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Estetika Fotografi Jurnalistik dalam Kaitan Nilai Kebaikan Dan Kebenaran, Olah Rasa, dan Sinestesia Novan Jemmi Andrea
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 11, No 2 (2015): Oktober 2015
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v11i2.1296

Fotografi jurnalistik menjadi salah satu cabang dari pengelompokan besar di bidang fotografi, selain fotografi seni dan fotografi komersial. Sebagai salah satu bidang seni, fotografi jurnalistik tentunya memiliki konsep estetika tersendiri, bahkan konsep estetikanya sangat berkaitan dengan “rasa”, sebuah konsep abstrak mengenai proses peresapan sesuatu dalam diri manusia yang bahkan tidak dapat sepenuhnya dideskripsikan. Pemahaman konsep estetika merupakan proses dialektis berkaitan dengan persoalan lain seperti filsafat, sosial, politik, budaya, dan ekonomi sehingga nilai-nilai kebaikan dan kebenaran sering muncul dalam ragam diskusi estetika. Perkembangan pendekatan konsep proses penciptaan yang melibatkan penonton dan berupaya menyajikan berbagai rangsangan bagi pancaindera menuntut kemampuan dalam olah rasa lainnya, yaitu mengoneksikan pancaindera. Konsep yang berkaitan dengan hal tersebut dikenal dengan istilah synaesthesia (sinestesia), sebuah konsep di mana pancaindera bekerja bersama sekaligus saat merespons sebuah rangsangan sehingga akan menimbulkan sensasi yang melebihi ungkapan satu pancaindera saja. Pemahaman estetika dengan berbagai pendekatan tersebut merupakan proses apresiasi aktif yang bertujuan untuk mengungkap kemungkinan-kemungkinan pewacanaan baru dalam perkembangan fotografi jurnalistik. Photojournalism Aesthetic in Regards to the Value of Goodness and Truth, Feeling , and Synaesthesia. Photojournalism becomes one of the branches of a large group in the field of photography in addition to art photography and commercial photography. Great photojournalism is a strange sort of art. Photojournalism allows people to get close to events on the ground, so that people may better understand them as they unfold. This is an abstract concept about the impregnation which cannot be fully described. Understanding the concept of aesthetics is a dialectical process associated with other problems such as philosophy, social, political, cultural, and economic so that the values of goodness and truth often comes in a variety of aesthetic discussion. Developments in the approach to the concept and creation process that involves the audience and trying to present a wide range of stimuli for the senses require proficiency in another sense though, that connected the all senses. Concepts related to the case known as synaesthesia, a neurological phenomenon in which one or more sensory modalities are linked. Aesthetic understanding of the various approaches is an active appreciation process that aims to uncover the possibilities of a new discourse on development of photojournalism.

Karantina Wilayah sebagai Ide Penciptaan Foto Seri Tentang Topical Trends Covid-19 Pamungkas Wahyu Setiyanto; Novan Jemmi Andrea; Agus Triyana
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 17, No 1 (2021): April 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v17i1.4485

Quarantine Areas as an Idea The Creation of A Series of Topical Trends of Covid-19. Research called quarantine areas as an idea the creation of a photograph series about topical trends covid-19 is a study based the creation of artistic, with the result of a photograph series describing the atmosphere quarantine areas due to pandemics covid-19 in Pedukuhan Pelem Sewu , RT 08 and RT 09 , Panggungharjo, Sewon, Bantul , Yogyakarta. Photo series made is activity the creation of a guide making a photograph produce a series of photos containing descriptions based on the theme or a particular subject same, that is the situation quarantine areas. Through the observation, design concept, to recording equipment, produced a series of photographs quarantine areas described the situation, the closure enter and leave in a region in which there were people infected covid-19. Methods used in this study began of observation, the design of the concept of, until shooting. The result of the creation of this series are photographs that describe scenes of residents and the activities of that lasts for quarantine areas to come into effect. Conclusions obtained from the research with the approach the work of art it produces an understanding of the circumstances and the residents habit covid-19 due to new pandemic. A new habit of them is online learning activity, aware of their health and clean environment, and of their fellow citizens for mutual support and through the quarantine.

SANTA CLAUS SOLIDARITY FOR PALESTINE: A SEMIOTIC ANALYSIS OF THE MOHAMMAD TOROKMAN’S PHOTOJOURNALISM Novan Jemmi Andrea
The Indonesian Journal of Communication Studies Vol 13, No 1 (2020): The Indonesian Journal of Communication Studies
Publisher : Department of Communication Studies, Faculty of Social and Political Sciences Universitas

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31315/ijcs.v13i1.3853

Mohammad Torokman is a photojournalist with the Reuters News Agency. Torokman's photojournalism is chosen as "Picture of the Month: December" Reuters in 2017. The photo shows a picture of protesters dressed as Santa Claus throwing stones at the Israeli army when Palestinian protest against unilateral claims by the United States to make Jerusalem the capital of Israel. Torokman's photojournalism not only just evidence of a mere protest, but it has a message and a deeper meaning. This research discusses the denotation and connotation meaning of Torokman’s photojournalism using the semiotics theory of Roland Barthes. This research is descriptive qualitative. This research concludes that Torokman's photojournalism has two meanings: solidarity and resistance. In the first level of analysis, Torokman's photojournalism shows the protestor's opposition to the Israeli army. On the second level of analysis shows the meaning of solidarity, which is shown through joint struggle without regard to religion and belief to maintain its territory in Jerusalem.

NARASI LIRIS FOTOGRAFI JURNALISTIK PADA MASA PANDEMI COVID-19: STUDI KASUS PROYEK FOTOGRAFI “STILL LIVES” OLEH THE NEW YORK TIMES Aji Susanto Anom Purnomo; Novan Jemmi Andrea; Monica Revias Purwa Kusuma
Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021
Publisher : LPPM Institut Bisnis dan Teknologi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v4i2.714

2020 is the year when the world is faced with a health crisis, namely the Covid-19 pandemic or also known as the Corona Virus. All aspects of life are affected by this crisis, the joints of humanity are faced with limitations. The mass media are intensively reporting various incidents regarding the Covid-19 pandemic. The stories are often accompanied by journalistic photos. One of the functions of photojournalism is to strengthen the story of what the media wants to convey. Journalistic photos during this pandemic usually feature scenes from medical activities, government policies and large narratives that are cold on empathetic human relations. However, different from most photojournalism in most mass media, The New York Times publishes "Still Lives" photography projects that are done by its photographers. The project presents a different narrative from this time of the pandemic. The “Still Lives” photography project is important because it presents journalistic photos that tell a domestic narrative that is close to the sides of universal humanity, namely the stories of the photographers' homes and families. This study aims to describe and interpret the “Still Lives” photography project as an alternative in creating a different narrative from photojournalism during the pandemic. This study used a descriptive qualitative research method based on phenomenology with Roland Barthes' main theory of semiotics and supported by journalistic photography theory and representation theory. The research results obtained a complete explanation and meaning of the “Still Lives” Project from The New York Times. The project according to the theory of photo journalistic is photo story based on personal experiences. From the analysis through the theory of semiotics from Roland Barthes and representation theory successfully obtained a result that basically projects “Still Lives” can be understood as a representation of the universal experience and feeling by mankind. Project “Still Lives” provides the representation of covid-19 pandemic through the mass media journalistic that show an alternative offer to journalistic practice to use lyrical narratives and personal experience in the story and more empathy in the mass publication of pandemic covid-19.

Perancangan Studio Keliling Fotografi Analog sebagai Sarana Pendidikan dan Hiburan Irwandi Irwandi; Novan Jemmi Andrea; Michael Steve Joshua Sinurat; Riki Maulana
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i2.6121

Saat ini fotografi analog mulai hidup kembali di kalangan komunitas pecinta fotografi. Praktik fotografi analog melibatkan manusia secara langsung, sehingga dipandang sesuai dengan kesadaran bahwa manusia tidak boleh sepenuhnya bergantung pada mesin. Berdasarkan kondisi-kondisi tersebut, penelitian ini mengajukan sebuah rancangan studio foto keliling berbasis fotografi analog. Tahapan penelitian dilakukan secara berurutan mulai dari pencarian dan pengumpulan referensi hingga pelaksanaan tahapan desain mulai dari desain dua dimensi pada tahap pertama, hingga desain tiga dimensi. Secara konkret, perancangan studio fotografi analog didesain di atas sebuah bus berukuran panjang 12 meter dan lebar 2,5 meter yang dimodifikasi. Ruang dalam bus dirancang agar dapat menjadi sebuah gerai foto yang digunakan untuk memproses foto (pemfotoan, pemrosesan, dan pencetakan), serta dijadikan sarana pendidikan, hiburan rakyat, dan layanan fotografi analog yang unik. Hasil rancangan memperlihatkan ruang di dalam bus dibagi menjadi tiga bagian, yaitu ruang pengemudi dan penumpang atau kru, lalu ruang rapat atau kantor mungil, dan terakhir adalah studio fotografi analog yang di dalamnya disediakan fasilitas cuci dan cetak foto analog. Harapannya, rancangan ini dapat diwujudkan dan dapat menumbuhkembangkan kreativitas dan jiwa kewirausahaan generasi muda di bidang fotografi.

Iconography and Iconology of The Aksi Kamisan Photo (13-2-2014) by Fanny Octavianus Pamungkas Wahyu Setiyanto; Novan Jemmi Andrea; Agus Triyana
Journal of Urban Society's Arts Vol 9, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v9i1.6017

The presence of photography as a medium of communication has transformed into an art that not only perpetuates reality in images (visuals), but also poetic values and/or image language. Likewise, journalistic photography works are created not only based on existing moments or events, but are also influenced by views, skills, and other factors inherent in the photographer. The photographer has the right to place his philosophical aspects based on the importance of his secondary needs. The creation of photographic works is the result of the integration of the social, spiritual and cultural life of the photographer, in this context as was done by Fanny Octavianus who consistently documented the Aksi Kamisan by activists to demand that the government resolve cases of human rights violations. The consistency of the Aksi Kamisan becomes a strength that makes this action full of values that can be observed through the signs implied in every action they take. From this explanation, Fanny’s work on Aksi Kamisan is studied through factual and expressive visual signs, themes and concepts, and also looks for the symbolic value in Fanny’s work. In carrying out this excavation and search, the method of art history uses the Iconography and Iconology approach of Erwin Panofsky. As a result, this study found that there were various visual markers of the Aksi Kamisan photo that were factual and expressive. Factual markers can be observed from formal aspects, while expressional markers are obtained from motion effects created by controlling the camera using slow motion techniques. The symbolic values conveyed in this Aksi Kamisan photo are the era of openness in conveying people’s opinions directly to the government, which can be seen as a symbol of cultural openness in the reform era. Ikonografi dan Ikonologi Foto Aksi Kamisan (13-2-2014) Karya Fanny Octavianus. Kehadiran fotografi tidak saja mengabadikan realitas dalam gambar (visual), namun juga nilai puitis dan atau bahasa gambar. Begitu juga dengan karya fotografi jurnalistik yang tercipta tidak sekadar berdasarkan momen atau peristiwa, tetapi dipengaruhi oleh pandangan, kemampuan keterampilan, dan faktor lain yang melekat pada diri fotografernya. Fotografer berhak menempatkan aspek filosofisnya berdasarkan kepentingan kebutuhan sekundernya. Penciptaan karya foto merupakan hasil dari integrasi kehidupan sosial, spiritual dan kebudayaan si pemotret, dalam konteks ini seperti yang dilakukan oleh Fanny Octavianus yang konsisten mendokumentasikan Aksi Kamisan yang dilakukan para aktivis untuk menuntut pemerintah menuntaskan kasus pelanggaran Hak Asasi Manusia (HAM). Konsistensi aksi Kamisan menjadi sebuah kekuatan yang menjadikan aksi ini penuh dengan nilai yang dapat diamati melalui tanda-tanda tersirat dalam setiap aksi yang dilakukan. Dari pemaparan tersebut, karya Fanny tentang Aksi Kamisan dikaji melalui tanda-tanda visual yang bersifat faktual dan ekspresional, tema dan konsep, dan juga dicari nilai simbolik yang ada dalam karya Fanny tersebut. Dalam melakukan penggalian dan pencarianini menggunakan metode sejarah seni dengan pendekatan Ikonografi dan Ikonologi Erwin Panofsky. Hasilnya, penelitian ini menemukan adanya berbagai penanda visual foto Aksi Kamisan yang bersifat faktual dan ekpresional. Penanda faktual dapat diamati dari aspek-aspek formal, sedangkan penanda ekspresional didapat dari efek gerak yang diciptakan dengan pengendalian kamera menggunakan teknik slow motion. Nilai-nilai simbolik yang disampaikan dalam foto Aksi Kamisan ini adalah era keterbukaan dalam menyampaikan pendapat rakyat langsung kepada pemerintah bisa dipandang sebagai simbol keterbukaan kultur era reformasi.

Pelatihan Teknis Fotografi dan Pembuatan Poster untuk Meningkatkan Kualitas Informasi Penelitian Situs Liyangan di Pojok Rumah Peradaban Novan Jemmi Andrea; Putri Novita Taniardi; Sugeng Riyanto; Oscar Samaratungga; Pamungkas Wahyu Setiyanto; Irwandi Irwandi
Jurnal Pengabdian Seni Vol 4, No 1 (2023): MEI 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jps.v4i1.9170

Situs Liyangan merupakan situs yang meliputi area pemujaan, hunian, dan pertanian yang memiliki potensi sejarah dan budaya terkait peradaban manusia. Penelitian intensif yang dilakukan terhadap situs ini sejak tahun 2009 menunjukkan bahwa pada masa kuno, situs ini diperkirakan berada pada rentang abad VI hingga masa kejayaan Mataram Kuno, abad X M. Oleh karenanya, informasi-informasi mengenai hasil penelitian situs ini harus dipublikasikan agar diketahui oleh masyarakat dengan berbagai cara, salah satunya adalah melalui poster. Poster merupakan media penyampai informasi yang dianggap efektif untuk digunakan pada suatu kondisi yang sasaran penerima informasi tersebut adalah orang-orang yang dinamis atau selalu bergerak. Poster harus memiliki kekuatan visual agar mampu menarik perhatian orang untuk melihat dan mengamati isi informasinya. Balai Arkeologi Provinsi D.I. Yogyakarta bekerja sama dengan FSMR, ISI Yogyakarta melaksanakan lokakarya fotografi dan pembuatan poster selama 8 hari kepada 32 peserta yang merupakan siswa dan siswi SMA/SMK/MA di Kabupaten Temanggung dan 8 peserta yang merupakan warga Dusun Liyangan. Metode pelatihan berupa presentasi penyampaian materi, praktik, konsultasi, dan pendampingan langsung. Hasil lokakarya ini adalah terciptanya 10 poster mengenai berbagai aspek tentang Situs Liyangan dari aspek pertanian kuno dan modern, aspek kebencanaan, aspek sejarah, aspek pengelolaan air, hingga aspek potensi wisata. Poster yang dihasilkan peserta lokakarya dipasang di Pojok Rumah Peradaban Situs Liyangan menggantikan poster lama yang diharapkan dapat memberikan informasi yang lebih komprehensif mengenai hasil-hasil penelitian terbaru tentang Situs Liyangan. The Liyangan site is a site that includes areas of worship, housing and agriculture that have historical and cultural potential related to human civilization. Intensive research conducted on this site since 2009 shows that in ancient times, this site was estimated to be in the range of the VI century to the heyday of the Ancient Mataram, X century AD. society in various ways, one of which is through posters. Posters are a medium for conveying information that is considered effective for use in conditions where the target recipients of the information are dynamic thing or always on the move such as people. Posters must have visual strength to be able to attract people's attention to see and observe the information content. D. I. Yogyakarta Provincial Archaeological Center in collaboration with FSMR, ISI Yogyakarta conducted an eight-day photography and poster-making workshop for 32 participants who were high school students in Temanggung Regency and eight participants who were residents of Liyangan Hamlet. The training method was in the form of material delivery presentations, practice, consultation, and direct assistance. The result of this lokakarya is the creation of 10 posters regarding various aspects of the Liyangan Site, starting from ancient and modern agricultural aspects, disaster aspects, historical aspects, water management aspects, to tourism potential aspects. The poster produced by the workshop participants was installed in the Corner of the Liyangan Site Civilization House to replace the old poster which is expected to provide more comprehensive information regarding the results of the latest research on the Liyangan Site.

Photobook Sebagai Implementasi Arsip Pelestarian Situs Liyangan Andrea, Novan Jemmi
Visual Heritage: Jurnal Kreasi Seni dan Budaya Vol 6, No 3 (2024): Visual Heritage: Jurnal Kreasi Seni Dan Budaya
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/vh.v6i3.8462

Situs Liyangan merupakan komplek pemukiman dan peribadatan kuno yang terletak di Desa Purbosari, Kecamatan Ngadirejo, Kabupaten Temanggung, Jawa Tengah. Situs ini dihuni pada dekade awal masehi dan menjadi salah satu sumber pengetahuan sejarah peradaban manusia di Indonesia. Berkaitan dengan hal tersebut, maka keberadaan arsip kontekstual terhadap upaya-upaya pelestarian Situs Liyangan sangat dibutuhkan. Penelitian ini bertujuan untuk mengimplementasikan arsip visual dalam bentuk buku foto yang memuat konteks pelestarian. Metode pembuatan buku foto dilakukan melalui empat tahap yaitu tahapan persiapan, inkubasi, iluminasi, dan verifikasi. Data berupa aset foto tentang Situs Liyangan dikelompokkan dalam kategori suasana dan kondisi situs, kategori aktivitas pemugaran bangunan kuno, kategori pemeliharaan yang menggambarkan kerja berbagai pihak untuk menjaga dan melestarikan situs, dan ketegori Tim Peduli Liyangan, berupa portrait warga sekitar yang terlibat secara langsung sejak penemuan situs, penyelamatan artefak dan pemeliharaan situs. Hasil penelitian ini adalah buku foto berukuran 210mmx297mm sebanyak 39 halaman yang menunjukkan kolaborasi antar Lembaga dan masyarakat dalam pelestarian Situs Liyangan. Setiap bab kategori dilengkapi narasi yang berfungsi menambatkan pemahaman pembaca mengenai foto yang ada dalam kategori tersebut.

NARASI LIRIS FOTOGRAFI JURNALISTIK PADA MASA PANDEMI COVID-19: STUDI KASUS PROYEK FOTOGRAFI “STILL LIVES” OLEH THE NEW YORK TIMES Aji Susanto Anom Purnomo; Novan Jemmi Andrea; Monica Revias Purwa Kusuma
Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021
Publisher : Prahasta Publisher (manage by: DRPM Institut Bisnis dan Teknologi Indonesia)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v4i2.714

2020 is the year when the world is faced with a health crisis, namely the Covid-19 pandemic or also known as the Corona Virus. All aspects of life are affected by this crisis, the joints of humanity are faced with limitations. The mass media are intensively reporting various incidents regarding the Covid-19 pandemic. The stories are often accompanied by journalistic photos. One of the functions of photojournalism is to strengthen the story of what the media wants to convey. Journalistic photos during this pandemic usually feature scenes from medical activities, government policies and large narratives that are cold on empathetic human relations. However, different from most photojournalism in most mass media, The New York Times publishes "Still Lives" photography projects that are done by its photographers. The project presents a different narrative from this time of the pandemic. The “Still Lives” photography project is important because it presents journalistic photos that tell a domestic narrative that is close to the sides of universal humanity, namely the stories of the photographers' homes and families. This study aims to describe and interpret the “Still Lives” photography project as an alternative in creating a different narrative from photojournalism during the pandemic. This study used a descriptive qualitative research method based on phenomenology with Roland Barthes' main theory of semiotics and supported by journalistic photography theory and representation theory. The research results obtained a complete explanation and meaning of the “Still Lives” Project from The New York Times. The project according to the theory of photo journalistic is photo story based on personal experiences. From the analysis through the theory of semiotics from Roland Barthes and representation theory successfully obtained a result that basically projects “Still Lives” can be understood as a representation of the universal experience and feeling by mankind. Project “Still Lives” provides the representation of covid-19 pandemic through the mass media journalistic that show an alternative offer to journalistic practice to use lyrical narratives and personal experience in the story and more empathy in the mass publication of pandemic covid-19.

METODOLOGI PENELITIAN DALAM MELAKUKAN STUDI FOTOGRAFI TERAPEUTIK Muslim Tan, Dr, Ellyana Mohd; Andrea, Novan Jemmi; Ishak, Siti Norfatulhana
specta Vol 9, No 1 (2025): Specta: Journal of Photography, Arts, and Media
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/specta.v9i1.15550

Makalah ini secara umum menjelaskan proses mengidentifikasi metode alternatif dalam penelitian Fotografi Terapi. Pembahasannya mengikuti penjelasan singkat tentang dasar-dasar fotografi terapi, berbagai pendekatan metode, dan perbandingan singkat fotografi terapi dengan komunikasi visual.

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