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Media Fotografi Abad ke-19: Daguerreotype, Calotype, dan Collodion Pitri Ermawati
Rekam: Jurnal Fotografi, Televisi, Animasi Vol 13, No 2 (2017): REKAM: Jurnal Fotografi, Televisi, Animasi
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v13i2.1939

Abstract

Artikel ini bermaksud menjelaskan tiga medium fotografi yang lazim digunakan pada abad-19 yaitu daguerreotype, calotype, dan collodion. Pembahasan ketiga medium tersebut dititikberatkan pada sejarah kemunculan, teknik pembuatan, dan karakteristik imaji. Baik daguerreotype, calotype, maupun collodion memiliki sejumlah karakteristiknya yang khas; juga memiliki kekurangan dan kelebihannya masing-masing. Daguerreotype yang ketajaman imajinya sangat memukau itu memiliki kekurangan pada cetakannya yang tidak dapat diperbanyak. Kekurangan tersebut dapat teratasi oleh calotype yang dapat diperbanyak sampai dengan tidak terhingga. Adapun kekurangan calotype yang berdetail tidak tajam, teratasi oleh collodion yang berdetail tajam sekaligus dapat diperbanyak. Lambat laun setelah dipraktikkan oleh masyarakat, disimpulkan bahwa kekurangsempurnaan medium yang muncul lebih awal akhirnya menjadi penyebab berakhirnya masa kejayaan medium tersebut, karena telah hadir medium baru yang bisa mengompensasi kekurangan yang ada. This article explains three kinds of main stream medias in 19th century; they are daguerreotype, calotype, and collodion. The explanation of the three medias is focused on the origin of the medias, the techniques of the medias, and the characteristics of the image made by each medias. There are some characteristics in daguerreotype, calotype, and collodion, each by its own way. There are pros and cons about each process also. Daguerreotype is amazing in sharpness but lack of reproduction ability. Calotype which came later on public could overcome that lackness because of one calotype negative is able to produce unlimited positive images. On the other side, colotype has not enough good detail due to the grain of the paper which is used as the film. Then these kind of problems could be solved by the characteristic of the latest medium called collodion which has sharp details and also could be reproduced. Thus, time by time, one medium superseded one after enother.
TIPE 21 Pitri Ermawati
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 7
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.380

Abstract

“Type 21” is a metaphor of tomb, a place mostly two by one square in size.Everybody will die, their dead bodies are placed in the tomb then. Most people are scared of tomb for some reasons. But in my opinion, the tomb is such interesting subject to be photograped. As trying to apply De Bono’s lateral thinking method, I got close to the tomb and explore it photographically. Then here it is a project of art photography with tomb as subject. The photographs printed in black and white to represent the life after death that’s both enigmatic or mysterious for human who is still living in this world right now. The photographs were created by outdoors hunting in several cemetery. There, I shot tombstones and the other things around these. Taking picture by mostly close up technique makes the detail of the subjects to appear vivid and real. Generally, the subjects are visualized in simbolism. Although there are vagueness, their identities still can be read. By specific technique of taking picture, the subjects in the frame look much different than the real subjects in the fields when it were photographed.I hope this project will enrich the field of art photography with tomb as thesubject. I hope it can also be a trigger to other photographers in creating such project base on the unusual subjects. All religion order their people to stay out of sin. Thus, hopefully my project can be an alert for people in remembering death, so they are afraid to be sinful and to heart each others. Because after this life there will be the life after death that will ask for people’s responsibility. Thus, at least people can eliminate hurting each others.
POTRET PEREMPUAN DAYAK IBAN, KAYAN, DESA, DAN SUNGKUNG DI KALIMANTAN BARAT Rizqi -; Mahendradewa Suminto; Pitri Ermawati
Specta: Journal of Photography, Arts, and Media Vol 1, No 1 (2017)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1568.495 KB) | DOI: 10.24821/specta.v1i1.1897

Abstract

Penciptaan karya fotografi ini bermaksud merekam identitas kebudayaan subsuku Dayak yaitu Dayak Iban, Kayan, Desa, dan Sungkung khususnya pada perempuan-perempuan Dayak yang masih memiliki dan menjalankan tradisi leluhur. Tradisi-tradisi leluhur yang dijalankan para perempuan Dayak yaitu memanjangkan daun telinga, bertato, memakai gelang besi, menenun, membuat kerajinan manik-manik, dan menganyam. Foto potret ini memunculkan masing-masing karakter subsuku Dayak dengan aspek-aspek fotografi potret meliputi penataan pose, ekspresi, porsi subjek, komposisi, cahaya, properti pendukung, latar belakang, lokasi pemotretan, dan kostum yang digunakan. Karya fotografi yang dihasilkan berupa foto potret dalam ranah dokumenter yang dapat menyampaikan realita sosial. Karya foto potret ini, diharapkan menjadi suatu peninggalan yang berharga untuk bangsa yang dapat digunakan untuk kembali mengingat dan melihat awal dari keberadaan sekarang.Kata-kata kunci: potret, Dayak, Iban, Kayan, Desa, Sungkung, fotografi