Please use this identifier to cite or link to this item:
Snapshot: Birth, Evolution, and Definition of a Problematic Notion
Liu, Yu- Yun
因此有必要重新著手關於快照的根本矛盾。原先，快照一詞是指狩獵時的快速隨意射擊，爾後是John Herschel 在1860年用來描述快速曝光下拍得的照片。快照攝影的希冀之一，便是將連續動作解構成一張張的靜止照片。不過，另外一種依使用者定義下的快照，卻未必強調在照片中提供任何的凝止動態。本研究將討論快照的演變，且將檢視不同定義下產生的快照圖像表現，以釐清這個普及使用卻充滿矛盾的詞彙。
第三章：快照的公式，聚焦於業餘者的快照格式，尤其是因為缺少技巧而意外造成的錯誤。而專業攝影師如Nan Goldin和Larry Sultan的作品也會受到關注，以便觀察他們作品裡和快照、日常生活相關的主題與美學表現。|
Today, images and photographic accounts of everyday life are ubiquitous. Digital photography, as well as the presence of cameras in our cell phones, has turned the snapshot taken by ordinary people casually into an important aesthetic category of photography. The prevalence of snapshots may explain why increasing research and snapshot exhibitions have erupted over the last decade. Just a few decades ago, snapshots were not discussed as a serious category in the history of photography because, according to the standards of “artistic” photography, they lacked any artistic ambition and creativity. But the term snapshot is also applied to another sort of photography which catches the instantaneous moment and might not be made by amateurs, such as the representation of a sportsman jumping or the decisive moment when a catastrophe occurs. The term is commonly used but actually contains different meaning, and the ambiguous issue of diverse usage is often neglected. It is thus necessary to readdress the fundamental contradictions related to snapshot photography. Originally, a snapshot was related to hunting and defined a quick and casual gunshot. It was later used by John Herschel in 1860 to describe a kind of photographic image based on quick exposure. One of the original goals of snapshot photography was to deconstruct continuous movements into still photographs. Another defining characteristic of snapshot photography by its users is not necessary related to the representation of frozen movement in photography. This thesis will discuss the evolution of the snapshot and the diversity of its representations according to different definitions, to clarify a common-used and ambiguous term. I would like to highlight that it will be necessary to understand the historical context in order to fully examine the evolution of the snapshot. The first chapter, The Birth and the Evolution of Snapshot, details the historical context and the evolution of snapshot, especially the photographers, and their attitudes which involve the transformation. Herschel’s intention, his scientific background, and the invention of a new visual apparatus able to make animated snapshots will also be examined. The second part of the chapter addresses the different uses of the term, when the Kodak Company provided cameras with an innovative service in 1888 and freed the practice of photography from experts and scientists to put it within the hands of amateurs who almost knew nothing about photographic technology. Chapter 2, Instantaneity and Shooting in Professional Photography, will discuss how the snapshot is used in war and paparazzi photography, two categories that capture continuous events and freeze them with an instantaneous image. The photographers of the two categories would chase tirelessly for worthy pictures and aim the targets without any hesitation. It also embodies that gunshot is a metaphor of taking photography. Chapter 3, The Formulization of Snapshot, will focus on the concrete images of amateur snapshots, especially the accidental mistakes made by the unskillful amateurs. The works of photographers Nan Goldin and Larry Sultan will also be taken into account in order to observe how their topics of daily life and aesthetic are relevant to snapshots.
|Appears in Collections:||學位論文|
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.