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WHAT DIGILATIZATION HAS TRANSFORMED: CONTINUITIES AND DISCONTINUITIES FROM ANALOGUE TO DIGITAL PHOTOGRAPHY

Yıl 2022, Cilt 9, Sayı 1, 215 - 234, 27.06.2022
https://doi.org/10.17572/mj2022.1.215234

Öz

150 years after the invention of analogue photography in 1989, digital photography appeared and
transformed the traditional perceptions about photography. In the era when analogue photography was
common, it has been assumed that the relation between photography and external reality/ truth is
directional and unmediated. With digitalization, this kind of relation has vanished which resulted in
perturbation. This perturbation gave rise to the claims that photography has ended. Different potential
relations in which truths have been constructed have become the main topics of the discussions with the
digital transformation and digital photography. Discussions in this period reveal that there is not a
dichotomy between digital and analogue, rather there is reciprocal relation from analogue to digital which
consists of continuities and discontinuities. This understanding of relation is far from suggesting
technological determinism, rather socio-cultural transformation and changes in the photographic practices
have been determinative. In this study, it is articulated that not only technology is decisive in the process
from analogue to digital, the reciprocal relations between socio-cultural transformation and practices in
photography have also been determinant.

Kaynakça

  • Adams, A. (1981) The Negative. Boston: Little, Brown and Company.
  • Ameluxen, H. V. (1996). Photografhy after Photography: The Terror of the Body in Digital Space. Hubertus v. Ameluxen (Haz..), içinde, Photography after Photography: Memory and Representation in the Digital Age. Munich: G+B Arts.
  • Barthes, R. (1977). Image-Music-Text. London: Fontana.
  • Batchen, G. (1997) Burning with Desire: The Conception of Photography. Boston, MA: Massachusetts Institute of Technology Press.
  • Bate, D. (2013). The Digital Condition of Photography: Cameras, Computers and Display. Martin Lister (Ed.), içinde, The Photografic Image in Digital Culture (s.77-94). Routledge.
  • Cubit, S., Palmer, D. ve Tkacz, N. (2015) Introduction: Materiality and Invizibility. Cubit, S., Palmer, D. Ve Tkacs, N. (Haz.), içinde Digital Light. London: Open Humanities Press, 2015.
  • Değirmenci, K. (2017). Fotoğrafın İmgeleri: Temsil, Gerçeklik ve Dijital Çağda Fotoğraf. İstanbul: Doğu Kitabevi.
  • Galloway, A. (2010). What You Get Is What You See. Rossaak, E. (Ed.), içinde, The Archive in Motion. New Conceptions of the Archive in Contemporary Thought and New Media Practices. Nota Bene: Studies from the National Library of Norway. Oslo: Novus.
  • Griffin, R. E. (1995) Eyes on the future: Converging images, ideas, and instruction. In Selected readings from the annual conference of the international visual literacy association 27th, Chicago, Illinois 18-22.
  • Hahn, T. (2009). Developing Perfection: Understanding and Redefining Photography in a Digital Age. Yayınlanmamış M.A. Tezi: Wake Forest University.
  • Lister, M. (2009). Photography in the age of electronic imaging. in Photography: A Critical Introduction (2nd edition) Wells, L. (Ed.), New York: Routledge.
  • Lister, M. (2013), Introduction, Lister, M. (Ed.), içinde The Photografic Image in Digital Culture, Routledge.
  • Manovich, L. (2001), The Language of New Media, Cambridge MA: MIT Press.
  • Manovich, L. (2006) The Paradoxes of Digital Photography. Welss, L. (Haz.), içinde, The Photography Reader (ch.40). London: Routledge. Manovich, L. (2013), Software Takes Command, Bloomsberry. New York, London, New Delhi, Sydney.
  • Meyer, P. (1995) Truths and Fictions:A Journey from Documentary to Digital Photography. New York: Aperture.
  • Meyer, P. (2000) Redefining Documentary Photography, Erişim: 01.01.2022.
  • Meyer, P. La Realidad in the 2000, Ocak 2000, Erişim: 15.12.2021, http://v1.zonezero.com/editorial/enero00/january.html
  • Mitchell, W.J. (1992) The Reconfigured Eye Visual Truth in the Post-Photographic Era. The MIT Yayınları.
  • Palmer, D. (2013). The Rhetoric Of The JPEG. Lister, M. (Ed.), içinde, The Photografic Image in Digital Culture, Routledge.
  • Ritchin, F. (1990) In Our Own Image: The Coming Revolution in Photography. New York: Aperture.
  • Roberts, J. (2009) Photografhy after the Photograph: Event, Archive, and teh Non-Symbolic. Oxford Art Journal 32/II., 281-298.
  • Rodowick, D.N. (2007). The Virtual Life of Film. Cambridge: Harvard University Press.
  • Rossaak, E. (2011) Algorithmic Culture: Beyond the Photo/Film-Divide, Rosaak, E. (Haz.), içinde, Between Stillness and Motion: Film, Photography, Algorithms. Amsterdam: Amsterdam University Press.
  • Rubinstein, D. ve Sluis, K. (2013). The Digital Image in Photographic Culture: Algorithmic Photography and The Crisis of Representation. Martin Lister (Haz.), içinde, The Photographic Image in Digital Cuture, 2. Baskı. New York: Routlage.
  • Ulusal Basın Fotoğrafçıları Derneği’nin etik kodu. Erişim: 10 Ocak 2022, https://nppa.org/code-ethics
  • Williams, R. (1976). Keywords: A Vocabulary of Culture and Society, Glasgow, Fontana.
  • Williams, R. Anahtar Sözcükler, (2005). İstanbul: İletişim Yayınları.
  • Witte, M. S. (1994). Photography/digital imaging: Parallel & paradoxical histories. In Imagery and visual literacy. Selected readings from the annual conference of the International Visual Literacy Association, 26, Tempe, Arizona, October 12-16.

DİJİTALİN DÖNÜŞTÜRDÜKLERİ: ANALOGDAN DİJİTAL FOTOĞRAFA SÜREKLİLİK VE KOPUŞ

Yıl 2022, Cilt 9, Sayı 1, 215 - 234, 27.06.2022
https://doi.org/10.17572/mj2022.1.215234

Öz

1989’da analog fotoğrafın icadından yaklaşık 150 yıl sonra dijital fotoğraf ortaya çıkmış ve fotoğraf ile ilgili geleneksel algıları dönüşüme uğratmıştır. Analog fotoğrafın yaygın olduğu dönemde, fotoğraf ile dış gerçeklik ve hakikat arasında doğrudan ve aracısız bir ilişki olduğu varsayılıyordu. Dijital ile beraber bu ilişkinin yitimiyle ortaya çıkan tedirginlik, fotoğrafın sona erdiği iddialarına sebep olmuştur. Dijital fotoğrafla birlikte yaşanan dönüşüm ile beraber, fotoğrafın hakikatle arasında olduğu varsayılan organik ilişkinin yerine, hakikatin inşa edildiği farklı potansiyel ilişkiler gündeme geldi. Bu dönemdeki tartışmalarda analog-dijital ikiliğine sıkışmış teknolojik belirlenimci yaklaşımların ötesinde, toplumsal-kültürel alandaki dönüşümler ve fotoğraf pratiklerindeki değişimler, analog ve dijital arasında bir ikilikten ziyade, karşılıklı bir süreklilik ve kopuş ilişkisi olduğunu ortaya çıkarmıştır. Bu makalede, analogdan dijitale gelişen süreçte sadece teknolojinin değil, toplumsal ve kültürel dönüşüm ile fotoğrafın kullanımı arasında karşılıklı bir ilişkinin de belirleyici olduğu açıklanmaya çalışılacaktır.

Kaynakça

  • Adams, A. (1981) The Negative. Boston: Little, Brown and Company.
  • Ameluxen, H. V. (1996). Photografhy after Photography: The Terror of the Body in Digital Space. Hubertus v. Ameluxen (Haz..), içinde, Photography after Photography: Memory and Representation in the Digital Age. Munich: G+B Arts.
  • Barthes, R. (1977). Image-Music-Text. London: Fontana.
  • Batchen, G. (1997) Burning with Desire: The Conception of Photography. Boston, MA: Massachusetts Institute of Technology Press.
  • Bate, D. (2013). The Digital Condition of Photography: Cameras, Computers and Display. Martin Lister (Ed.), içinde, The Photografic Image in Digital Culture (s.77-94). Routledge.
  • Cubit, S., Palmer, D. ve Tkacz, N. (2015) Introduction: Materiality and Invizibility. Cubit, S., Palmer, D. Ve Tkacs, N. (Haz.), içinde Digital Light. London: Open Humanities Press, 2015.
  • Değirmenci, K. (2017). Fotoğrafın İmgeleri: Temsil, Gerçeklik ve Dijital Çağda Fotoğraf. İstanbul: Doğu Kitabevi.
  • Galloway, A. (2010). What You Get Is What You See. Rossaak, E. (Ed.), içinde, The Archive in Motion. New Conceptions of the Archive in Contemporary Thought and New Media Practices. Nota Bene: Studies from the National Library of Norway. Oslo: Novus.
  • Griffin, R. E. (1995) Eyes on the future: Converging images, ideas, and instruction. In Selected readings from the annual conference of the international visual literacy association 27th, Chicago, Illinois 18-22.
  • Hahn, T. (2009). Developing Perfection: Understanding and Redefining Photography in a Digital Age. Yayınlanmamış M.A. Tezi: Wake Forest University.
  • Lister, M. (2009). Photography in the age of electronic imaging. in Photography: A Critical Introduction (2nd edition) Wells, L. (Ed.), New York: Routledge.
  • Lister, M. (2013), Introduction, Lister, M. (Ed.), içinde The Photografic Image in Digital Culture, Routledge.
  • Manovich, L. (2001), The Language of New Media, Cambridge MA: MIT Press.
  • Manovich, L. (2006) The Paradoxes of Digital Photography. Welss, L. (Haz.), içinde, The Photography Reader (ch.40). London: Routledge. Manovich, L. (2013), Software Takes Command, Bloomsberry. New York, London, New Delhi, Sydney.
  • Meyer, P. (1995) Truths and Fictions:A Journey from Documentary to Digital Photography. New York: Aperture.
  • Meyer, P. (2000) Redefining Documentary Photography, Erişim: 01.01.2022.
  • Meyer, P. La Realidad in the 2000, Ocak 2000, Erişim: 15.12.2021, http://v1.zonezero.com/editorial/enero00/january.html
  • Mitchell, W.J. (1992) The Reconfigured Eye Visual Truth in the Post-Photographic Era. The MIT Yayınları.
  • Palmer, D. (2013). The Rhetoric Of The JPEG. Lister, M. (Ed.), içinde, The Photografic Image in Digital Culture, Routledge.
  • Ritchin, F. (1990) In Our Own Image: The Coming Revolution in Photography. New York: Aperture.
  • Roberts, J. (2009) Photografhy after the Photograph: Event, Archive, and teh Non-Symbolic. Oxford Art Journal 32/II., 281-298.
  • Rodowick, D.N. (2007). The Virtual Life of Film. Cambridge: Harvard University Press.
  • Rossaak, E. (2011) Algorithmic Culture: Beyond the Photo/Film-Divide, Rosaak, E. (Haz.), içinde, Between Stillness and Motion: Film, Photography, Algorithms. Amsterdam: Amsterdam University Press.
  • Rubinstein, D. ve Sluis, K. (2013). The Digital Image in Photographic Culture: Algorithmic Photography and The Crisis of Representation. Martin Lister (Haz.), içinde, The Photographic Image in Digital Cuture, 2. Baskı. New York: Routlage.
  • Ulusal Basın Fotoğrafçıları Derneği’nin etik kodu. Erişim: 10 Ocak 2022, https://nppa.org/code-ethics
  • Williams, R. (1976). Keywords: A Vocabulary of Culture and Society, Glasgow, Fontana.
  • Williams, R. Anahtar Sözcükler, (2005). İstanbul: İletişim Yayınları.
  • Witte, M. S. (1994). Photography/digital imaging: Parallel & paradoxical histories. In Imagery and visual literacy. Selected readings from the annual conference of the International Visual Literacy Association, 26, Tempe, Arizona, October 12-16.

Ayrıntılar

Birincil Dil Türkçe
Konular İletişim
Bölüm Makaleler (Tema)
Yazarlar

Uğur ÇETİN> (Sorumlu Yazar)
Hacettepe Üniversitesi
0000-0002-9387-473X
Türkiye

Yayımlanma Tarihi 27 Haziran 2022
Başvuru Tarihi 10 Mart 2022
Kabul Tarihi 25 Mayıs 2022
Yayınlandığı Sayı Yıl 2022, Cilt 9, Sayı 1

Kaynak Göster

APA Çetin, U. (2022). DİJİTALİN DÖNÜŞTÜRDÜKLERİ: ANALOGDAN DİJİTAL FOTOĞRAFA SÜREKLİLİK VE KOPUŞ . Moment Dergi , Görsel Kültür , 215-234 . DOI: 10.17572/mj2022.1.215234