كليدواژه :
عكاسي خياباني , عكاسي شهري , عكاسي معاصر ايران , تاريخ عكاسي ايران , عكاسي كانديد (بي هوا)
چكيده فارسي :
عكاسي خياباني به عنوان بخشي جدايي ناپذير از هنر عكاسي معاصر، صحنه‌هايي از زندگي روزمره مردم را سوژه خود قرار مي‌دهد و موضوع اصلي خود را از زندگي مدرن وام گرفته است. اين مقاله بر آن است تا عكاسي خياباني در ايران را در بازه تاريخي سال‌هاي 0731 تا 5931 مورد مطالعه قرار داده و چگونگي شكل‌گيري و سير موضوعي عكاسي خياباني در ايران و نيز ويژگي‌‌هاي اين ژانر را در آثار عكاسان ايراني مورد مطالعه قراردهد. اين پژوهش در نظر دارد كه به اهميت ثبت حوادث و اتفاقات حوزه‌ي عكاسي توسط نهادهاي مختلفي كه با عكاسان و عكاسي در ارتباط‌اند بپردازد. با توجه به كمبود منابع درباره سير شكل‌گيري عكاسي خياباني در ايران، اين مقاله با جست و جو در آثار خلق شده توسط عكاسان ايراني، عكس‌ها و مجموعه‌هايي كه در بازه تاريخي مورد نظر اين مقاله قرار دارند را انتخاب و به بررسي رويكردها و علت خلق اثر در مجموعه‌هاي ياد شده پرداخته است. شيوه ي گردآوري اطلاعات، مطالعات كتابخانه‌اي بوده و براي جمع آوري عكس از مجلات و مقالات مصور و در صورت نياز از منابع اينترنتي و همچنين آرشيو شخصي نگارنده استفاده شده است. نتايجي كه از دسته بندي و تحليل عكس‌هاي مورد نظر حاصل مي شود بدين صورت است كه در سال‌هاي گذشته علاوه بر كمرنگ شدن نقش و حمايت نهادهاي دولتي، شاهد افزايش تعداد عكاساني كه به موضوع شهر و خيابان پرداخته‌اند هستيم و از سوي ديگر تنوع رويكردها و نگاه به عكاسي خياباني و كاهش حجم تمركز عكاسي خياباني در شهر تهران هم از ديگر نتايج بدست آمده در اين پژوهش مي‌باشد.
چكيده لاتين :
Street photography is one of the most popular genres
of artistic and professional photography and deals mainly
with urban events and citizenship in the streets. All aspects
of social life in urban public spaces can be the subject
of street photos. People, markets, streets, squares,
neighborhoods, parks, urban gatherings, large and small
gatherings, urban elements, professions and public works,
street arts, national games and entertainment, children
and young and old, etc. Various themes ranging from historical
recordings, political and social criticism, reflection of
urban dilemmas, philosophical worldviews, anthropology,
and so on to popular imagery and humor and humor in
street photography.Street photography, as an integral part
of the art of contemporary photography, sets the scene
of people’s everyday lives as their main subject and borrows
its main theme from modern life.The main purpose
of street photography is to portray everything that happens
on the street, not to cover a single incident. Against
people who sometimes convey humorous or humorous
political or social messages that approach documentary
photography in such circumstances. The tendency to study
the city and the street in academic and cultural communities
is an important and controversial subject, and photo
is an important resource for researchers. Street photography
and strolling in the street have also become one
of the most important and popular topics in cyberspace.
This article attempts to explore a genre of photography
that has received so much attention in exhibitions, books
and dissertations in Iran so far. We’ve got a little bit of a
proprietary feel to it, and we’re going to explore this genre
separately. This article aims to study street photography
in Iran and study the development and development of
street photography in Iran as well as the features of this
genre in the works of Iranian photographers and considers
the importance of recording events and events. The field
of photography has been dealt with by various institutions
associated with photographers and photographers. Due
to the scarcity of resources on the development of street
photography in Iran, this article is based on photographs
and collections from the personal archive of photographers
and online resources. The research method is a combination
of analytical and comparative methods, in which
data were collected by means of survey, online scientific
resources and the study of different books to arrive at the
conclusion of the reasons and reasons of the work of photographers.
Discussion and finally answer questions. The
present study, with all its shortcomings and weaknesses,
tries to compile the historical course of street photography
in Iran from 1991 to 2016, citing the existing examples
and then examining and analyzing the street photographs
in the historical period. The result is that in recent years,
in addition to diminishing the role and support of government
agencies, we have seen an increase in the number
of photographers working on city and street issues, and on
the other, a variety of approaches and approaches. A look
at street photography and a reduction in the concentration
of street photography in Tehran are also other results
