photography and Building Communities in
           Indonesia
    • Authors: Wubin Zhuang
      Abstract: The first draft of this essay was written in 2016 to mark the ten-year anniversary of the PannaFoto Institute. In this updated version, I will attempt to historicize PannaFoto, including the various initiatives that occurred before its establishment. Let me begin first with a partial mapping of communities directly or tangentially involved in photography in Indonesia.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • PIX: Photography and Critical Thought in South Asia
    • Authors: Rahaab Allana
      Abstract: Fig. 1. PIX: Citizen Issue, spring 2019.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Photography Institutions Burgeoning in China
    • Authors: Shuxia Chen
      Abstract: With the museum boom of the past decade, a multifaceted infrastructure for photography is being built in mainland China. More attention has been paid to photography by both private and public institutions. Moreover, across the country there have emerged art centers and museums dedicated solely to photography. Here I will discuss a private art space in Beijing with a significant photography collection, two semiprivate photography institutions in Shanghai and Chengdu, three public photography museums in smaller cities, and an art academy museum with an ambitious photography department. I will compare their approaches to photography, in order to shed some light on the current development of photographic institutions in China.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Drik Picture Library, Dhaka, Bangladesh: A Conversation with Shahidul Alam
    • Authors: Deepali Dewan
      Abstract: Fig. 1. View into the Drik Picture Library in their temporary space at Panthapath Union Heights. Dhaka, February 8, 2020. Photo courtesy of Deepali Dewan.Drik Picture Library, often just called “Drik,” is the earliest and still foremost platform in Bangladesh for the production, display, circulation, preservation, and publication of photography. Founded in 1989 by Shahidul Alam (b. 1955), Drik is now an umbrella organization with different components centering on the principles of social equality, human rights, and democratic governance to bring about positive change. “Drik” means “vision” in Sanskrit. It started from the observation that most images of the developing world were produced by photographers from outside. Instead, Drik wanted to provide high-quality images of the developing world made by photographers from within. The name of the international component of its photo agency — Majority World — nods to the fact that people from the developing world, often called “minorities,” are in reality a global majority. In this and other ways, Drik’s effort toward reframing and flipping assumptions is about using visual images to challenge abuse of power and promote social justice. In this interview, Deepali Dewan speaks to the founder of Drik, Shahidul Alam, about the organization.Alam was raised in the Dhanmodi area of Dhaka. He earned his undergraduate degree from the University of Liverpool and his DPhil, in organic chemistry, from the University of London. He was introduced to activism and photography during his college days and has published in most major media outlets, from the New York Times to National Geographic. He was incarcerated between August 5 and November 20, 2018, for criticizing the Bangladesh government’s violent response to road-safety protests, prompting an international outcry for his release. He was named a 2018 Time magazine Person of the Year. With an excellent team, he continues to run and grow Drik, which in mid-2020 will move into a new, nine-story building in which Drik’s various branches will be under one roof for the first time.DD: When did you start Drik and why' How was it unique for its time'
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Review of Early Photography in Vietnam, by Terry Bennett
    • Authors: Thy Phu
      Abstract: There is a growing demand among scholars for a history of Vietnamese photography — a study that might provide insights into such intriguing questions as: What does Vietnamese photography look like' For whom are Vietnamese photographs made, where do they circulate, and what are their meanings' From a visual and conceptual perspective, how did Vietnamese photography evolve over time' In what ways did Vietnamese photography intersect with global trends in photographic practice and how did it differ from them' Terry Bennett’s Early Photography in Vietnam is not this book.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Review of China Dream, by Teresa Eng
    • Authors: Sebastian C. Galbo
      Abstract: In Teresa Eng’s collection, China Dream, there is a triptych depicting gnarled tree roots, twisted and intertwined, coated in white paint in an otherwise desolate environment. The first photograph of the three shows the painted base of a small tree, its roots submerged snugly in soil; in the second there are wispy jade bamboo stalks; the third magnifies the base of another small tree, its sinewy roots exposed, gripping the soil precariously, as though an unseen force is wrenching them from above. These are not particularly flourishing plants, and the images are cropped such that the upper foliage or blooms, if any, lie beyond the frame. The sequence of these photographs conveys in powerfully vegetal terms a theme of (up)rootedness that underpins much of Eng’s atmospherically melancholic work.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Review of Demanding Images: Democracy, Mediation, and the Image-Event in
           Indonesia, by Karen Strassler
    • Authors: Veronika Kusumaryati
      Abstract: Karen Strassler’s highly anticipated book, Demanding Images, is a compelling work that centers on the photographic media of post-reform Indonesia. Strassler is not merely a narrator of the “social life” of Indonesian photographs (to use Pinney’s term), but also a curator and historian of the present. Demanding Images collects one of the most impressive and well-curated sets of photographs that have marked Indonesian history. Elegantly designed and persuasively argued, Demanding Images is a singular contribution to the study of contemporary Indonesian politics and visual culture.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • Review of Marjorie Doggett’s Singapore: A Photographic Record, by
           Edward Stokes
    • Authors: James McArdle
      Abstract: This book is titled Marjorie Doggett’s Singapore, prompting a naive question as to how Singapore — that island city-state with a population of between one and one and a half million during the period the book covers — could be hers. It’s a question answered in Doggett’s photographs and explored through Edward Stokes’s research and in his text.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
  • The Future of the TAP Review: Call for Proposals
    • Abstract: For the last ten years, the Trans Asia Photography Review, an open-access online refereed journal, has made a space for the examination of photography across the Asian region. It has made explicit the Eurocentricity of the study of photography; promoted the existence of alternative archives and their potential to bring to life new histories of photography; served as a venue for new voices; promoted the work of emerging scholars outside the Euro-American academy; and encouraged narratives beyond the nation. Looking forward, we want to continue these important aspects of the journal’s legacy. At the same time, we acknowledge that the framework of the journal—defined by the terms “Trans,” “Asia,” and “Photography”—has evolved and remains in flux. Thus, in the journal’s next phase, the first three issues will re-examine and shed new light on these key terms, as a way to shape the continuing investigation of this important nexus of photo practice. We hope these issues will then set a course for critical investigation and debate about photographic practice from across the Asian region for the coming years.
      PubDate: Spring 2020
      Issue No: Vol. 10, No. 2 (2020)
       
 
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