浅议新闻摄影图片中的伦理道德问题

近年来,随着互联网等新媒体的兴起,新闻炒作现象逐渐渗入新闻图片摄影中,一些新闻图片摄影工作者为眼前利益而放弃起码的社会伦理道德与职业道德,导致诸多虚假图片的出现,成为新闻炒作的“形象化”帮凶。分析了新闻摄影中违背社会伦理道德现象产生的原因及具体表现,提出了解决新闻摄影中伦理道德缺失的相关对策。     

Monumentally Indian: The Photography of Edward Curtis and the Cuzco School of Photography

Abstract

‘Monumentally Indian’ analyzes the similarities and differences in the representation of indigeneity in photography in the US and the Southern Peruvian Andes during the first decades of the twentieth century. The article shows an underlying (and often unconscious) poetic at work in the critical and popular reception of these photographic archives that undermines their potential for creating a radically new visual field.     

从匠艺到艺术——中国早期照相馆人像与肖像画的融合

摄影术传入中国后,对画像行业造成冲击,一些画师改业从事照相馆人像拍摄,把绘画中的人物造型法则运用到人像摄影中,从当时留存至今的“小照”、“肖像”中可以看出他们深受中国传统肖像画形式的影响,在某种程度上还反映了当时的社会生活和中国人的审美趣味和艺术传统。清宫流传至今的慈禧着色放大照片是早期中国人像摄影的珍品,而勋龄所拍摄的慈禧扮观音的化妆照可视为按照一定的构思进行摄影创作的先驱,它与西方同时期盛行的高艺术摄影有异曲同工之妙,但又体现了中国人不同于西方的精神境界和宗教信仰,有着浓厚的中国传统文化色彩。     

都市化趋势中的襄樊市城镇生态环境建设策略

到21世纪中叶,襄樊市城镇人口占全市总人口的70%左右,现有县城逐渐成长为中等城市,集镇数量减少,沿交通干线形成中心城市都市带。快速城市化过程中的水污染、噪声污染和固体废弃物将增加,而大气污染随着城镇能源结构的改变将会好转。针对城市化过程的生态环境压力提出都市功能区、城镇与环境互动的治理策略。     

基于时间价值的中国高速轨道交通发展时机研究

交通运输本质上是派生性需求。本文从高速铁路客运的核心问题"时间价值"入手,将日本、法国历史数据与中国情况进行对比,以"居民人均收入"与"需求量"为重要经济指标,依据相关数据创建了速度-收入模型,计算出自2009年后的时间价值对旅行速度的需求范围,进而推出对高速轮轨铁路和高速磁悬浮铁路产生需求的时间价值。认为既有"高铁战略"的推出较好地契合了经济社会发展构建"高效率、高质量、全维度、低成本"交流体系的内在需求,带来了交通运输时空网络的变化,但高速磁悬浮交通的大规模建设为时尚早。     

高科技元素给新闻摄影真实性带来的影响及思考

数字化摄影技术、数字化图像处理技术、网络传输技术等高科技的介入,极大地增强了新闻摄影的时效性,为增强新闻摄影与其它新闻媒体的竞争能力注入了强大的能量。然而不容否认,高科技这把双刃剑,在使新闻摄影产生质的飞跃的同时,也为新闻摄影的真实性带来了风险和挑战。     

基于系统动力学的高速铁路人才支撑体系的构建

人才是支持高速铁路发展和平稳运行的关键性因素,加强人才管理和开发对于高铁建设发展具有决定性作用。本文从人力资源管理相关理论入手,结合国内外高速铁路发展现状,运用系统动力学相关方法,构建了高速铁路人才支撑体系框架,为加强高速铁路人才的开发和管理提出了新思路。     

The politics of portrait photographs in southern Nigerian newspapers, 1945–1954

This paper focuses on the increasingly important role played by pictorial journalism in the struggle for Nigerian self-rule. From the late 1920s onwards, daily newspapers printed portrait photographs with a pro-colonial slant: members of the colonial administration, international heads of state, foreign ministers and, occasionally, the highest-ranking Nigerian politicians. To challenge a dominance of pro-colonial depictions, the anti-colonial West African Pilot introduced a new style of printed portrait photographs in 1937 that became a role model for other newspapers in the 1940s and the 1950s. This article focuses on the use of these portrait photographs for the political propaganda of party-affiliated newspapers, such as the Daily Service, the West African Pilot and the Southern Nigeria Defender, which were published in the southwest of Nigeria. The technological difficulties of printing photographs in newspapers in the 1940s meant that editors had a limited choice of which portrait photographs to include (mainly photographs of politicians, businessmen and chiefs were available). The editors were further constrained by the scarcity of photographs of ordinary people. In addition, photographs depicting the colonial administration’s personnel or edifices were not in line with the editorial policy of the anti-colonial newspapers. In the 1950s, when Nigerian newspapers were able to afford the technological equipment to reproduce their own photographs, a representative cross-section of Nigerian society was still rarely included in the portrait photographs. The photographs that were printed showed the self-fashioning of Nigerian leaders of democratic parties, ahead of the emergence of a new style of democratic and charismatic leaders in Senegal. Although these anti-colonial images were more democratic than the old colonial images in pro-colonial newspapers, they replaced the imperial hierarchies which editors rejected, with the new social hierarchies of local Nigerian elites foreshadowing the politics of independent Nigeria.     

Mining photographs: David Goldblatt’s On the Mines

David Goldblatt’s photographs in On the Mines create a narrative of the mining industry. They can be read individually as fragmented emblems of the ways that mining has shaped both the city of Johannesburg and its people, and they can also be read in relation to our present perspective as testaments of history. Even in the most seemingly straightforward photographic image, photographs can offer vital metaphors that enhance our understanding of a place. As in the case of Goldblatt’s photographs, these pictures show Johannesburg’s mining-town beginnings, which transcend the specifics of the moment they were taken. They depict the economy and process of extracting gold from the earth, and likewise utilise an exacting economy of vision. His photographs include only essentials, but these photographs go beyond abstract economics to show the humanitarianism of the photographer too. Many of David Goldblatt’s photographs focus on the built environment, the structures of mining, housing and religious buildings. However, Goldblatt is not an architectural photographer. As such, we may speak, as Philip Ursprung evocatively put it, of both “pictures of architecture and the architecture of pictures.” Viewed from the perspective of “the architecture of the picture,” his images speak about Johannesburg’s social, economic and political context. Taken almost 50?years ago, these images have endured because they go beyond documentation. Goldblatt’s incisive vision is mute testimony to the deep critical thinking that he brings to bear in the making of images. As the citation for the 2006 Hasselblad Foundation Award asserts, “almost all of Goldblatt’s photographs have different layers of interpretation through which viewers, according to their experience and previous knowledge, unravel a tale.” This paper will begin by examining the tradition of documenting architectural structures, situating Goldblatt’s work in relation to the techniques and approaches adopted by photographers of architecture in the twentieth century and the meanings that their images convey. Thereafter, a discussion of the layers of interpretation that some of Goldblatt’s images yield will follow.     

景深的艺术效果分析

景深的控制是摄影技术中重要的艺术造型手段之一，景深的深浅是由光圈、焦距和拍摄的距离来决定。景深的调整可以突出拍摄的主体．丰富画面内涵．增加画面的艺术效果。