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TIPE 21 Pitri Ermawati
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 7
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.380

“Type 21” is a metaphor of tomb, a place mostly two by one square in size.Everybody will die, their dead bodies are placed in the tomb then. Most people are scared of tomb for some reasons. But in my opinion, the tomb is such interesting subject to be photograped. As trying to apply De Bono’s lateral thinking method, I got close to the tomb and explore it photographically. Then here it is a project of art photography with tomb as subject. The photographs printed in black and white to represent the life after death that’s both enigmatic or mysterious for human who is still living in this world right now. The photographs were created by outdoors hunting in several cemetery. There, I shot tombstones and the other things around these. Taking picture by mostly close up technique makes the detail of the subjects to appear vivid and real. Generally, the subjects are visualized in simbolism. Although there are vagueness, their identities still can be read. By specific technique of taking picture, the subjects in the frame look much different than the real subjects in the fields when it were photographed.I hope this project will enrich the field of art photography with tomb as thesubject. I hope it can also be a trigger to other photographers in creating such project base on the unusual subjects. All religion order their people to stay out of sin. Thus, hopefully my project can be an alert for people in remembering death, so they are afraid to be sinful and to heart each others. Because after this life there will be the life after death that will ask for people’s responsibility. Thus, at least people can eliminate hurting each others.

PRAKTIK INDUNG BEURANG DI KASEPUHAN CIPTAGELAR DALAM FOTOGRAFI DOKUMENTER Razan Putra Satriadi; Pitri Ermawati; Syaifudin Iskandar
Specta: Journal of Photography, Arts, and Media Vol 5, No 1 (2021): 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.v5i1.5062

This photo creation is entitled "Indung Beurang practice in Kasepuhan Ciptagelar in Documentary Photography" aims to visualize the Indung Beurang Practice in the Kasepuhan Ciptagelar community procession after childbirth. The existence of traditional midwives may disappear if there is no successor, or its existence gone unnoticed. In other words, their existence begins to erode with the presence of modern Midwives. The method applied in this undergraduate thesis is the theory of journalistic photography in the form of serial photos that are composed into a serial documentary photography so that a story from this practice can be conveyed precisely and clearly. It can also becomes a cultural archive in a visual form. The embodiment processes such as observation, exploration, and experimentation are applied in order to obtain accurate data. Through the visualization of the Indung Beurang practice, it is hoped that its existence can be known by the community and would be continued to be existed. If the presence of modern Midwives is needed, it would be better if the two of them go together so this practice becomes a cultural archive to be known by the modern world.

TRADISI MEKARE-KARE DI DESA BALI AGA TENGANAN PEGRINGSINGAN DALAM FOTOGRAFI DOKUMENTER I Wayan Aquaris Yanuarta; Pitri Ermawati; Kusrini Kusrini
Specta: Journal of Photography, Arts, and Media Vol 2, No 1 (2018)
Publisher : Institut Seni Indonesia Yogyakarta

AbstrakPenciptaan seni fotografi "Tradisi Mekare-kare di Desa Bali Aga Tenganan Pegringsingan dalam Fotografi Dokumenter" adalah penciptaan karya fotografi yang bertujuan untuk memaparkan serangkaian prosesi tradisi Mekare-kare (Perang Pandan) secara visual. Visualisasi dimulai dari rangkaian prosesi Nyikat, Hud Apisan, Metabuh Tuak, Ngastiti hingga puncak tradisi atau ritual Mekare-kare. Tradisi ini merupakan tradisi terbesar dan terpenting masyarakat Desa Tenganan Pegringsingan karena merupakan ritual utama dan terbesar untuk memuja Dewa Indra. Data untuk pembuatan karya diperoleh dari hasil observasi dan eksplorasi, yaitu mengamati warga desa dan lingkungannya secara langsung di Desa Tenganan Pegringsingan, serta eksplorasi melalui serangkaian wawancara tentang tradisi Mekare-kare. Dalam perwujudannya, penciptaan karya fotografi dokumenter ini menggunakan pendekatan EDFAT (entire, detail, frame, angle, time). Metode ini dipilih agar memperoleh visualisasi yang bervariasi, detail subjek dapat terekam dengan baik, dapat menangkap setiap informasi secara utuh, dan memudahkan untuk merangkai karya menjadi sebuah cerita yang lengkap. Hasil karya fotografi yang terangkum dalam karya menceritakan rangkaian persiapan ritual Mekare-kare hingga saat ritual Perang Pandan. Setiap karya menyampaikan informasi secara mendalam tentang subjek foto pada tradiri Mekare-kare.Kata kunci: tradisi, Mekare-kare, Tenganan Pegringsingan, fotografi dokumenter AbstractTradition of Mekare-kare in Bali Aga Tenganan Pegringsingan Village in Documentary Photography.The creation of "The Mekare-kare Tradition in Bali Aga Tenganan Pegringsingan Village in Documentary Photography" is the creation of photography works which aimed at exposing a series of Mekare-kare (Perang Pandan) tradition processions visually. Visualization started from a series of processions as Nyikat, Hud Apisan, Metabuh Tuak, Ngastiti to the peak ritual called Mekare-kare. Due to the largest and the most important tradition of Tenganan Pegringsingan village, it is the main and the greatest ritual to worship the God Indra. Data were obtained from observation and exploration, observing the inhabitans and its surrounding directly in Tenganan Pengringsingan Village as well as exploring through a series of interview about Mekare-kare tradition.This photography project applied EDFAT method approach (entire, detail, frame, angle, time). This method was chosen in order to obtain varied visualizations, recording details of the subject properly, capturing comprehensive information, and making it easy to assemble the work into a complete story. Resulting photography works depicted a series of ritual preparation of Mekare-kare until the execution of Perang Pandan. Each photo tried to deliver in-depth information about the subject of the photo at the Mekare-kare tradition.Keywords: tradition, Mekare-kare, Tenganan Pegringsingan, documentary photography

TENUN IKAT KEDIRI DALAM FOTOGRAFI DOKUMENTER Wahyu Adji Febrianto; Pitri Ermawati; Surisman Marah
Specta: Journal of Photography, Arts, and Media Vol 5, No 2 (2021): 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.v5i2.3745

Tenun Ikat Kediri in Documentary Photography. Kediri has one of the handicrafts, namely tenun ikat Kediri. Tenun ikat Kediri has been around since the 1900’s. The presence of tenun ikat Kediri is not widely known and is not yet popular by some of the general public. The craft center of tenun ikat Kediri is located in an area called Kampung Industri Tenun Ikat Bandar Kidul Kediri. At the beginning of its presence, there were approximately 20 tenun ikat craftsmen, but currently there are only eight active craftsmen. Craftsmen in Bandar Kidul Kediri Weaving Industry Village in the form of home industry. The creation of documentary photography is one of the efforts to popu- larize and preserve Kediri ikat. Tenun ikat Kediri visualized into documentary photographic works using story formula photo technique that was conceived by Eugene William Smith. The result of the photographic creation depicts the representation of the production process along with the workers.ABSTRAKKediri memiliki salah satu kerajinan yang sudah lama ada, yaitu tenun ikat Kediri yang sudah ada sejak tahun 1900-an. Kehadiran tenun ikat Kediri belum banyak dikenal dan belum populer oleh sebagian masyarakat umum. Pusat kerajinan tenun ikat Kediri terletak di kawasan yang dinamakan Kampung Industri Tenun Ikat Bandar Kidul Kediri. Pada awal kehadirannya, terdapat kurang lebih 20 pengrajin tenun ikat Kediri, namun saat ini hanya tersisa delapan pengrajin yang masih aktif. Pengrajin yang ada di Kampung Industri Tenun Ikat Bandar Kidul Kediri berbentuk home industry. Artikel ini bertujuan untuk mewujudkan ide imaji visual foto dengan objek tenun ikat Kediri melalui media fotografi dokumenter. Metode yang digunakan yaitu observasi, eksplorasi, dan eksperimentasi. Karya foto yang dihasilkan disusun dan disajikan menggunakan metode foto cerita dari Eugene William Smith yang memungkinkan adanya pilihan variasi foto sebagai elemen dari cerita visual foto. Hasil penciptaan adalah karya fotografi yang menceritakan representasi dari proses produksi serta para pekerja.

OPERATOR WANITA TAMBANG BATU BARA DI SANGATTA KUTAI TIMUR DALAM FOTOGRAFI DOKUMENTER Isroviana Isroviana; Pitri Ermawati; Kusrini Kusrini
Specta: Journal of Photography, Arts, and Media Vol 3, No 2 (2019)
Publisher : Institut Seni Indonesia Yogyakarta

AbstrakSaat ini supir masih menjadi pekerjaan lelaki. Dunia pertambangan bukanlah pekerjaan yang mudah bagi wanita yang berprofesi sebagai operator dump truck heavy duty berukuran 14x17x6 m. Pekerjaan yang terlihat santai secara fisik, sebenarnya harus dibekali dengan mental yang kuat. Bukan hanya karena faktor lingkungan tetapi juga mayoritas rekan kerja mereka adalah lelaki. Peran ganda yang mereka miliki menjadi menarik ketika diangkat menjadi isu. Mulanya, bekerja adalah pilihannya sendiri namun saat ini mereka menjadi tulang punggung keluarga, tanggung jawabnya tidak lagi hanya memasak, mengurus anak, dan rumah tangga. Mereka bekerja selama 12 jam dengan dua tanggung jawab berbeda. Penciptaan karya ini dibuat dalam bentuk fotografi dokumenter dengan penggunaan warna foto hitam putih. Metode yang digunakan untuk penciptaan karya ini adalah observasi, wawancara, dan studi EDFAT. Sedangkan dalam pemilihan dan penyusunan alur foto menggunakan teknik elemen foto cerita dengan gaya deskriptif yang tidak menuntut susunan foto. Dengan demikian, cerita yang disampaikan memiliki kekuatan yang mendalam tentang operator wanita tambang batu bara tersebut, mereka bekerja dengan hati dan nyali. Dengan pekerjaan yang berat secara mental, para operator wanita memiliki cara sendiri untuk meringankan rasa lelah dan mengusir bosan dalam durasi pekerjaan yang tidak sebentar. Kata kunci: operator wanita, tambang batu bara, fotografi dokumenter AbstractFemale Operatosr for Coal Mining in Sangatta East Kutai in Documentary Photography. At this time, being a driver is as man's job, not for woman. Mining world is not an easy job for woman as an 14 x 17x 6 m² dump heavy duty truck operator. The job that may look easy and relax physically but need strong mentality. Not only considering environmental factor but also their opposite sex workmate. The duality in their responsibility become very interesting issues. Not only take care of the household but also as their family's bread winner. this paper presented in black and white in documentary photography and using observation, interview and EDFAT study as the main methods. The descriptions style being choose in arranging and picking the pictures in order to widen the ideas given. Therefore the pictures can reveal deeper about the dual responsibilities the mining female workers taken in daily life and also reveal the way they are resting and relaxing the hard jobs. Keywords: female operators, coal mining, documentary photography

Pecinan Tambak Bayan Surabaya Dalam Fotografi Dokumenter Alfian Rizal Andre Ciputra; Pitri Ermawati; Syaifudin Syaifudin
Specta: Journal of Photography, Arts, and Media Vol 3, No 1 (2019)
Publisher : Institut Seni Indonesia Yogyakarta

Documentary Photography of Chinatown in Tambak Bayan Surabaya. Chinese etchnic of Surabaya has been living in the settlement, called Tambak Bayan Surabaya, around Kalimas River. Most of the families living there are the third and fourth generation of the Chinese ethnic whom migrated to Surabaya several years ago. Those families occupied the buildings formerly were horse stables during colonial period. Their economic condition was classified as middle to lower class. Hence, they did not have other choices but those settlements. Documentary photography is a way to describe their everyday conditions in a 4x4 quadrangle house that is high. Chinese identities that surround their homes are each the size of each family inhabiting the house. The families residing in Chinatown Tambak Bayan Surabaya can be visualized into several documentary photographic works showing their condition and their dwelling places. Keywords: documentary photography, Chinatown’s Tambak Bayan Surabaya, Chinese New year

FOTOGRAFI DOKUMENTER ORANG DENGAN KETERBELAKANGAN MENTAL DI DESA KREBET DAN DESA SIDOHARJO, JAMBON, PONOROGO, JAWA TIMUR Wilantika Wilantika; Pitri Ermawati; Adya Arsita
Specta: Journal of Photography, Arts, and Media Vol 4, No 2 (2020): 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.v4i2.3746

Documentary Photography Of People With Mental Retardation In Krebet Village And Sidoharjo Village, Jambon, Ponorogo, East Java.Documentary photography of people with mental illness in the village of Sidoharjo and Krebet in the District of Ponorogo tries to visualize the life of people with mental illness. This creation is based on the classification of people with mental illness according to the Tribowo Tuahta Ginting in Guidelines for Diagnosis Classification of Mental Disorders (PPDGJ III) consisting of: mental illness with the category of mild, moderate, severe, and very severe. Visualization in the creation of this photography work shows the highlighted other sides of people with mental illness which has been unknown by people in general. Those include activities, interactions, and portraits of people with mental illness. The visualization was actualized by the element of documentary photography. Hopefully the general public would be able appreciate those people and no longer underestimate them. ABSTRAKPenciptaan karya fotografi dokumenter ini bertujuan untuk memvisualkan kehidupan orang dengan keterbelakangan mental di Desa Krebet dan Sidoharjo Ponorogo. Penciptaan ini berlandaskan pada pengklasifikasian orang dengan keterbelakangan mental menurut Tribowo Tuahta Ginting dalam Pedoman Penggolongan Diagnosa Gangguan Jiwa (PPDGJ III) yang terdiri dari: keterbelakangan mental kategori ringan, sedang, berat, dan sangat berat. Visualisasi dalam penciptaan berupa karya foto yang menampilkan sisi lain yang menarik dari orang-orang dengan keterbelakangan mental yang tidak diketahui masyarakat umum. Hal tersebut mencakup dari aktivitas, interaksi, dan potret dari orang dengan keterbelakangan mental. Kesemuanya tersebut divisualisasikan dengan elemen-elemen fotografi dokumenter. Dengan demikian, diharapkan masyarakat umum dapat lebih menghargai mereka dan tidak lagi memandang mereka dengan sebelah mata.

POTRET PEREMPUAN DAYAK IBAN, KAYAN, DESA, DAN SUNGKUNG DI KALIMANTAN BARAT Rizqi -; Mahendradewa Suminto; Pitri Ermawati
Specta: Journal of Photography, Arts, and Media Vol 1, No 1 (2017)
Publisher : Institut Seni Indonesia Yogyakarta

Penciptaan karya fotografi ini bermaksud merekam identitas kebudayaan subsuku Dayak yaitu Dayak Iban, Kayan, Desa, dan Sungkung khususnya pada perempuan-perempuan Dayak yang masih memiliki dan menjalankan tradisi leluhur. Tradisi-tradisi leluhur yang dijalankan para perempuan Dayak yaitu memanjangkan daun telinga, bertato, memakai gelang besi, menenun, membuat kerajinan manik-manik, dan menganyam. Foto potret ini memunculkan masing-masing karakter subsuku Dayak dengan aspek-aspek fotografi potret meliputi penataan pose, ekspresi, porsi subjek, komposisi, cahaya, properti pendukung, latar belakang, lokasi pemotretan, dan kostum yang digunakan. Karya fotografi yang dihasilkan berupa foto potret dalam ranah dokumenter yang dapat menyampaikan realita sosial. Karya foto potret ini, diharapkan menjadi suatu peninggalan yang berharga untuk bangsa yang dapat digunakan untuk kembali mengingat dan melihat awal dari keberadaan sekarang.Kata-kata kunci: potret, Dayak, Iban, Kayan, Desa, Sungkung, fotografi

ORIENTASI FOTOGRAFI PENGUNJUNG ANJUNGAN WISATA DI KAWASAN MANGUNAN: KAJIAN FUNGSI FOTO POTRET DI MEDIA SOSIAL INSTAGRAM Pitri Ermawati
Specta: Journal of Photography, Arts, and Media Vol 2, No 2 (2018)
Publisher : Institut Seni Indonesia Yogyakarta

Abstrak Penelitian ini bermaksud menjelaskan orientasi fotografi pengunjung yang berfoto di anjungan wisata kawasan Mangunan dengan objek penelitian berupa foto potret di media sosial Instagram. Menerapkan metode penelitian deskriptif-kualitatif, analisis kritis dilakukan dalam pembacaan foto-foto potret menggunakan telaah fungsi foto potret Soeprapto Soedjono, serta telaah aspek teknis-fisik fotografi potret yang dikemukakan oleh Famous Photographers School. Mengambil sampel berupa lima foto dari lima akun Instagram yang berlatar di lima anjungan wisata di kawasan Mangunan, hasil penelitian menunjukkan tiga fungsi foto potret yang diunggah oleh para pengunjung yang merupakan subjek foto sekaligus pemilik akun Instagram; yaitu fungsi personal, sosial, dan komersial. Dalam upaya mewujudkan foto potret yang sesuai dengan fungsi-fungsi tersebut, pengunjung tampak memperhitungkan aspek teknis-fisik fotografi potret berupa pencahayaan, pose, dan background. Adapun poperti, kurang mendapatkan perhatian dikarenakan tidak semua anjungan menyediakannya. Kata kunci: fotografi, anjungan, foto potret, Instagram AbstractVisitors’ Photography Orientation of Scenery Stages in Mangunan Tourism Area: Study of The Functions of Portrait Photos in Social Media Instagram. This research explains the photography orientation of visitors who taking photograph of theirselves (portrait) on the scenary stages (selfie spots) in Mangunan tourism area, by studying their portraits in social media Instagram. This research allows the descriptive-qualitative method. It uses the study of the portrait functions explained by Soeprapto Soedjono to read and to analise the portrait photos. It also studies the physical-technical aspect in portrait photography explained by Famous Photographers School applied by the visitors. There are five portrait photo samples from five Instagram accounts which setting are on scenery stages in Mangunan tourism area. This research conclusion shows three functions of the portrait photos uploaded by the visitors, either as the Instagram account owners and the subjects (sitters) of those photos: personal function, social function, and commercial function. In order to make her/ his portrait matches on the function desired, visitor seems to care about physical-technical aspects on portrait photography: lighting, pose, and background. Another element is property, which is the most ignorable element due to it’s rare availability on the spot. Keywords: photography, scenary stage, portrait photo, Instagram

KEHIDUPAN SEHARI-HARI BURUH GENDONG WANITA PASAR BERINGHARJO YOGYAKARTA DALAM FOTOGRAFI DOKUMENTER Rika Ramadhanti; Pitri Ermawati; Oscar Samaratungga
Specta : Journal of Photography, Arts, and Media Vol 6, No 1 (2022): 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.v6i1.4308

Buruh gendong merupakan orang yang bekerja menggendong menggunakan tenaga fisiknya untuk orang lain dengan mendapat upah. Sosok wanita mempunyai fisik yang lemah daripada kaum laki-laki, sehingga banyak orang meremehkan pekerjaan yang ditekuni seorang wanita. Berdasarkan hal ini, muncul ide gagasan untuk menciptakan karya fotografi dokumenter tentang Buruh gendong wanita Pasar Beringharjo Yogyakarta. Buruh gendong wanita Pasar Beringharjo memiliki latar belakang kehidupan yang mayoritas berasal dari keluarga menengah ke bawah. Mereka bertekad untuk menjadi Buruh gendong dikarenakan keterbatasan lapangan pekerjaan dan faktor ekonomi.. Penciptaan karya foto ini merupakan visualisasi wanita yang bekerja sebagai Buruh gendong yang memiliki potensi kuat dalam bekerja walaupun secara fisik lebih kuat seorang laki-laki. Informasi Buruh gendong telah dikumpulkan melalui observasi dan ditampilkan secara visual dengan medium fotografi. Karya fotografi yang diciptakan merupakan karya fotografi dokumenter. Karya tugas akhir fotografi ini diharapkan dapat menjadi referensi para fotografer dan peneliti lainnya dalam memberikan inovasi baru pada perkembangan dunia fotografi dan seni.Kata kunci: buruh gendong, Pasar Beringharjo, fotografi dokumenter

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