Fotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numérica
Autor(a) principal: | |
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Data de Publicação: | 2012 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/4397 |
Resumo: | In order to communicate efficiently it is necessary to dominate the languages we use. Photography is one of these languages, but some transformations have taken place during the shift from analogical to digital mechanisms, which demand a renewal of the photographer s knowledge and understanding: to unveil the numerical black box of photography. Nowadays, the photographer is in a migration process that, according to Stuart Hall, situates the migrant being between tradition and translation. Thereby, the negotiation between the traditional (analogical) and the new (digital) in the photographic universe is the main focus of this research. It was observed that, while photographing digitally, photographers still think analogically. Guided by familiar terms like ISO, grain, development, etc. their digital photos are captured, treated and manipulated through the options and tools available in the interfaces of the devices and programs that simulate previously known analogical processes. In a reality that deals with sensors and bits, terms and interfaces still related to chemical processes are used by photographers even when dealing with numerical photography. They are equipped with digital cameras and programs, but few of them understand the nature and the new creative and communicative potentialities of numerical photography beyond familiar interfaces. Thus, using the works of authors like Vilém Flusser, Ansel Adams, Edmond Couchot, Lev Manovich, Arlindo Machado, Giselle Beiguelman, Lucia Santaella, among others, as a background, not only did this research analyze the migration process of photography and the way photographers use the digital resources available in their cameras and computers, but also the communication configuration itself and the language used by the digital cameras and graphic programs. In order to do that, as a first step, from a description of the chemical and numerical processes, this work points out the essential changes between photographic practices (chemical and numerical) and in the photographic image itself. Such changes should also lead to a transformation in the creative process of photographs, for it is through technical and aesthetic choices that images are produced with certain communicative purposes. In a second step, the interfaces of DSLR cameras and graphics programs (Photoshop and Lightroom) were analyzed and it was also underscored that some limitations imposed by the interfaces of these devices cause stereotyping in photographs processed through standardized, automatic tools; repeating concepts of the analogical universe that no longer apply to the digital universe. And finally, as a third step, the answers to questionnaires given to photographers, which aimed to understand how the migrant photographers currently deal with these changes, were discussed and also used to capture some trends in digital thinking |
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Machado, Arlindohttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4139005E1Valle, Isabella Chianca Bessa Ribeiro do2016-04-26T18:11:42Z2012-07-102012-06-11Valle, Isabella Chianca Bessa Ribeiro do. Digitally photographing and analogically thinking: the black box of numerical photography. 2012. 178 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2012.https://tede2.pucsp.br/handle/handle/4397In order to communicate efficiently it is necessary to dominate the languages we use. Photography is one of these languages, but some transformations have taken place during the shift from analogical to digital mechanisms, which demand a renewal of the photographer s knowledge and understanding: to unveil the numerical black box of photography. Nowadays, the photographer is in a migration process that, according to Stuart Hall, situates the migrant being between tradition and translation. Thereby, the negotiation between the traditional (analogical) and the new (digital) in the photographic universe is the main focus of this research. It was observed that, while photographing digitally, photographers still think analogically. Guided by familiar terms like ISO, grain, development, etc. their digital photos are captured, treated and manipulated through the options and tools available in the interfaces of the devices and programs that simulate previously known analogical processes. In a reality that deals with sensors and bits, terms and interfaces still related to chemical processes are used by photographers even when dealing with numerical photography. They are equipped with digital cameras and programs, but few of them understand the nature and the new creative and communicative potentialities of numerical photography beyond familiar interfaces. Thus, using the works of authors like Vilém Flusser, Ansel Adams, Edmond Couchot, Lev Manovich, Arlindo Machado, Giselle Beiguelman, Lucia Santaella, among others, as a background, not only did this research analyze the migration process of photography and the way photographers use the digital resources available in their cameras and computers, but also the communication configuration itself and the language used by the digital cameras and graphic programs. In order to do that, as a first step, from a description of the chemical and numerical processes, this work points out the essential changes between photographic practices (chemical and numerical) and in the photographic image itself. Such changes should also lead to a transformation in the creative process of photographs, for it is through technical and aesthetic choices that images are produced with certain communicative purposes. In a second step, the interfaces of DSLR cameras and graphics programs (Photoshop and Lightroom) were analyzed and it was also underscored that some limitations imposed by the interfaces of these devices cause stereotyping in photographs processed through standardized, automatic tools; repeating concepts of the analogical universe that no longer apply to the digital universe. And finally, as a third step, the answers to questionnaires given to photographers, which aimed to understand how the migrant photographers currently deal with these changes, were discussed and also used to capture some trends in digital thinkingPara que nos comuniquemos de forma eficiente é necessário que dominemos as linguagens que utilizamos. A fotografia é uma dessas linguagens, porém, algumas transformações que vêm acontecendo no processo de mudança do analógico ao digital exigem dos fotógrafos renovação do seu domínio e compreensão: desvendar a caixa preta da fotografia numérica. Atualmente, o fotógrafo encontra-se em um processo de migração, que, segundo Stuart Hall, situa o ser migrante entre a tradição e a tradução. É a negociação entre o tradicional (analógico) e o novo (digital), no universo fotográfico, que está em foco neste trabalho. Observamos que, enquanto fotografam digitalmente, os fotógrafos ainda pensam analogicamente. Guiados por termos familiares como ISO, granulação, revelação, etc. suas fotografias digitais são capturadas, tratadas e manipuladas a partir das opções e ferramentas disponíveis nas interfaces dos aparelhos e programas que simulam processos analógicos conhecidos. Em uma realidade em que se lida com sensores e bits, termos e interfaces ainda relacionados ao processamento químico são utilizados pelos fotógrafos mesmo quando tratam de fotografia numérica. Eles estão munidos de câmeras e programas digitais, mas poucos entendem da natureza e das novas potencialidades criativas e comunicativas da fotografia numérica para além das interfaces familiares. Assim, a partir de autores como Vilém Flusser, Ansel Adams, Edmond Couchot, Lev Manovich, Arlindo Machado, Giselle Beiguelman, Lucia Santaella, entre outros, este trabalho analisa tanto o processo de migração dos fotógrafos e a maneira com que utilizam os recursos digitais de que dispõem em suas câmeras e computadores, como a própria configuração de comunicação e linguagem presente já na própria câmera digital e nos programas gráficos. Para isso, em um primeiro momento, a partir de uma descrição dos processamentos químico e numérico, apontamos as mudanças de natureza que ocorrem nas diferentes práticas fotográficas (química e numérica) e na própria imagem fotográfica. Tais mudanças devem acarretar uma transformação também no processo criativo de fotografias, já que é através de escolhas técnicas e estéticas que produzimos imagens com certos propósitos comunicativos. Em um segundo momento, analisamos as interfaces de câmeras DSLR e de programas gráficos (Photoshop e Lightroom) e apontamos algumas limitações impostas pelas interfaces desses aparelhos, que provocam estereotipia nas fotografias que processam a partir de ferramentas padronizadas, automáticas, que repetem conceitos do universo analógico não mais aplicáveis ao universo digital. E, finalmente, em um terceiro momento, discutimos as respostas de questionários aplicados a fotógrafos, através dos quais visamos entender como os fotógrafos migrantes lidam atualmente com essas mudanças, além de captar algumas tendências ao pensamento digitalConselho Nacional de Desenvolvimento Científico e Tecnológicoapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/13141/Isabella%20Chianca%20Bessa%20Ribeiro%20do%20Valle.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBRComunicaçãoFotografiaFotografia digitalNovas mídiasTecnologia digitalPhotographDigital photographNew mediaDigital technologyPhotoshopLightroomCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOFotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numéricaDigitally photographing and analogically thinking: the black box of numerical photographyinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTIsabella Chianca Bessa Ribeiro do Valle.pdf.txtIsabella Chianca Bessa Ribeiro do Valle.pdf.txtExtracted texttext/plain354760https://repositorio.pucsp.br/xmlui/bitstream/handle/4397/3/Isabella%20Chianca%20Bessa%20Ribeiro%20do%20Valle.pdf.txtd0973835c68cf50014b93206aa351c93MD53ORIGINALIsabella Chianca Bessa Ribeiro do Valle.pdfapplication/pdf13384983https://repositorio.pucsp.br/xmlui/bitstream/handle/4397/1/Isabella%20Chianca%20Bessa%20Ribeiro%20do%20Valle.pdf231e9daafa95a487d4cedcfc79d552c6MD51THUMBNAILIsabella Chianca Bessa Ribeiro do Valle.pdf.jpgIsabella Chianca Bessa Ribeiro do Valle.pdf.jpgGenerated Thumbnailimage/jpeg3214https://repositorio.pucsp.br/xmlui/bitstream/handle/4397/2/Isabella%20Chianca%20Bessa%20Ribeiro%20do%20Valle.pdf.jpg19e597a0a04e5bb4ba9e68c164f4aa50MD52handle/43972022-04-28 19:02:19.368oai:repositorio.pucsp.br:handle/4397Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-28T22:02:19Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
Fotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numérica |
dc.title.alternative.eng.fl_str_mv |
Digitally photographing and analogically thinking: the black box of numerical photography |
title |
Fotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numérica |
spellingShingle |
Fotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numérica Valle, Isabella Chianca Bessa Ribeiro do Fotografia Fotografia digital Novas mídias Tecnologia digital Photograph Digital photograph New media Digital technology Photoshop Lightroom CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Fotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numérica |
title_full |
Fotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numérica |
title_fullStr |
Fotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numérica |
title_full_unstemmed |
Fotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numérica |
title_sort |
Fotografando digitalmente, pensando analogicamente: a caixa preta da fotografia numérica |
author |
Valle, Isabella Chianca Bessa Ribeiro do |
author_facet |
Valle, Isabella Chianca Bessa Ribeiro do |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Machado, Arlindo |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4139005E1 |
dc.contributor.author.fl_str_mv |
Valle, Isabella Chianca Bessa Ribeiro do |
contributor_str_mv |
Machado, Arlindo |
dc.subject.por.fl_str_mv |
Fotografia Fotografia digital Novas mídias Tecnologia digital |
topic |
Fotografia Fotografia digital Novas mídias Tecnologia digital Photograph Digital photograph New media Digital technology Photoshop Lightroom CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Photograph Digital photograph New media Digital technology Photoshop Lightroom |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
In order to communicate efficiently it is necessary to dominate the languages we use. Photography is one of these languages, but some transformations have taken place during the shift from analogical to digital mechanisms, which demand a renewal of the photographer s knowledge and understanding: to unveil the numerical black box of photography. Nowadays, the photographer is in a migration process that, according to Stuart Hall, situates the migrant being between tradition and translation. Thereby, the negotiation between the traditional (analogical) and the new (digital) in the photographic universe is the main focus of this research. It was observed that, while photographing digitally, photographers still think analogically. Guided by familiar terms like ISO, grain, development, etc. their digital photos are captured, treated and manipulated through the options and tools available in the interfaces of the devices and programs that simulate previously known analogical processes. In a reality that deals with sensors and bits, terms and interfaces still related to chemical processes are used by photographers even when dealing with numerical photography. They are equipped with digital cameras and programs, but few of them understand the nature and the new creative and communicative potentialities of numerical photography beyond familiar interfaces. Thus, using the works of authors like Vilém Flusser, Ansel Adams, Edmond Couchot, Lev Manovich, Arlindo Machado, Giselle Beiguelman, Lucia Santaella, among others, as a background, not only did this research analyze the migration process of photography and the way photographers use the digital resources available in their cameras and computers, but also the communication configuration itself and the language used by the digital cameras and graphic programs. In order to do that, as a first step, from a description of the chemical and numerical processes, this work points out the essential changes between photographic practices (chemical and numerical) and in the photographic image itself. Such changes should also lead to a transformation in the creative process of photographs, for it is through technical and aesthetic choices that images are produced with certain communicative purposes. In a second step, the interfaces of DSLR cameras and graphics programs (Photoshop and Lightroom) were analyzed and it was also underscored that some limitations imposed by the interfaces of these devices cause stereotyping in photographs processed through standardized, automatic tools; repeating concepts of the analogical universe that no longer apply to the digital universe. And finally, as a third step, the answers to questionnaires given to photographers, which aimed to understand how the migrant photographers currently deal with these changes, were discussed and also used to capture some trends in digital thinking |
publishDate |
2012 |
dc.date.available.fl_str_mv |
2012-07-10 |
dc.date.issued.fl_str_mv |
2012-06-11 |
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2016-04-26T18:11:42Z |
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info:eu-repo/semantics/publishedVersion |
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Valle, Isabella Chianca Bessa Ribeiro do. Digitally photographing and analogically thinking: the black box of numerical photography. 2012. 178 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2012. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/4397 |
identifier_str_mv |
Valle, Isabella Chianca Bessa Ribeiro do. Digitally photographing and analogically thinking: the black box of numerical photography. 2012. 178 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2012. |
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