dating in hong kong - Elucidating photography

He limits the scope of his study to several primary concerns including an examination of resident professional studios and the classification of photographs of local people as social documentation.

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Under this rubric, and with an interest in figural imagery, his examples span an array of subjects incorporating street peddlers, beggars, refugees, famine victims, religious events, social gatherings, and the devastations of war.

These photographs, although mediated, are indeed visual records of historical value and as such they substantiate his claim.

He argues that in the face of harsh criticism, "it is probable that most painters took care to hide their use of photographs either by making certain that the image was unpublished or in only utilizing it to provide assistance with a small detail in the painting" (71).

This makes the study of the use of photography in painting especially challenging.

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Ken Jacobson's sumptuously illustrated volume challenges normative approaches to the study of non-Western photography in ways that are both compelling and frustrating.

Also impressive is his insightful narrative on contributions to art photography and advancement in photographic technique by practitioners in the East.

He draws attention to previously neglected details by demonstrating that, in the 1870s, studios such as Maison Béchard in Egypt were already experimenting with the pictorialist idiom, or that in his (1893), Max Junghaendel pioneered the use of artistic photogravure well before J. In addition, Jacobson invites a brief look at photography's role in the fusion between fantastical Orientalist painting and early cinematic art as a conscious move away from the ennui of 1890s' banal tourist imagery.

He argues that this very interplay imbues photographs with a special aesthetic, thus far unappreciated.

Further, he contends that, with few exceptions, photographs of the non-West have been interpreted as stereotypical Orientalist (in its current parlance) representations with little regard for their inherent artistic or historic value.

Jacobson's exploration of the relationship between the studios and their consumers, often comprising royal personages such as the Ottoman sultan, is fascinating.

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