This text introduces article “Setting the Record Straighter” (1951) by Brazilian photographer and artist José Oiticica Filho (1906–1964). The core of Oiticica Filho's article is a discussion of the significance of photo-club exhibitions, based on the example of an ongoing rivalry between the members of São Paulo-based photo club Foto Cine Clube Bandeirante (FCCB) and Rio de Janeiro-based club Sociedade Fluminense de Fotografia. Oiticica Filho, as a member of the São Paulo-based club who resided in Rio, emerged as a mediator between the two groups—an impartial scientist who sought a solution in data, not in the clashes between egos. The article, partially translated here for the first time, illuminates the inner workings of photo-club culture, the motivation for photographers to participate, and their major concerns about the club exhibitions. Oiticica Filho's method, based on statistics and data analysis, anticipate the sociological approach to photography developed by Pierre Bourdieu in Photography: A Middle-Brow Art (1965). Understanding Oiticica Filho's statistical work is key to establishing a broader perspective on postwar photo-club culture as an international phenomenon that contributed to the recognition of photography as an autonomous art form during the 1950s.

中文翻译：

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JoséOiticica Filho的“设置更直的记录”简介

本文介绍巴西摄影师兼艺术家何塞·奥蒂卡卡·菲略（JoséOiticica Filho，1906年-1964年）撰写的文章“设置记录更直”。Oiticica Filho的文章的核心是对摄影俱乐部展览的重要性的讨论，以总部位于圣保罗的摄影俱乐部Foto Cine Clube Bandeirante（FCCB）和里约热内卢的俱乐部之间不断竞争的例子为基础Fluminense de Fotografia社会。Oiticica Filho是居住在里约热内卢圣保罗俱乐部的一员，后来成为两个小组之间的调解人，他是一位公正的科学家，他寻求解决数据的方法，而不是解决自我之间的冲突。这篇文章首次在这里进行部分翻译，阐明了摄影俱乐部文化的内部运作方式，摄影师参与的动机以及他们对俱乐部展览的主要关注。Oiticica Filho的方法基于统计和数据分析，预见了Pierre Bourdieu在“摄影：中庸艺术”（1965年）中开发的摄影社会学方法。了解Oiticica Filho的统计工作是建立战后照相馆文化这一国际现象的广阔视野的关键，这有助于在1950年代将摄影作为一种独立的艺术形式而被认可。