Photography | Open Access Articles | Digital Commons Network™

Till The Cows Come Home, Caroline Green

Philomathean

No abstract provided.

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Grandad’S Toolshop, Kayla Stanley

Philomathean

No abstract provided.

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Su Drama Bernarda Alba Production Photos, Henry Killbourn, Alex Jainchill, Reyna Sanchez

Drama - All Scholarship

This project strengthens the Syracuse University Department of Drama’s ability to document its theatrical productions through high-quality digital photography. With support from the SOURCE grant, the department acquired updated photography equipment that enables students to capture clearer, more accurate images of performances. These photographs document acting, staging, costumes, sets, and lighting in a professional and archival manner.

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The British Photographic Industry And The Roles Of Women 1840-1920: A Survey, Michael Pritchard

Art Inquiries

This essay surveys the role of women within the British photographic industry to 1920 and attempts to quantify the numbers involved, their roles and how they were perceived by contemporary commentators. In common with so much of nineteenth century arts and sciences women are rarely present having been excluded by legal constraints on wealth and property, from the membership of professional bodies, and by being ignored by the contemporary press, this essay provides substantive numbers emphasising their significance.

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Conjuring Elizabeth Fulhame: Using Ai To Depict The Invisible Woman From The Dawn Of Photography., Yvette Hamilton

Art Inquiries

Histories of the origins of photography are dominated by men, but the lesser-known contributions of women, such as the British chemist Elizabeth Fulhame, were fundamental to its success. Fulhame’s eighteenth-century chemical experiments directly contributed to the birth of photography, however, she is either totally obscured, or only briefly footnoted, in foundational texts on the history of photography. Her obscuration is heightened by the complete absence of any surviving images of her - she is, quite literally, invisible within a medium whose history privileges the visible.

This paper charts my practice-led research that used AI generative imaging to create speculative portraits …

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An Interview With An Instagram Archivist: @404mph Interviews @Onlystarleft, 404mph (On Instagram)

Digital Laboratory: Publisher of Internet Journal

An Interview with an Instagram Archivist: @404MPH Interviews @ONLYSTARLEFT is a dialogue conducted entirely through iMessage, presented as both a publication and a designed artifact. Within this text exchange, the conversation navigates themes of digital preservation, authorship, and self-curation—examining how social media aesthetics transform personal experience into collective memory. @ONLYSTARLEFT reflects on the act of archiving not as static documentation but as a living, participatory practice shaped by the speed and impermanence of online culture. Formally, the project recognizes the iPhone as a cultural mediator—its interface shaping not only how we communicate, but how we perceive and construct value within …

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The Automation Of Aesthetics: Artificial Intelligence And Commercial Artists In North Brooklyn, Devin Sudweeks

Theses and Dissertations

Corporate elites expect generative AI to replace commercial artists but overlook their social and aesthetic expertise. This ethnographic study explores how Brooklyn-based commercial artists narrate their value amid automation, emphasizing embodied presence in cultural scenes, visual language, style, and authenticity, skills not easily mechanized but vital to aesthetic economies.

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Unraveling Landscape Stories, Marcus O’Donnell Prof

Staff Scholarship - Australia & Dubai

In Silvi Glattauer’s photographic practice nothing is set, time, light and landscape are each staged in unexpected ways. An image is never singular: often literally composed from multiple exposures, always taken through multiple processes, and always opening a dialogue with the rich history of her own work and the work of other artists. For Glattauer photography, and more particularly printmaking, isn’t about fixing an image it is about opening it up. It is work marked by nimble curiosity and although it is often technically startling it is never about technique, rather, it is about an ethic of slow looking.

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