IJSIM : International Journal on Stereo & Immersive Media, Vol. 4, Nº. 1 (2020)

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http://hdl.handle.net/10437/11636

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Percorrer IJSIM : International Journal on Stereo & Immersive Media, Vol. 4, Nº. 1 (2020) por assunto "FOTOGRAFIA"

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    Global warming : the historical photographic evidence
    (Edições Universitárias Lusófonas, 2020) Blair, Peter; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The photographic record of the Alps stretches from the 1840s to the present day and therefore provides visual evidence and significant insight into the devastating impact of global warming on alpine glaciers. In this study, we match photographs from around 1860, 1910 and today, from the same viewpoint, to provide a visual narrative of change in the glaciers of Chamonix Mont-Blanc. During a cooler period in the 16th-19th centuries, now known as the “Little Ice Age”, glaciers descended into alpine valleys and destroyed villages. The most recent maximum of alpine glaciers was attained in the 1820s. They remained fairly close to this maximum until the late 1860s, allowing early photographers to capture them in all their glory. Since then, glaciers have been in general retreat, with shrinkage accelerating on the back of global warming caused by human activity. The speed of change is alarming and is a concern not merely for skiers and alpinists.
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    Ilusões impressas para um leitor-espectador no Brasil oitocentista: Vistas e gravuras nas Marmotas de Paula Brito
    (Edições Universitárias Lusófonas, 2020) Martins, Bruno Guimarães; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Na segunda metade do século XIX, a imprensa ilustrada dava os seus primeiros passos no Brasil Imperial, aproximando de uma forma inédita as figuras do leitor e do espectador. A experiência imersiva promovida pelos primeiros dispositivos ópticos era transposta para descrições textuais e para gravuras impressas que convocavam para a leitura a experiência ilusória das imagens ópticas. Este artigo tem como exemplos algumas “vistas” e imagens extraídas de três jornais de variedades impressos pelo editor pioneiro Francisco de Paula Brito (1809-1861). Publicados ininterruptamente de 1849 a 1864, A Marmota na Corte, a Marmota Fluminense e A Marmota trazem em seus títulos alusão às marmotas, designação utilizada para as caixas ópticas preparadas para o visionamento de estampas. Nestas folhas o leitor era atraído para a página impressa como se fosse o espectador que espreitava pelo orifício de uma caixa em busca da experiência de ilusão visual.
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    Protecting and exploiting photography through intellectual property in the long nineteenth-century britain
    (Edições Universitárias Lusófonas, 2020) Pritchard, Michael; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This paper presents a broad survey examining how the photographic industry in Britain used the patent system, trade-mark and design registration systems to protect and exploit inventions during the nineteenth and early twentieth centuries. It looks at how patents were perceived by the industry, how manufacturers and retailers exploited them, and wider issues which surrounded them, all of which received extensive coverage in the pages of the contemporary photographic press. It does not look at copyright protection for photographs which evolved separately.
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    The stereoscopic negatives by J. Laurent : Portugal views in the year of 1869
    (Edições Universitárias Lusófonas, 2020) Teixidor-Cadenas, Carlos; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Jean (or Juan) Laurent lived in Madrid and started to work as a photographer in 1856, by opening a portrait gallery. In 1857 he was already taking stereoscopic views. Between 1861 and 1868 he was announced as the photographer for Queen Elizabeth II of Spain. In1869 he traveled to Portugal to obtain city views and portrait the Portuguese royal family. Laurent sold these photographs at his headquarters in Madrid and through an extensive network of depositaries in different Spanish and European cities, including Lisbon and Porto. All his negatives from Portugal were made with the technique of wet collodion glass plates, using a handcart as a photographic darkroom. Most of the copies were printed on albumen paper, while some others on Leptographic paper. The Laurent archive is preserved in Madrid, in the Spanish Cultural Heritage Institute. In total there are about 12,000 negatives of the nineteenth century, made by Laurent and his hired photographers. Among the stereoscopic negatives (13 x 18 cm format) there are 78 views of Portugal, mainly from Lisbon, Batalha, Tomar, Coimbra, Porto, Setúbal and Évora. Other interesting negatives of Portugal are twelve glass plates in the gigantic panoramic format of 27 x 60 centimeters. However, most of the conserved negatives in Portugal are of the standard 27 x 36 cm format. All positive copies were obtained by contact, at the same size by trimming the edges. Albumen paper copies were mounted on separate cards or in albums. As of 1875, Laurent’s company was named J. Laurent y Compañía.