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This paper aims to broadly address a PhD research stream that the author has been conducting to date, whose historical objective is press photography, specifically the published images in La Jornada newspaper. A visual speech of the various contexts lived in Mexico at the end of the twentieth century. In the following lines, the author will present her methodology proposal with the aim of learning and analyzing the speech created by press photography and its relation to historical reality. A journalistic speech generating a language describing events, but at the same time a language manipulated by the subjectivity of the author – the press photographer. A historical timeline of which the photojournalist was part and which influenced the manner historical reality was perceived by the receiving social group.

It is important to clarify that this database does not intend to replace the estimations which could be obtained by directly and individually analyzing each photograph. However, this instrument has allowed the author to collect a great quantity of readable graphic and textual information, as well as to describe the characteristic attributes of each image as a documentary unit. In other words, the author intends to address the visual events as a part of the historical events, as claimed by the Mexican historian Ricardo Pérez Montfort. This to provide an in-depth study on how historical, social, cultural and political phenomena were registered by press photography; not omitting history, this specific moment, punctually requires photography and written journalism as a vestige. The latter not only with the purpose of going further on the functions of photography but also on the significance of the photographic phenomenon and the visual speech within social and cultural history of a country.

Furthermore, the author will present, to the extent possible, some elements which have allowed the identification of the manner in which the editor(s) of the newspaper impacted the presentation of visual speech, as well as the interests and visions of the social group they represent. This is a way to go further on different assumptions, such as the person taking the picture, the person editing it – after reaching the editorial and ideological line of the newspaper – as well as the person publishing the picture; a new manner to address editorial work and photojournalism on written media. To achieve the aforementioned aim, this essay comprehends the intertextuality and visual production, as well as the contexts lived throughout the six-year Presidential terms of office of Miguel de la Madrid Hurtado, Carlos Salinas de Gortari and Ernesto Zedillo Ponce de León, through diverse published images in La Jornada newspaper from 1984 to 2000.

This research not only addresses the generated material by the photojournalists of La Jornada newspaper during this period but also includes, as a part of the oral history methodology, the testimonies of some assistant directors, people in charge of the photography department, the editor, the designer and photographers who stood out in the newspaper. In addition, the author has a database which has allowed to collect, store and connect information present in each of the photographs published on different covers and back covers of the newspaper. It comprises 15 categories which have been nurturing the database (reviewed dates, journalistic and photographic genders, reporters, pages, published photographs, photograph format, themes of the photographs, places, characters, titles of the photographs, photograph caption, credit, photograph composition, angle and time). It is important to clarify that this database does not intend to replace the estimations which could be obtained from directly and individually analyzing each photograph. However, this instrument has allowed the author to collect a great quantity of readable graphic and textual information, as well as to describe the characteristic attributes of each image as a documentary unit.

In 1984 the number of photographs taken by people in the U.K. broke the 1 million mark and 75% of all households had a camera. By the end of the millennium (1999) people in Britain spent over 1 billion on cameras, film and processing and the number of photographs taken had exceeded 3 billion.¹ There is little doubt that most people are familiar with cameras, and the majority will be engaged in forms of photographic practice as amateurs, that is as a “pastime” or hobby or as an adjunct to events, activities and leisure in their everyday lives.

IT is known that the Library Association Council has devoted watchful care to the position of libraries in the event of war. As we write, the international situation is as dark as it has been at any time since 1919, and many have that calm, cold feeling that there is nothing to do but to tighten our belts and stand againt the onslaught. Even if that is still avoided, as all who listened to Lord Halifax trust it may be, there should be active protection of the library service which is one of those things which might so easily go under in a time of stress. The Library Association has done well in submitting to Government that experience in the last war proved the value of libraries for information and as a factor in the morale of the people; that their services should, so far as possible, be maintained even during hostilities; that there would be need of library provision for people, and especially for children, “evacuated” to areas where the existing library provision might often be inadequate; and that library buildings should not be used for purposes for which they are unsuitable, seeing that there will be many halls, schools and other buildings that would be better for food‐control, recruiting and so on.

While the spread of mass media culture in the United States has often been measured in terms of the number of television sets in each home, the camera and the photograph have been almost as pervasive. Once the province of the professional photograher or the special studio, cameras of the same type are found today in all but a very few homes in the United States. Even rarer would be a home without its collection of photographs to record the family's events, joys, triumphs and tragedies as well as the everyday mundane record of events.

July 23, 1970 Revenue — Selective employment tax — Qualifying activities — Press photographic agency — Appropriate classification — Selective Employment Payments Act, 1966 (c.32) ss.1(1), (2), 10(5) — Standard Industrial Classification (1963) Minimum list headings 486, 899.2.

This study aims to analyze the current practices of food and beverage (F&B) photography and styling through the eyes of professionals involved in the food business.

A phenomenological research approach was used and empirical data were collected via a series of semi-structured interviews with professional food photographers. Purposive and snowballing sampling methods were used and the participants of this study consisted of 26 F&B photographers and stylists who were actively and professionally working in this field. Content analysis was applied to the empirical data.

The research findings reveal several key themes in F&B photography and styling: emotional appeal, key trends, career opportunities, required skills and abilities and interventions and ethical considerations. Three specific roles were identified in F&B photography and styling: food and beverage photographer, food and beverage stylist and prop stylist.

This study offers discussions on the pros and cons of F&B photography beginners and professionals and the food business.

This is one of the first studies to offer empirical findings and discussions on the concept of F&B photography and styling.

论当前餐饮业中食物和酒水照相和摆盘的措施

本论文探索分析当前餐饮业中F&B通过专业摄像来对食物照相和摆盘的措施。

本论文采用现象学研究方法, 对专业食物摄像师进行半结构化访谈, 采集数据。通过目的性和滚雪球式采样方法, 共26位F&B专业摄影师和摆盘师接受了访谈。本论文采用文本分析法对数据进行分析。

研究结果展示了多个F&B摄像和摆盘中的关键主题:（1）情感吸引（2）热门趋势（3）就业机会（4）所需技巧和能力（5）介入和道德考量。F&B摄像和摆盘的三个具体职位:（1）餐饮摄影师（2）餐饮摆盘师（3）料理造型师。

本论文对F&B摄像业余和专业摄像师和餐饮企业的优劣势进行探讨。

本论文是首篇对F&B摄像和造型的概念进行深入探讨并且提供实证调研的文章。

Using visual materials to understand a social object requires the researcher to know that object's purpose, and this is true whether the object is an artifact, a restricted event, a small social world, or something as massive as the modern city. I argue that the purpose of the city as a settlement is driven by the need to safely sleep in peace at night while satisfying other basic biophysical needs during the day as conveniently as possible. An examination of these needs identifies 10 functional prerequisites for human settlement, entangling its inhabitants in involuntary community with entities and events other than themselves, whether they like it or not. In addition, the rise of the modern city exacerbates the challenge of living in a reluctant community and pressures its inhabitants to come to terms with the consequences for how these relationships affect daily life. I highlight nine challenges posed as questions that have been particularly salient in American urban history since the mid-nineteenth century. How these challenges have been addressed indicates not only what it takes to make a modern city a settlement suitable for satisfying human needs, but also just how deeply invested its residents are in making the city work. Finally, the 10 functional prerequisites and nine moral challenges not only provide a framework for researching the city, but also suggest a coherent outline for imagining a “shooting script” or guide for conducting visual research.