IJSIM : International Journal on Stereo & Immersive Media, Vol. 2, Nº. 1 (2018)

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http://hdl.handle.net/10437/10866

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Percorrer IJSIM : International Journal on Stereo & Immersive Media, Vol. 2, Nº. 1 (2018) por assunto "PHOTOGRAPHY"

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    Invention of the Myth of Total Photography
    (Edições Universitárias Lusófonas, 2018) Timby, Kim; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    In the mid-twentieth-century, it was widely believed that innovations in photographing movement, colour, and depth would one day afford complete mastery of the simulation of visual perception. This collective representation of purpose and of progress in photography was eloquently expressed as the “myth of total cinema” by André Bazin (1946), who argued that the longing for “integral realism” had always marked mechanical reproduction, inspiring inventors since the nineteenth century. This assumption remains common today. The present article historicises the integral-image utopia, mapping the expression of its intellectual mechanisms in the first accounts of photography then in photography’s emerging historiography. This research reveals the absence of a shared project around “complete” perceptual realism for most of the nineteenth century. The idea of progress toward a total image reproducing vision emerged and came to prevail in the popular imagination at a very particular moment – in 1896, following the invention of cinema – transforming how people thought about the future of photography and told the story of its past.
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    Pioneer Iranian Stereo : Photographers at the Persian Court, 1858-1905
    (Edições Universitárias Lusófonas, 2018) Tahmasbpour, Mohammad Reza; Pérez González, Carmen; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The camera entered Iran as early as 1842, during the Qajar Dynasty (1785-1925). Naser al-Din Shah (reigned 1848-1896), was fascinated by the new medium and became both a patron of photography and an amateur photographer himself, establishing the Royal Photography Atelier in the Golestan Palace. Aqa Reza Iqbal al-Saltaneh (1843-1889) was appointed in 1863 as Naser al-Din Shah’s first court photographer. Henceforth known as Reza Akkasbashi, his fascinating legacy includes a rare collection of several hundred stereographs (1858-65). The rudimentary and very poor examples of stereo photographs analysed here can be revealing of a stereo desire that was not paired with proper technological skill. The paper shows how stereo craze reached Iran and how early local photographers experimented with double images and photographic cameras. Almost 40 years later, Naser al-Din Shah’s son Mozaffar al-Din Shah (reigned 1896-1907) produced stereographs himself during his second trip to Europe in 1903, and purchased a long list of photographic material from the London Stereoscopic and Photographic Society.