000			03100nab a2200337 4500
001			MUSEF-HEM-PPE-091772
003			BO-LP-MUSEF
005			20240513163025.0
008			240513b2019 ja ||||| |||| 00| 0 eng d
040			_aBO-LpMNE
041			_aeng
092			_sE _aSENT-ETH-S(102)/ 2019
100	1		_aLavédrine, Bertrand
245			_aPhotography and its conservation: continuity and Changes in the Digital Era. _cBertrand Lavédrine
260			_aOsaka-JP : _bNational Museum Ethnology, _c2019.
300			_apáginas 115-122: _bilustraciones blanco y negro.
310			_aIrregular
362			_ano. 102 (2019)
490			_aSenri Ethnological Studies ; _vno. 102
520			_aThe emergence of digital photography and digital technology, in general, illustrate the principle of "creative destruction", coined by the economist. Joseph Schumpeter (1883-1950) (Schumpeter 1942). During the 20th century, the photography industry regularly introduced innovations that have contributed to its growth. Improvements in appearance combined with lower costs for consumers increased the availability of photographs to the general public. Photographs are now a popular commodity. However, at the end of the twentieth century, the introduction of digital photography provoked a discontinuity and historic structural transformations. The market moved from the chemical to the electronic sector. This major shift initiated the progressive destruction of the traditional photographic market. The leaders in this former field, including Kodak, Agfa, and Fuji are weakening. As well as economic challenges, this has impacted the photographic artwork and photograph's materiality. We press a button, an image is captured and subsequently presented to us. In contrast to the processes of the past which include a chemical process, the development of the image is replaced by an electronic process that we do not need to be involved in. However, is a photo still a photo? More so than any other visual art, digital technology has induced a paradigmatic historical shift. While the public appreciates the ease and quickly adapts to this new digital media, the field of photography has been subjected to a profound disruption and our photographic heritage is facing an important change. This paper will review some of these changes in order to demonstrate how we moved from a culture of photographic prints to an imaging culture; we have shifted from memorial photography to fast consumption photography. The transformation has impacted cultural institutions in what they must conserve and how they conserve it.
653			_aPATRIMONIO CULTURAL
653			_aFOTOGRAFIAS
653			_aMUSEOS
653			_aCONSERVACION PREVENTIVA
773	0		_0305034 _978235 _aNational Museum of Ethnology _dOsaka-JP : National Museum Ethnology, 2019. _oHEMREV035372 _tSenri Ethnological Studies ; _w(BO-LP-MUSEF)MUSEF-HEM-PPE-091765
810			_aNational Museum of Ethnology Osaka.
850			_aBO-LpMNE
866			_a1
942			_2ddc _cPPE _dCON _j011
999			_c305045