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Contributos do processo de Design no processo de conceção da Fotografia
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Orientador(es)
Resumo(s)
Esta investigação pretende ser um estudo interdisciplinar
sobre a relação entre a imagem fotográfica e os princípios
universais do Design, de maneira a estabelecerem uma ponte
entre as duas áreas, bem como revelar os métodos e
processos que estão na origem dessa possível conexão.
Devido à natureza e âmbito do projeto concreto desta
investigação que se centra em torno da fotografia de
paisagem, a investigação foi conduzida segundo esta diretriz
e depois extrapolada para uma compreensão mais geral do
contributo do Design na conceção do projeto fotográfico de
imortalização da paisagem em que se pretende documentar o
elo entre as duas áreas, predominantemente gerado pela
perceção visual e pela composição da imagem.
A observação, aliada à reflexão e à antevisão do Design, é o
ponto de partida, considerando que toda a imagem tem um
conteúdo que também é objeto de interesse, por questões de
ordem formal, composicional, estética, simbólica e
contextual. A câmara fotográfica, sendo parte do processo, é
não só uma forma de mediação, como também o meio para
materializar uma ideia. Deste modo, a metodologia projetual
é relevante para o desenvolvimento do processo fotográfico
com o objetivo será criar um ciclo replicável que garanta o
êxito do projeto.
A investigação segue uma metodologia qualitativa, em que
foram utilizados os seguintes métodos para recolha de dados:
revisão de literatura, estudos de caso, questionário,
observação direta e investigação ativa. Na revisão de literatura, foram selecionados autores cujos trabalhos
evidenciam os princípios de Design. Os estudos de caso
permitiram reforçar a perspetiva dada pelo enquadramento
teórico, ao estabelecer uma relação entre esta e a componente
pragmática, essencial no contexto deste estudo que tem,
como componente prática, a realização de um projeto. Para
o questionário, foram identificados criativos de agências de
publicidade, de design e de ateliers/estúdios de fotografia
que lidam diariamente com a metodologia na construção da
comunicação visual. A observação direta, sendo um elo entre
o observador e o meio que o envolve, permitiu aprofundar e
compreender, em detalhe, as atividades que ocorrem e,
assim, estabelecer os parâmetros da investigação ativa.
No âmbito da investigação ativa, desenvolveu-se o projeto
intitulado A Lado Nenhum, aplicando os resultados obtidos.
O projeto segue o conceito da fotografia de paisagem, sendo
estruturado em conteúdo e forma, com signos e evidências
da presença do Design na sua construção estética. Como
resultado, foi produzido um portfólio de imagens, que visa
demonstrar o fluxo de aproximação e interação entre o
Design e a Fotografia.
This research aims to be an interdisciplinary study on the relationship between photographic imagery and the universal principles of Design, to establish a bridge between the two fields and reveal the methods and processes underlying this possible connection. Due to the nature and scope of the specific project under investigation—which focuses on landscape photography—the research was guided by this theme and then extrapolated to develop a broader understanding of Design's contribution to the conceptualization of photographic projects that seek to immortalize the landscape. This aims to document the link between the two disciplines, a link that is predominantly generated through visual perception and image composition. Observation, together with reflection and Design foresight, is the starting point, considering that every image contains content that is also of interest for formal, compositional, aesthetic, symbolic and contextual reasons. The photographic camera, as part of the process, acts not only as a means of mediation but also as the tool through which an idea has materialized. Thus, the design methodology becomes relevant to the development of the photographic process, with the objective of creating a replicable cycle that ensures the project's success. The research adopts a qualitative methodology, using the following methods for data collection: literature review, case studies, questionnaire, direct observation, and active research. The literature review focused on authors whose work highlights the principles of Design. Case studies served to reinforce the perspective drawn from the theoretical framework by establishing a link with the pragmatic component, which is essential in this study that includes the practical development of a project. For the questionnaire, creative professionals from advertising agencies, design studios, and photography ateliers—who work daily with methodologies in visual communication—were identified and surveyed. Direct observation, as a link between the observer and the surrounding environment, allowed for a deeper understanding of the activities taking place, thereby helping to define the parameters of the active research. As part of the active research, a project entitled A Lado Ninham was developed, applying the insights gathered. The project is based on the concept of landscape photography, structured in both content and form, with signs and evidence of the presence of Design in its aesthetic construction. As a result, a portfolio of images was produced to demonstrate the flow of convergence and interaction between Design and Photography.
This research aims to be an interdisciplinary study on the relationship between photographic imagery and the universal principles of Design, to establish a bridge between the two fields and reveal the methods and processes underlying this possible connection. Due to the nature and scope of the specific project under investigation—which focuses on landscape photography—the research was guided by this theme and then extrapolated to develop a broader understanding of Design's contribution to the conceptualization of photographic projects that seek to immortalize the landscape. This aims to document the link between the two disciplines, a link that is predominantly generated through visual perception and image composition. Observation, together with reflection and Design foresight, is the starting point, considering that every image contains content that is also of interest for formal, compositional, aesthetic, symbolic and contextual reasons. The photographic camera, as part of the process, acts not only as a means of mediation but also as the tool through which an idea has materialized. Thus, the design methodology becomes relevant to the development of the photographic process, with the objective of creating a replicable cycle that ensures the project's success. The research adopts a qualitative methodology, using the following methods for data collection: literature review, case studies, questionnaire, direct observation, and active research. The literature review focused on authors whose work highlights the principles of Design. Case studies served to reinforce the perspective drawn from the theoretical framework by establishing a link with the pragmatic component, which is essential in this study that includes the practical development of a project. For the questionnaire, creative professionals from advertising agencies, design studios, and photography ateliers—who work daily with methodologies in visual communication—were identified and surveyed. Direct observation, as a link between the observer and the surrounding environment, allowed for a deeper understanding of the activities taking place, thereby helping to define the parameters of the active research. As part of the active research, a project entitled A Lado Ninham was developed, applying the insights gathered. The project is based on the concept of landscape photography, structured in both content and form, with signs and evidence of the presence of Design in its aesthetic construction. As a result, a portfolio of images was produced to demonstrate the flow of convergence and interaction between Design and Photography.
Descrição
Palavras-chave
Design Fotografia Interdisciplinaridade Metodologia projetual Fotografia de paisagem