Articles
<![CDATA[Warung Kerek: Problematika Warung Makan Unik Di Tengah Kota Metropolitan Dalam Fotografi Dokumenter ]]>
<![CDATA[Indra Dwi Prasetyo]]>;
<![CDATA[Tegar Prayuda]]>;
<![CDATA[Aji Susanto Anom Purnomo]]>
<![CDATA[ Retina Jurnal Fotografi Vol 4 No 2 (2024): Retina Jurnal Fotografi ]]>
Publisher : <![CDATA[Lp2mpp Isi Denpasar - Ps. Fotografi ]]>
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DOI: 10.59997/rjf.v4i2.3621
<![CDATA[Jakarta dalam citranya selalu menampilkan kemewahan dan kemegahan seperti layaknya identitas dari Ibukota. Dibalik kemegahannya, Jakarta memiliki beberapa tempat yang berbanding terbalik dengan citra yang Jakarta berikan di setiap sudutnya. Salah satu tempat tersebut ialah warung kerek yang merupakan deretan warung makan unik yang berdiri di pinggir Kali Mampang, Poncol, Mampang Prapatan, Jakarta Selatan, Daerah Khusus Ibukota Jakarta. Proyek fotografi kali ini akan menggunakan pendekatan fotografi dokumenter. Penggunaan fotografi dokumenter dalam merekam aktivitas warung kerek ini menjadi suatu hal yang baru serta menarik, mengingat keunikan dan ancaman yang bisa kapan saja terjadi pada warung makan tersebut. Fotografi dokumenter adalah metode untuk menyampaikan pandangan, gambaran, dan ide fotografer dalam memandang suatu hal, yang kemudian disajikan dengan narasi agar pesan yang diangkat dapat sampai kepada penonton. Pendekatan fotografi dokumenter dalam penciptaan karya ini dirasa akan menjadi suatu hal yang sangat tepat, mengingat terdapat pesan awareness yang ingin disampaikan penulis kepada pembaca lewat artikel ini. Metode penciptaan disini dibagi dalam beberapa tahap mulai dari observasi, eksplorasi, dan perwujudan karya. Juga EDFAT sebagai landasan teori yang digunakan pada proyek fotografi dokumenter ini.]]>
<![CDATA[CITRA SUREALISME JALANAN: ANALISIS STREET PHOTOGRAPHY KARYA ROY RUBIANTO MELALUI KONSEP HASARD OBJECTIF DAN THE MARVELOUS ]]>
<![CDATA[Anom Purnomo, Aji Susanto]]>
<![CDATA[ specta Vol 9, No 1 (2025): Specta: Journal of Photography, Arts, and Media ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/specta.v9i1.15548
<![CDATA[This study analyzes Roy Rubianto’s street photography in the photo book “INTIP” through the lens of surrealism as conceptualized by Andre Breton in the “Manifesto of Surrealism.” Employing a qualitative descriptive approach, the researcher interprets four selected photographs using Roland Barthes’ “studium” and “punctum” to explore their composition, lighting, and imaginative juxtapositions. The analysis reveals that candid images, captured over 14 years in Jakarta, create new narratives challenging perceptions of reality, embodying Breton’s “hasard objectif” and “The Marvelous.” The study concludes that street photography can enrich artistic discourse by unveiling the surreal in everyday life, offering a unique human perspective in the age of advanced technology. It suggests further exploration of surrealistic imagination in photography to uncover hidden layers of reality.]]>
<![CDATA[CITRA SUREALISME JALANAN: ANALISIS STREET PHOTOGRAPHY KARYA ROY RUBIANTO MELALUI KONSEP HASARD OBJECTIF DAN THE MARVELOUS ]]>
<![CDATA[Anom Purnomo, Aji Susanto]]>
<![CDATA[ specta Vol 9, No 1 (2025): Specta: Journal of Photography, Arts, and Media ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/specta.v9i1.15033
<![CDATA[Kajian ini bertujuan menganalisis street photography karya Roy Rubianto dalam buku foto INTIP melalui dua konsep kunci dari aliran surealisme Andre Breton, yaitu hasard objectif dan the marvelous. Dengan pendekatan kualitatif deskriptif, peneliti menginterpretasikan empat foto terpilih menggunakan pendekatan fenomenologi “studium” dan “punctum” dari Roland Barthes untuk mendeskripsikan aspek yang ternampakkan dalam sebuah citra fotografis seperti komposisi, pencahayaan, dan penjajaran. Punctum digunakan untuk mendeskripsikan aspek yang tidak ternampakkan seperti pengalaman sensasi estetis yang dialami oleh pemandang. Hasil analisis menunjukkan bahwa karya Roy Rubianto yang diambil selama 14 tahun di Jakarta menciptakan narasi baru yang menantang persepsi realitas dalam genre fotografi dokumenter klasik. Roy Rubianto dengan menggunakan pendekatan street photography mampu mengintegrasikan konsep hasard objectif dan the marvelous dari Andre Breton. Kajian ini menyimpulkan bahwa street photography dapat memperkaya wacana dan praktik seni dengan mengungkap surealisme dalam banalitas kehidupan sehari-hari. Surealisme menawarkan sudut pandang manusia yang unik pada era teknologi maju. Kajian ini menyarankan penelitian lebih lanjut tentang imajinasi surealisme dalam fotografi untuk mengungkap dimensi tersembunyi dalam realitas kehidupan yang lain. The Aesthetic of Street Surrealism: An Analysis of Roy Rubianto’s Street Photography through the Concepts of Hasard Objectif and The Marvelous. This study aims to analyze Roy Rubianto’s street photography in the photo book INTIP through two key surrealist concepts by André Breton: hasard objectif and the marvelous. Using a descriptive qualitative approach, the researcher interprets four selected photos by applying Roland Barthes’ phenomenological concepts of “studium” and “punctum” to describe visible aspects in a photographic image, such as composition, lighting, and juxtaposition. Punctum is used to describe invisible aspects, such as the aesthetic sensory experience felt by the viewer. The analysis reveals that Roy Rubianto’s work, captured over 14 years in Jakarta, creates a new narrative that challenges perceptions of reality within the classic documentary photography genre. Through his street photography approach, Roy Rubianto successfully integrates André Breton’s concepts of hasard objectif and the marvelous. This study concludes that street photography can enrich artistic discourse and practice by uncovering surrealism within the banality of everyday life. Surrealism offers a unique human perspective in an era of advanced technology. The study suggests further research into surrealist imagination in photography to uncover hidden dimensions in other aspects of life.]]>
<![CDATA[Teknik Rollling shot dan Still Life Photography pada Pemotretan Produk Otomotif dalam Perancangan Konten Digital ]]>
<![CDATA[Marghaputra, Made Ariandra Bagaskara]]>;
<![CDATA[Suryantoro, Dominikus Devlin Anggi]]>;
<![CDATA[Purnomo, Aji Susanto Anom]]>
<![CDATA[ Retina Jurnal Fotografi Vol 4 No 2 (2024): Retina Jurnal Fotografi ]]>
Publisher : <![CDATA[Lp2mpp Isi Denpasar - Ps. Fotografi ]]>
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DOI: 10.59997/rjf.v4i2.3614
<![CDATA[Pesatnya perkembangan teknologi di era digital berdampak kepada konten fotografi otomotif di platform digital. Dengan perkembangan yang pesat tersebut membuat banyak penggemar otomotif mulai dari roda dua hingga roda empat memiliki potret dari kendaraan tersebut untuk diunggah di laman daring mereka masing-masing, Mulai dari konten kendaraan pribadi, kendaraan yang diperjual-belikan hingga kendaraan yang dibuat khusus untuk sebuah organisasi maupun perseorangan. Untuk membuat konten foto yang berkualitas diperlukan peran fotografi untuk menentukan komposisi, angle, dan pencahayaan. Dalam penelitian ini, teknik utama yang digunakan selama pemotretan yaitu rolling shot dan still life photography. Tujuan dari penelitian ini yaitu untuk mencoba memberikan ide atau variasi foto otomotif pada konten digital. Konten digital yang dimaksud dalam penciptaan ini yaitu konten fotografi otomotif yang dapat digunakan secara perseorangan atau konten pribadi maupun konten promosi untuk mempromosikan produk dari suatu brand otomotif. Manfaat dari penciptaan ini adalah untuk memberikan wawasan kepada masyarakat luas mengenai teknik rolling shot dan still life photography pada pemotretan otomotif. Metode yang digunakan adalah litetasi dan observasi, eksperimentasi mandiri, eksperimentasi bersama kolaborator, pengkaryaan/penciptaan karya, post production dan finishing. Teknik utama yang digunakan penulis dalam penciptaan karya ini adalah rolling shot dan still life photography. Fotografi otomotif dipilih berdasarkan hobi penulis.]]>
<![CDATA[Warung Kerek: Problematika Warung Makan Unik Di Tengah Kota Metropolitan Dalam Fotografi Dokumenter ]]>
<![CDATA[Prasetyo, Indra Dwi]]>;
<![CDATA[Prayuda, Tegar]]>;
<![CDATA[Purnomo, Aji Susanto Anom]]>
<![CDATA[ Retina Jurnal Fotografi Vol 4 No 2 (2024): Retina Jurnal Fotografi ]]>
Publisher : <![CDATA[Lp2mpp Isi Denpasar - Ps. Fotografi ]]>
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DOI: 10.59997/rjf.v4i2.3621
<![CDATA[Jakarta dalam citranya selalu menampilkan kemewahan dan kemegahan seperti layaknya identitas dari Ibukota. Dibalik kemegahannya, Jakarta memiliki beberapa tempat yang berbanding terbalik dengan citra yang Jakarta berikan di setiap sudutnya. Salah satu tempat tersebut ialah warung kerek yang merupakan deretan warung makan unik yang berdiri di pinggir Kali Mampang, Poncol, Mampang Prapatan, Jakarta Selatan, Daerah Khusus Ibukota Jakarta. Proyek fotografi kali ini akan menggunakan pendekatan fotografi dokumenter. Penggunaan fotografi dokumenter dalam merekam aktivitas warung kerek ini menjadi suatu hal yang baru serta menarik, mengingat keunikan dan ancaman yang bisa kapan saja terjadi pada warung makan tersebut. Fotografi dokumenter adalah metode untuk menyampaikan pandangan, gambaran, dan ide fotografer dalam memandang suatu hal, yang kemudian disajikan dengan narasi agar pesan yang diangkat dapat sampai kepada penonton. Pendekatan fotografi dokumenter dalam penciptaan karya ini dirasa akan menjadi suatu hal yang sangat tepat, mengingat terdapat pesan awareness yang ingin disampaikan penulis kepada pembaca lewat artikel ini. Metode penciptaan disini dibagi dalam beberapa tahap mulai dari observasi, eksplorasi, dan perwujudan karya. Juga EDFAT sebagai landasan teori yang digunakan pada proyek fotografi dokumenter ini.]]>
<![CDATA[Fotografi Konseptual sebagai Media Representasi Sikap Masyarakat Lokal Terhadap Fenomena "Udan Salah Mangsa" ]]>
<![CDATA[Kusrini, Kusrini]]>;
<![CDATA[Susanto Anom Purnomo, Aji]]>
<![CDATA[ Rekam Vol 19, No 2 (2023): Oktober 2023 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/rekam.v19i2.9355
<![CDATA[Artikel ini memuat hasil penelitian tentang fotografi konseptual yang digunakan sebagai media representasi sikap masyarakat lokal terhadap fenomena hujan di musim yang salah (udan salah mangsa). Penelitian menggunakan pendekatan fotografis untuk memahami fenomena udan salah mangsa dalam perspektif masyarakat lokal. Bagaimana masyarakat merespon anomali hujan dan peristiwa alam yang ada di lingkungannya dalam kaitan dengan isu perubahan iklim. Pendekatan penelitian yang digunakan adalah kualitatif dengan metode penyelesaian masalah penelitian dilakukan melalui proses berpikir kreatif dengan landasan pemikiran tentang seni konsep, fotografi konseptual, serta representasi. Adapun hasil penelitian menunjukkan bahwa fotografi konseptual udan salah mangsa merupakan media yang tepat untuk merepresentasikan sikap masyarakat lokal terhadap fenomena anomali hujan. Bangunan utama dalam penciptaan fotografi konseptual yaitu konsep dan ketrampilan fotografi, berhasil diolah secara kuat dan sebagian telah diwujudkan dalam purwarupa karya visual foto konsep. Konsep yang kuat dapat diperoleh melalui pengumpulan data dari berbagai sumber agar akurat serta pemahaman tentang fotografi yang baik sehingga karya diharapkan memiliki daya ganggu kognitif sehingga muncul kesadaran terhadap kondisi lingkungan alam. Conceptual Photography as Representation Media of Local Communities in Responding The Rains in The Wrong Season Phenomena. This article contains the results of research on conceptual photography which is used as a media to represent local people's attitudes towards the phenomenon of rain in the wrong season (udan salah mangsa). This research uses a photographic approach to understand the phenomenon of udan salah mangsa from the local community perspective. How do people respond to rain anomalies and natural events in their environment, including in relation to the issue of climate change. The research approach used is qualitative with the method of solving research problems carried out through a process of creative thinking with the basis of ideas about concept art, conceptual photography, and representation. The results of the study show that conceptual photography of udan salah mangsa is an appropriate medium to represent local people's attitudes towards the rain anomaly phenomenon. The main building blocks in the creation of conceptual photography, namely the concept and skills of photography, have been successfully processed and some of them have been embodied in prototypes of visual concept photo works. A strong concept can be obtained through collecting data from various sources so that it is accurate as well as a good understanding of photography so that works are expected to have cognitive interference so that awareness of natural environmental conditions arises.]]>
<![CDATA[Fotografi Di Era Media Sosial : Studi “Toko Memorabilia†Karya Agan Harahap ]]>
<![CDATA[Purnomo, Aji Susanto Anom]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 1 No. 2 (2018): Jurnal Bahasa Rupa April 2018 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v1i2.200
<![CDATA[The development of photography technology in the era of social media currently contribute various problems that need to be studied and reflected. One of them is about the essence or meaning of the presence of "photography" itself. This paper reflect the essence or meaning of photography in the social media based on the theory of reading photographs "cynical phenomenology" by Roland Barthes through a case study study of "Toko Memorabilia" which is one of the social criticisms by the artist Agan Harahap. Memories Commodification and visual carnivals are two instruments of meaning that the author discovers in his critical reflection journey and will be described further through this study.]]>
<![CDATA[NARASI LIRIS FOTOGRAFI JURNALISTIK PADA MASA PANDEMI COVID-19: STUDI KASUS PROYEK FOTOGRAFI “STILL LIVES” OLEH THE NEW YORK TIMES ]]>
<![CDATA[Purnomo, Aji Susanto Anom]]>;
<![CDATA[Andrea, Novan Jemmi]]>;
<![CDATA[Kusuma, Monica Revias Purwa]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.714
<![CDATA[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.]]>
<![CDATA[ANALISIS SEMIOTIKA PADA ILUSTRASI SAMPUL MAJALAH TEMPO BERTEMA TERORISME EDISI 13 – 27 MEI 2018 ]]>
<![CDATA[Wahyudi, Luqman]]>;
<![CDATA[Purnomo, Aji Susanto Anom]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 5 No. 2 (2022): Jurnal Bahasa Rupa April 2022 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v5i2.1066
<![CDATA[The cover of Tempo weekly magazine is known to be bold, critical, and sometimes controversial with its hidden meanings that are intentionally inserted (subliminal messages) in all fields (social, political, economic). This study was conducted to analyze the meanings and messages contained in a sample of three covers of Tempo magazine editions of 13, 20 and 27 May 2018 which featured terrorism cases, through three elements of Charles Sanders Peirce's semiotics, namely ground, object, and interpretant. The methodology used in this research is qualitative interpretative using semiotic analysis method. The results of this study are that the meaning of the sign that appear on the cover are closely related to acts of terrorism, prisoners who take hostage at the Brimob Mako detention house, a small child who is a suspect in a suicide bombing with his family, and students who stabbed Brimob intelligence officers in Kelapa Dua.The conclusion of researcher's interpretation when looking at the cover illustration is to disclosure a series of terrorist acts in the May 2018.]]>
<![CDATA[Estetika Fotografi Eksperimental di Masa Pandemi COVID-19: Studi Kasus Pameran Finding Horizon ]]>
<![CDATA[Purnomo, Aji Susanto Anom]]>;
<![CDATA[Rahma, Berliana Anisya]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 6 No. 1 (2022): Jurnal Bahasa Rupa Oktober 2022 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v6i1.1204
<![CDATA[This research aims to reveal the impact of the pandemic situation on the aesthetic aspects of the artworks in the "Experimental Photography" course. Online lectures and social restrictions during the pandemic led to the emergence of a special strategy from the process of creating art works that reflected in these aesthetic aspect. The aesthetic aspect can reveal the changing value of the artwork. The change of the value on these artworks can provide a reference in the creation of photography artworks, especially in the ideas and the development of technique. "Experimental Photography" course is a course that help student to be specializing in the art photography genre (fine-art). Art photography is one of the specialties of the Department of Photography at the Institut Seni Indonesia Yogyakarta which is also an important aspect for this research. This study use qualitative descriptive research methods with the research populationn "Finding Horizon" Exhibition. The research sample is the 12 best works chosen by lecturers during the exhibition. The sample will disclosed descriptively the aesthetic aspects using the theory of ideational aesthetics and technical photography according to Soeprapto Soedjono. The result of this study is a complete and reflective description of the ideational and technical aesthetic aspects of the "Experimental Photography" course work that was created during the COVID-19 pandemic. This description becomes a very important archive for future references to the learning process and the creation of photographic artworks, especially in the field of fine- art photography.]]>
