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Gerd, Lora. „Petr Sevast’anov and his expeditions to Mount Athos (1850s): two cartons from the French Photographic Society“. Scrinium 16, Nr. 1 (19.10.2020): 105–23. http://dx.doi.org/10.1163/18177565-00160a20.
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Abstract The Russian antiquarian and explorer of the Orthodox East Petr Ivanovich Sevast’anov was one of the first to take photos of the architectural monuments, art treasures and manuscripts of Mount Athos. During the 1850s he organized several expeditions. In 1856, Sevast’anov studied photography in Paris at the atelier of Belloc and bought the materials and equipment needed. In March of 1857, he arrived at Athos and started his work in St. Andrew’s Skete. With the assistance of the librarian of St. Panteleimon’s Monastery Azarii, Sevast’anov got access to many Greek and Slavonic manuscripts. In October of 1857, he returned to Paris and presented the results of his work in a photo exhibition, followed by a public lecture at the Academy on February 5, 1858. The recently discovered two large format cartons of Sevast’anov’s photos at the French Photographic Society, along with the correspondence preserved in his archives, are an important contribution to the history of Byzantine Studies.
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Wulandari, Arti, und Zulisih Maryani. „FOTOGRAFI POTRET WANITA PENAMBANG PASIR DFOTOGRAFI POTRET WANITA PENAMBANG PASIR DI LERENG SELATAN GUNUNG MERAPI, DAERAH ISTIMEWA YOGYAKARTA“. REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, Nr. 1 (14.09.2017): 53. http://dx.doi.org/10.24821/rekam.v13i1.1578.
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Ketegaran dan kesabaran yang luar biasa, sebagai sesama wanita, dari para wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta menjadi inspirasi bagi penulis untuk diungkapkan dalam karya fotografi dengan bentuk potret hitam putih karena potret bisa mewakili keadaan sebenarnya dari objek. Penciptaan ini bertujuan mengungkapkan kehidupan wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta dalam fotografi potret hitam putih dikaitkan dengan aspek teknis kreatif dan fungsi nilai sosialnya.Proses perwujudan mencakup tahap-tahap penciptaan dan media yang digunakan untuk mewujudkan karya seni fotografi potret yang tentunya membutuhkan bahan, alat, dan teknik. Prosedur pelaksanaan meliputi persiapan, pemotretan, proses editing, penentuan lay out, dan pencetakan hasil akhir. Karya penciptaan ini menampilkan karya-karya yang merupakan serangkaian fotografi potret wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta. Melalui foto-foto yang ditampilkan diharapkan dapat memberikan sudut pandang bagi masyarakat dalam mengapresiasi sosok wanita penambang pasir, melalui ketegaran dan kesabarannya yang luar biasa. Keunggulan karya ini adalah menampilkan foto potret wanita penambang pasir dengan hitam putih sehingga tampak lebih dramatis. Obstinacy and remarkable patience, as a fellow woman, from the women sand miners in South Slope of Mount Merapi, Yogyakarta became the inspiration for the author to be expressed in the form of photographic works with black and white portrait because a portrait can represent the actual state of the object. The aim of this creation reveals a woman's life sand miners in South Slope of Mount Merapi, Yogyakarta in black and white portrait photography associated with the creative and technical aspects of the function of social value. The embodiment process includes the stages of creation and media that are used to create works of art portrait photography that will require materials, equipment, and techniques. Implementation procedures covering the preparation, shooting, editing, determination lay out, and print the final results. This creative work featuring the works is a series of photographic portraits of women sand miners in South Slope of Mount Merapi, Yogyakarta. Through the photographs displayed are expected to provide viewpoints for society to appreciate the female figure sand miners, through fortitude and patience were outstanding. The advantages of this work is to show a portrait photo woman sand miners with black and white so that it looks more dramatic.
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Kamilzhankyzy, K., M. Arziev und N. Abdykalykova. „The Art of Patchwork Kurak“. Bulletin of Science and Practice 10, Nr. 6 (14.06.2024): 588–97. http://dx.doi.org/10.33619/2414-2948/103/68.
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The subject of the research is the study of the traditional art of ‘kurak’ by folk craftsmen and its dissemination among the people and in light industry. The purpose of the study is to study the art of craftswomen who create products using kurak. Creating favorable conditions for the production of traditional products using kurak, thus contributing to the production and dissemination of traditional kurak among the population. Ensuring conditions for the preservation in each epoch and the transfer of the art of kurak to future generation ns by using patchwork in clothing and costumes in accordance with fashion trends. The research was carried out in stages: Information was collected on national traditional patchwork products, clothing and dried apricots from printed and online sources. The following methods of empirical research are applied to the collected information and photographs: observation, experiment, comparison, as well as methods of analysis, systematization, generalization and classification of theoretical scientific research. The main stages of patchwork sewing technology have been identified. Equipment and materials have been selected for the manufacture of dried apricots and products with its use of high quality. The technological process of manufacturing the type of kurak ‘kattama’ has been developed.
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Golubova, G. V. „The Statistical Analysis and Forecasting of Ukraine’s Export“. Statistics of Ukraine 81, Nr. 2 (18.10.2018): 6–12. http://dx.doi.org/10.31767/su.2(81)2018.02.01.
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In the article the author determined the main directions of foreign economic activity of the country and was established that the main course for Ukraine is foreign trade and international investment activity. The author done analysis of the foreign trade balance of Ukraine for 2017 shows the passive balance of trade balance. The analyzed indicators of foreign trade balance show that in 2017 Ukraine economy was opened (0.93), i. e. it is risk-prone, import-dependent (46.8%), the share of exports in the total amount of the gross domestic product was 45.8%, the coefficient of coverage the export over import was 98%.
The calculated coefficient of the international intraspecific specialization of the country shows that Ukraine is import-dependent from the following groups of goods and services: works of art (–75,5%), polymer materials, plastics and articles (–75,0%), means of land transport, aircraft, floating means (–68.4%), optical and photographic equipment (-59.9%), state and government services (–99.5%), royalties (–83.3 %), financial services (–74.2%).
The author was determined and substantiated the factors influencing the tendencies of export development of Ukraine, which were the basis of correlation-regression analysis. The export links with all selected factors based on the pair correlation coefficients are analyzed. A high correlation was found between exports with imports (0.987), a rather close but inverse relationship with the US dollar (–0.887), a significant and direct correlation between export of FDI to Ukraine (0.693) and a noticeable but inverse relationship exports with GDP (–0.693) and consumer price index (–0.690).
During the analysis, the author built two regressive models of export dependence from import transactions and under the influence of the exchange rate. The author substantiated the effect of the fluctuation of the US dollar exchange rate on exports of goods and services, and predicted Ukraine’s exports in the short period.
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Wójcik, Agata. „Projekty wnętrz i mebli zaprezentowane na „wystawie Architektury i wnętrz w otoczeniu ogrodowem” w Krakowie w 1912 roku“. Roczniki Humanistyczne 67, Nr. 4 (04.07.2019): 109. http://dx.doi.org/10.18290/rh.2019.67.4-4.
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The aim of this study is to analyze the architecture of residential interiors and furniture making presented at the exhibition in 1912, to indicate the sources of inspiration for designers and to place them in the context of foreign furniture making. The sources of information were the exhibition catalog, press articles, and the archival materials stored in the National Archives in Krakow that had not been used so far, as well as photographs from the collections of the Print Room of the Academy of Fine Arts in Krakow and the Museum of the Jagiellonian University.The interiors and furniture presented by the artists from the society for Polish applied arts (TPSS) at the Krakow exhibition in 1912 perfectly matched the trends prevailing in designing around 1910. How far they were from the curvy-line Art Nouveau. The designers consciously and creatively used their native tradition, especially the furniture making of the Biedermeier period and folk art. On the one hand, Polish artists drew from the architecture of manor interiors, and on the other they were close to the inspiration of an English home. Their projects can be compared with the works of Austrian artists from the circle of the Vienna Workshop and German artists associated with the Deutscher Werkbund. They were a harbinger of simplified, geometrized, folk-inspired, influencing the beauty of the material, Polish furniture of the interwar period. The equipment for the house of a worker and a craftsman being an example of cheap furniture was characterized by solidity, modesty, operating with economical, but noble forms, inspired by folk ornamentation. They were the beginning of attempts by Polish designers to create minimalist, functional, solid and cheap equipment that were continued in the interwar period.
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Galanakis, George, Xenophon Zabulis, Theodore Evdaimon, Sven-Eric Fikenscher, Sebastian Allertseder, Theodora Tsikrika und Stefanos Vrochidis. „A Study of 3D Digitisation Modalities for Crime Scene Investigation“. Forensic Sciences 1, Nr. 2 (30.07.2021): 56–85. http://dx.doi.org/10.3390/forensicsci1020008.
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A valuable aspect during crime scene investigation is the digital documentation of the scene. Traditional means of documentation include photography and in situ measurements from experts for further analysis. Although 3D reconstruction of pertinent scenes has already been explored as a complementary tool in investigation pipelines, such technology is considered unfamiliar and not yet widely adopted. This is explained by the expensive and specialised digitisation equipment that is available so far. However, the emergence of high-precision but low-cost devices capable of scanning scenes or objects in 3D has been proven as a reliable alternative to their counterparts. This paper summarises and analyses the state-of-the-art technologies in scene documentation using 3D digitisation and assesses the usefulness in typical police-related situations and the forensics domain in general. We present the methodology for acquiring data for 3D reconstruction of various types of scenes. Emphasis is placed on the applicability of each technique in a wide range of situations, ranging in type and size. The application of each reconstruction method is considered in this context and compared with respect to additional constraints, such as time availability and simplicity of operation of the corresponding scanning modality. To further support our findings, we release a multi-modal dataset obtained from a hypothetical indoor crime scene to the public.
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Jauhari, Jauhari. „SOLO-YOGYA INTO 360-DEGREE PHOTOGRAPHY“. Capture : Jurnal Seni Media Rekam 13, Nr. 1 (13.12.2021): 17–31. http://dx.doi.org/10.33153/capture.v13i1.3627.
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Currently, technological developments have made it possible for photographic works not only to be present in the form of a flat 180 degree two-dimensional panorama, but even being able to present reality with a 360 degree perspective. This research on the creation of photographic works aims to optimize photographic equipment for photographing with a 360 degree perspective. Eventhough there are many 360 degree application in smartphones, but using a DSLR camera to create works with a 360 degree perspective has the advantage that it can be printed in large sizes with high resolution without breaking the pixels. The method of creating this work is based on the experimental process of developing DSLR camera equipment. This 360 degree photography creation technique uses the 'panning-sequence' technique with 'continuous exposure' which allows the images captured by the camera can be combined or mixed into one panoramic image. In addition to getting an important and interesting visual appearance, the presence of a 360 degree perspective in this work can also give a new nuances in the world of the art of photography.
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Korolev, A. I., I. N. Mirzoyan und V. B. Chelnokov. „Equipment for fast radiography with diffusion-transfer photographic materials“. Biomedical Engineering 24, Nr. 1 (1990): 31–32. http://dx.doi.org/10.1007/bf00557941.
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Ma, Margaret. „The Dual Nature of Diana Arbus's Photographic Art“. Journal of Higher Education Research 4, Nr. 4 (08.01.2024): 135. http://dx.doi.org/10.32629/jher.v4i4.1479.
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Diana Arbus is a photographer to be criticized for unethical practices, yet her unique photographic style has left a lasting imprint on civilization. She's good at capturing marginalized societal groups, confronting the harsh realities and ugliness. Her work influenced people's contemplation of photographic art, while simultaneously subjecting her to significant ethical controversies. Arbus's photographs evoke feelings of terror and discomfort, but at the same time, she shed light on the people and experiences hidden in the shadows, revealing the greatness and sacredness of suffering and its essence. This gave rise to an aesthetic of alienation that contradicts traditional aesthetics. In Arbus's photographic works, there is a juxtaposition and fusion of oppositions between art and morality. Traditional aesthetics pursue happiness, harmony, and beauty, whereas Arbus's photographs present pain, distortion, and ugliness. Consequently, some argue that Arbus violates the moral principles of beauty. However, on the other hand, Arbus's works also bring visibility, attention, and understanding to marginalized groups, achieving a fusion of art and morality in a divergent way.
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Kuznetsova, Tatyana Viktorovna, und Luiza Vladimirovna Welch. „The Photographic Image as an Aesthetic Phenomenon.“ Философская мысль, Nr. 10 (Oktober 2022): 54–62. http://dx.doi.org/10.25136/2409-8728.2022.10.38896.
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The subject of the study is the analysis of the preservation and creation of an image in the art of photography. The invention of photography and the creation of a technical image is considered the second turning point in human culture. An image is an imagination, an illusion, it is a reflection of the sensory world. The object of the study is the specificity and evolution of attitudes towards the concept of an image in photography as an aesthetic phenomenon. The language of fine art, as an earlier phenomenon, had a significant impact on the creation of a photographic image, but the role of photography in changing the language of fine art is also noted. The purpose of this work is to identify the features of the formation of photographic thinking, in the analysis of its evolution. As a methodological basis of the study, the formal-stylistic method of cognition, the method of sensory cognition and historical and cultural analysis are used. The scientific novelty of the study lies in the analysis of the role of imagination, illusion, magic in creating a photographic image. Causal relationships do not work here - the image of the acts as an intermediary between the world and man. Both the photographer and the subject are the directors of the creation of the image, and the game becomes part of its creation. The image is what the director-photographer wants to see, and how the subject feels. However, the freedom of the photographer is limited by the quality of the equipment, which makes it necessary to improve the technical means of the camera more and more. Creating an image is the implementation of the technical capabilities that are embedded in the camera. The image of photography is the subjective vision of the master, the transformation of the real world into the world of illusion.
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D’Amico, Maria Cristina, Melissa Gianferrari und Andrea Del Bianco. „Pace by Nino Migliori: Examination, Analysis and Treatment of a Contemporary Color Photography Experimental Artwork“. Heritage 6, Nr. 1 (21.12.2022): 90–111. http://dx.doi.org/10.3390/heritage6010005.
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The present work intends to focus on the examination, analysis and treatment of Pace, a contemporary color photography experimental artwork created by Nino Migliori in 1973. Given the particular nature of the artifact, in which the photographic materials and the media of contemporary art coexist in a complex interaction, an in-depth study of its creation, structure and components was deemed necessary to plan and perform an adequate conservation treatment. The preliminary research was conducted in order to contextualize the artwork within the author’s production, to understand the creation process, to identify the photographic technique of the print and the stratigraphic sequencing, and to characterize the constituent materials of each layer through non-invasive and micro-invasive diagnostic analysis. The severe detachments and lifts of the print from the underlying aluminum panel and the subsequent planarity alterations of the photograph, strongly compromised the legibility of the artwork and put its future conservation at risk. Therefore, the elaboration of a minimally invasive intervention methodology was required. Approaching contemporary works of art, which are at the same time also photographic objects, can present some theoretical and practical challenges, and in the near future lots of professionals in the field of art conservation are probably going to face analogue conservation problems on similar objects. The results obtained through the preliminary study phase and the conservation treatment may offer a good starting point for further research on how to examine, analyze and treat this kind of photographic objects.
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Mazzucco, Katia. „“Alle Hilfsmittel an der Hand”: note sulle prime fotografie collezionate da Aby Warburg“. Rivista di studi di fotografia. Journal of Studies in Photography 5, Nr. 10 (14.12.2020): 122–39. http://dx.doi.org/10.36253/rsf-12249.
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There is no evidence of a consistent theoretical position of Aby Warburg regarding photography, but his scattered notes on the subject allow for a deductive evaluation. The considerable use of photographs that he made in his work suggests a wide range of methodological approaches, with significant implications for the disciplinary and methodological definition of art history and the development of photographic documentation at the turn of the 20th century. This essay provides examples of Warburg’s early attention to photography, both as a research tool and a required piece of equipment for any research institute.
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Colner, Miha. „Miroslav Zdovc: Contextualising the Archive“. Život umjetnosti, Nr. 111 (Juli 2023): 132–45. http://dx.doi.org/10.31664/zu.2022.111.10.
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In this paper a case study of constructing a photographic archive in a museum context, and the ways of contextualising seemingly marginal and insignificant photographic material, is being showcased and analysed. The focal point of the paper is the personal photographic archive of Miroslav Zdovc (1929–2009), a prominent Slovenian professional photographer as well as an artist using photography who, however, did not receive a deserved place in local and regional history of photography and art. Therefore, his extensive body of work that has nearly disappeared from the public eye is now in the process of being reviewed and re-evaluated. His extensive archive consists of diverse materials: personal imagery, documentary photographs, documents of artworks, and (his own) photographic artworks. The paper thus presents the project in the making in which the curators of Božidar Jakac Gallery – Museum of Modern and Contemporary Art, Kostanjevica na Krki have been conducting the process of cataloguing, evaluating and finally showcasing his immense body of work. It also brings forward the most significant elements of his artistic practice that spanned from the 1950s to the 1990s, and which was changing and developing in accordance with the concurrent tendencies in photography and art.
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Freire, Mela Dávila, und Pamela Sepúlveda Arancibia. „Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)“. Art Libraries Journal 37, Nr. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.
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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well as special materials from letters to photographic negatives, alongside information from galleries, cultural spaces and artistic centres.
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Horevalov, Serhiy, und Natalia Zykun. „Photography and Development of Photo Industry in Ukraine: History and Modernity (to the 180th Anniversary of Photography)“. Scientific notes of the Institute of Journalism, Nr. 1 (76) (2020): 53–65. http://dx.doi.org/10.17721/2522-1272.2020.76.4.
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In the article the multi-subject phenomenon of photography, which clearly combines the fea-tures of a document, a work of art, modern technologies and a means of communication is stud-ied in the diachronic aspects using the methods of comparative analysis, systematization and generalization. It summarizes the information about the long history of photography as a form of fixation of reality, as a way of storing and transmitting information. The changes in functional and instru-mental characteristics of photography are outlined. The rapid expansion of the direction of development of photography in many Ukrainian regions as early as the late nineteenth and in the early twentieth centuries is indicated: formation of infrastructure; emergence of professional and amateur photo societies and organizations that have been active in professional and educational and promotional activities. It is proved that active photography activity formed a public request for scientific study of pho-tography, its theory formation; caused the emergence of specialized periodical photo editions (“Photo-Cinema” (1924), “Photo for Everyone” (1928-1930) and “Photo – Socialistic Construction” (1932-1934). All this contributed to the emergence of a system of professionals training in photography, formal photo education, study of photography in art educational institutions. The prerequisites and the first steps of formation of photojournalism and the system of photo genres are traced. The active participation of Ukrainian masters in production and improvement of photographic equipment is stated. It is said that in the 30’s of the twentieth century a significant step of state policy was made in development of the plants of mechanical engineering and chemical industry of Ukraine, which created the preconditions for development of photo industry. The considerable attention is paid to the major achievements of Ukrainian production of photographic equipment, first of all at the Kyiv Arsenal Factory.
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Xiong, Mei Ni. „Application of Green & Environmentally Friendly Materials in Traditional Art Education“. Advanced Materials Research 893 (Februar 2014): 113–16. http://dx.doi.org/10.4028/www.scientific.net/amr.893.113.
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According to the principle of accurate imaging systems, the accurate green & environmentally friendly materials equipment is designed. On the basis of establishing the model of traditional art education to be processed, the green & environmentally friendly materials equipment is assembled in a virtual manner by using the application software Pro/ Engineer provided by three-dimensional CAD. The virtual image of the components of accurate video equipment is implemented either from top to bottom or reversely, providing a basis for simulation and development of this equipment.
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Yu, Shengwei. „Application Value Analysis of Nanooptical Materials in Martial Art Single-Kick Protective Equipment“. Journal of Nanomaterials 2022 (16.07.2022): 1–8. http://dx.doi.org/10.1155/2022/2714874.
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If there is no protective equipment in martial art single practice, it is very easy to be injured, so protective equipment in martial arts has been paid more and more attention. The protective effect of Wushu Sanda protective gear is related to the safety of every Wushu Sanda practitioner. The purpose of this paper is to study crystalline nanooptical materials and Wushu Sanda protective gear and propose the idea of using more crystalline nanooptical materials in the manufacture and use of Wushu Sanda protective gear. This paper mainly introduces the related content of crystalline nanooptical materials, martial art single-leg kick, and martial art single-leg protective gear and conducts experiments on crystalline nanooptical materials and martial art single-leg protective gear based on crystalline nanooptical materials. The experimental results show that the protective effect of protective equipment based on crystalline nanooptical materials can play a greater role than traditional protective equipment. In the experiments in this paper, the martial art single-leg kicking protective gear based on crystalline nanooptical materials has at least a 10% improvement in protective effect.
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Cabezos-Bernal, Pedro M., Pablo Rodriguez-Navarro und Teresa Gil-Piqueras. „Documenting Paintings with Gigapixel Photography“. Journal of Imaging 7, Nr. 8 (21.08.2021): 156. http://dx.doi.org/10.3390/jimaging7080156.
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Digital photographic capture of pictorial artworks with gigapixel resolution (around 1000 megapixels or greater) is a novel technique that is beginning to be used by some important international museums as a means of documentation, analysis, and dissemination of their masterpieces. This line of research is extremely interesting, not only for art curators and scholars but also for the general public. The results can be disseminated through online virtual museum displays, offering a detailed interactive visualization. These virtual visualizations allow the viewer to delve into the artwork in such a way that it is possible to zoom in and observe those details, which would be negligible to the naked eye in a real visit. Therefore, this kind of virtual visualization using gigapixel images has become an essential tool to enhance cultural heritage and to make it accessible to everyone. Since today’s professional digital cameras provide images of around 40 megapixels, obtaining gigapixel images requires some special capture and editing techniques. This article describes a series of photographic methodologies and equipment, developed by the team of researchers, that have been put into practice to achieve a very high level of detail and chromatic fidelity, in the documentation and dissemination of pictorial artworks. The result of this research work consisted in the gigapixel documentation of several masterpieces of the Museo de Bellas Artes of Valencia, one of the main art galleries in Spain. The results will be disseminated through the Internet, as will be shown with some examples.
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Liu, Yunrun, Na Pang, Yunzhou Cai, Yanqing Yang, Chunyu Zeng und Yuehong Wang. „Application of Nanooptics in Photographic Imagery and Medical Imaging“. Journal of Chemistry 2021 (28.09.2021): 1–15. http://dx.doi.org/10.1155/2021/2384322.
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Background. At present, with the continuous development of nanotechnology, great changes have taken place in people’s lives in medical treatment, production, daily leisure, and so on. Nanooptical technology is entirely based on nanotechnology that laser and visible light are limited to submicron structures (nanopores, nanoslits, and nanoneedles). Due to the great development potential of nanooptical technology in nanoscale sensors, TOF camera applications, THz imaging technology, and other imaging equipment materials and applications, people have been interested in it, recently. Scope and Approach. In this review, the importance of good practices for nanooptical technology used in equipment as both nanometer scale sensors and optical auxiliary equipment is described. Based on recent reports, this work discussed the development of nanooptical technology in daily photography and medical imaging from both the positive and the negative sides and compared the engineering techniques. Key Findings and Conclusions. As a kind of new optical technology, nanooptical technology can produce the plasmonic effect under the intense collision of atoms and electrons in nanostructures. It has significant effects in superresolution nanolithography, high-density data storage, near-field optics, and other fields. Although the current nanooptic technology is not extremely mature, the results obtained from current works are pointing out that nanooptical technology is the future of daily imaging and medical imaging, and it also will play a positive role in the improvement of people’s health and ecological environment quality. As a trend, nanooptical technology is developing in the direction of energy-saving, portability, high efficiency, and low pollution, and in the upsurge of environmental protection in the world, nanooptical technology will surely achieve amazing development in the field of daily photography and medical imaging. Under the huge market demand and innovation power, nanophotonics technology will cover all emerging technologies that share the same research field with it and take advantage of each technology (terahertz, cell and molecular microscopy, and nanoscale probes) to develop an unprecedented new century in nanoscience. The future trends of research contain finding new imaging equipment with nanostructure, designing nanooptical products, and improving engineering techniques.
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Artamonova, Svetlana. „Art Collections of the Russian State Library“. Art Libraries Journal 17, Nr. 2 (1992): 27–28. http://dx.doi.org/10.1017/s0307472200007793.
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The former Lenin State Library in Moscow, now the Russian State Library, holds extensive collections of graphic and photographic materials, Russian and foreign, dating from the 15th century to the present day. These include a collection of some 434,000 posters, of which film and political posters form the largest subsections; a smaller number of pre-Revolutionary posters is of special interest. The collection of engravings totals some 93,000 items, and includes both works of European masters and Russian popular prints. There are also collections of postcards, “albums”, and manuscripts.
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Mathura, Pamela, Miriam Li, Jennie Vegt, Zoe Penrod, Yvonne Suranyi, Cathy Osborne und Narmin Kassam. „Through the eyes of hospital-based healthcare professionals: exploring their lived experience during the COVID-19 pandemic“. BMJ Open Quality 11, Nr. 3 (August 2022): e001878. http://dx.doi.org/10.1136/bmjoq-2022-001878.
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ObjectiveThe spread of the COVID-19 virus has caused an unforeseen strain on the healthcare system and particularly on healthcare workers (HCW). In this study, 1 year after the COVID-19 pandemic began, we used photovoice, a visual photographic approach, to understand HCW needs, concerns and resilience and to determine improvement strategies aligned with the HCW-described challenges.MethodsUsing a qualitative design, HCW were recruited from a single Western Canadian hospital, voluntarily submitting a photographic image and narrative that depicts their experiences. An artist artistically enhanced the photovoice submissions, which were then displayed at the hospital-based art gallery for public display. A survey was used to collect feedback from gallery viewers. Inductive thematic analysis was completed identifying themes from the photovoice narratives and survey comments, aiding the identification of recommendations.ResultsThere were 25 submissions, and 1281 individuals viewed the art exhibit. Six themes emerged: (1) hopeful and resilient, (2) pandemic fatigue-negative mental and physical states, (3) personal protective equipment is our armour but masks who we are, (4) human connection, (5) responsibility, preparation and obligation and (6) technology surge. According to survey results from the art exhibit, the use of photovoice was a creative method that personalised the HCW experience and validated viewers’ perceptions of the difficulties faced by HCW. Ten improvement strategies that were aligned with the described challenges were identified.ConclusionThe ongoing COVID-19 pandemic continues to strain HCW. Photovoice has great potential in the professional clinical setting to provide unique insights that narrative language alone cannot capture. Future research exploring the longitudinal impact of COVID-19, reviewing photographs at different timepoints could be beneficial. Using this method as a creative outlet intervention and evaluating participation artistic experience may offer additional insights to further support both HCW and patients.
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Quintero Balbas, Diego, Barbara Cattaneo, Andrea Cagnini, Paolo Belluzzo, Silvia Innocenti, Sandra Rossi, Raffaella Fontana und Jana Striova. „The Colors of the Butterfly Wings: Non-Invasive Microanalytical Studies of Hand-Coloring Materials in 19th-Century Daguerreotypes“. Heritage 5, Nr. 4 (18.12.2022): 4306–24. http://dx.doi.org/10.3390/heritage5040221.
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The public expected color from the early photographic images, yet, daguerreotypes—the first commercially available photographic process—failed to register the natural colors. Daguerreotypists developed several coloring methods to solve this inconvenience after 1840. Scientific analyses of the hand-colored daguerreotypes are limited, and the primary information sources available are manuals and patents. This study aims to contribute to the knowledge of hand-coloring techniques, which impacts conservation practices, mainly the cleaning procedures and complements technical art history investigations. We studied nine colored daguerreotypes with a non-invasive methodology based on three spectroscopic techniques: X-ray fluorescence (XRF), micro-Raman spectroscopy (μ-Raman), and micro-Fourier-transform infrared spectroscopy in reflection mode (μ-rFTIR). The results revealed the different colorants and some of their mixtures employed by the colorist. It also adds information regarding the photographic production of three studios: Désiré François Millet, active in Paris between 1840 and 1868; Antoine Claudet (1797–1867), active in London; and the James E. McClees and Washington Lafayette Germon studio, operative between 1846 and 1855 in Philadelphia, USA. These technical details constitute a helpful comparison to future studies on Daguerreian studios and colored daguerreotypes.
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Gizzi, Ferdinando. „Photographing a miraculous apparition in fin-de-siècle France“. Magic, Vol. 5, no. 1 (2020): 28–35. http://dx.doi.org/10.47659/m8.028.art.
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This paper is dedicated to the photographic coverage of the alleged miraculous apparitions, which occurred in the small French village of Tilly-sur-Seulles between 1896 and 1897. These photos, circulated as postcards and appearing in popular magazines of the time such as L’Illustration and Le Monde illustré, were presented – by virtue of the authority of the photographic as an indexical trace – as “authentic” testimonials of the supernatural events, though in fact neither recognized nor approved by the Catholic Church. These photographs used the already-known double exposure process of spirit photography, bringing these exotic visual materials into the tradition of religious “authentic fakes”. But more importantly, such images manifested the “visionary fervour” of late nineteenth-century France, that is, the growing desire of the modern crowd to see the invisible in more and more spectacular and convincing ways. Such a new spectatorial desire – that can also be found in the very successful genre of the photographs of the real bodies of mystics, saints, and seers – would be perfected by a whole series of contemporary forms and attractions, and finally, by cinematographic special effects. Keywords: nineteenth century, Marian apparitions, visionaries, photography, superimposition
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Caraffa, Costanza. „The photo archive as laboratory. Art history, photography, and materiality“. Art Libraries Journal 44, Nr. 1 (Januar 2019): 37–46. http://dx.doi.org/10.1017/alj.2018.39.
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Librarians, archivists, and curators today meet unique challenges when facing huge numbers of photographs accumulated in their institutions. Coming to terms with these masses in a responsible way means to reflect on cataloguing and digitization standards able to record their (material) complexity. It also means to constantly justify a series of investments: in cataloguing and digitization projects, but also in storage space, restoration, archival and conservation materials, not to speak of human resources. It means, ultimately, to reflect on the systems of value that one decides to apply while dealing with these holdings: the dematerialization rhetoric that often goes hand-in-hand with digitization campaigns tends to increase their fragility, on the other side we are confronted more and more often with the ‘contemporary repackaging of erstwhile ephemeral and disposable photographic prints' that acquire a new ‘archival value’.1 In this short essay I will focus on these systems of value. My aim is to offer some methodological tools to deal with documentary photographs in art historical institutions. These instruments derive from the intersection of photographic and archival theories and practices that shaped my experience as Head of the Photothek at the Kunsthistorisches Institut in Florenz, Max Planck Institute, for more than a decade.
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Polkowski, Paweł Lech, und Piotr Witkowski. „REFLECTANCE TRANSFORMATION IMAGING. ABOUT A PHOTOGRAPHIC METHOD FOR DOCUMENTATION AND ANALISIS OF HISTORICAL ARTEFACTS“. Muzealnictwo 59 (08.01.2018): 54–62. http://dx.doi.org/10.5604/01.3001.0012.0619.
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The modern technology has been offering more and more tools for digitalisation of historical artefacts or works of art. Especially popular is a 3D visualisation, which allows to obtain a very realistic image of the subject. However, for many culture and science institutions, including museums, these tools are not easily available due to financial reasons. The discussed herein method of Reflectance Transformation Imaging (further RTI) seems to be a solution, which – being relatively inexpensive – offers a whole range of possibilities as far as documentation of historical artefacts is concerned. It allows – without the need of using a high-tech equipment – to create 2.5D images out of regular digital photographs. The way how the RTI method works has been shorty characterised in this article, at the same time presenting subsequent stages within the procedure of obtaining images. In order to show the results of this method, authors referred also to their own experience in RTI. They described images by themselves of three boulders with petroglyphs, which are in the possession of the Archaeological Museum in Poznań. The authors presented their own assessment of the RTI method – based on their achievements and the source literature – identifying its both positive and negative aspects.
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Lemke, Antje B. „Art archives: a common concern of archivists, librarians, and museum professionals“. Art Libraries Journal 14, Nr. 2 (1989): 5–11. http://dx.doi.org/10.1017/s0307472200006179.
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The preservation of artists’ papers and other art source material has steadily increased since the Second World War. Art archives include national repositories, archives attached to museums and libraries, archives devoted to a single person or institution, and ‘multiple collection archives’. Archival materials range from manuscript and photographic records to original works of art. Some archival materials have been published in microform formats; many others have not, and potential users depend on being able to locate them by means of various finding aids. Unless supported by public funds, the archives themselves depend on grants or sponsorship. Art archives may be staffed by archivists, museum curators, or librarians; future developments require not merely cooperation but also a ‘harmonization’ of these three professions, and a critical approach to the application of new technologies.
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Everitt, Sian. „Archives or Museum—Does it Matter?“ Collections: A Journal for Museum and Archives Professionals 3, Nr. 2 (Juni 2007): 135–54. http://dx.doi.org/10.1177/155019060700300204.
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This paper presents the recent experience of UCE Birmingham Institute of Art and Design Archives in documenting and managing its diverse collections. The collections range in size from under 50 to over 40,000 items and cover the fields of art and design education, museology and public art. By their nature, these collections contain a richness and diversity of materials including bibliographic and photographic materials, paper records, artworks and artefacts. The challenge has been not so much that the collections are cross-domain, as between the domains, falling in the gaps. The paper evaluates the differences in collection management philosophies and practices between museums and archives in the United Kingdom. It describes the decisions faced by UCE Birmingham Institute of Art and Design Archives in negotiating a path through these complexities.
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Suárez, Fernando, José Conchillo, Jaime Gálvez und María Casati. „Macro Photography as an Alternative to the Stereoscopic Microscope in the Standard Test Method for Microscopical Characterisation of the Air-Void System in Hardened Concrete: Equipment and Methodology“. Materials 11, Nr. 9 (23.08.2018): 1515. http://dx.doi.org/10.3390/ma11091515.
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The determination of the parameters that characterize the air-void system in hardened concrete elements becomes crucial for structures under freezing and thawing cycles. The ASTM C457 standard describes some procedures to accomplish this task, but they are not easy to apply, require specialised equipment, such as a stereoscopic microscope, and result in highly tedious tasks to be performed. This paper describes an alternative procedure to the modified point-count method that is described in the Standard that makes use of macro photography. This alternative procedure uses macro-photographic images that can be obtained with a quite standard photo camera and it is successfully applied to a large set of samples and presents some advantages over the traditional method, since the required equipment is less expensive and provides a more comfortable and less tedious procedure for the operator.
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Colner, Miha, und Ivan Petrović. „Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović“. Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.
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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research
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Korczyński, Adam. „Dokumentacja fotograficzna kościoła Świętej Katarzyny w Krakowie w zbiorze fotografii Karola Lanckorońskiego“. Rocznik Biblioteki Naukowej PAU i PAN 64 (2019): 103–14. http://dx.doi.org/10.4467/25440500rbn.19.006.14149.
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The Photographic Documentation of St Catherine’s Church in Cracow in Karol Lanckoroński’s Collection of Photographs A collection of photographs gathered by Karol Lanckoroński serves as a kind of photographic archive today. Because of the authorship of photographs kept there, this collection is not only of documentary, but also collector’s and artistic value. Kept in the Phototheque of the Polish Academy of Arts and Sciences, this 19th-century photographic documentation contains, among others, photographs concerning St Catherine’s Church and the Augustinians’ monastery in the Cracow district of Kazimierz, as well as historic items and works of art connected with these sites. Most of the 47 identified thematic prints are signed with the surname Krieger. Made in Ignacy Krieger’s Studio, the photographic documentation of St Catherine’s Church that Karol Lanckoroński decided to put in his collection separates a number of thematic categories that are its characteristic features: the architecture of the church and the monastery, sepulchral architecture and sculpture, panel painting and the main altar serving as an example of 17th-century “monumental woodcarving”. Thus, the photographs described in the paper serve as interesting and valuable archive materials.
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Mago, Zdenko, Łukasz P. Wojciechowski, Magdaléna Balážiková und Amiee J. Shelton. „Learning by Playing. A Case Study of the Education in Photography by Digital Games“. Journal of Education Culture and Society 14, Nr. 1 (20.06.2023): 465–79. http://dx.doi.org/10.15503/jecs2023.1.465.479.
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Aim. The study aims to explore the current state of digital game-based learning to reflect the extent, possibilities, opportunities, and limitations of its implementation in the specific field of education as visual art, especially photography. Method. The explorative study employed the method of theoretical analysis of available literature and other secondary sources related to the issue, and subsequently applied the method of an illustrative (descriptive) case study. Results. Photo modes of commercially available digital games, originally intended to increase the players’ retention and participation, have led to the birth of a new art form, virtual photography. The technology of photo modes in a larger variety of recent games has made virtual photography available to significantly more players. Photo modes provide artistic control and creative options alongside a whole catalogue of lenses, camera parameters, and other features, reducing the financial burden associated with the purchase of photographic equipment. Furthermore, photo modes offer more than just a substitutable alternative to traditional photography, as added artistic value is found within virtual worlds. Conclusions. Despite some limitations regarding the overall implementation of digital game-based learning in photography classrooms, photo modes of commercially available digital games are a suitable tool for educational efforts in photography through both self-development and measurement of outcome-based learning.
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Sahyun, M. R. V. „Thermally Developable Photographic Materials (TDPM): A Review of the State-of-the-Art in Mechanistic Understanding“. Journal of Imaging Science and Technology 42, Nr. 1 (01.01.1998): 23–30. http://dx.doi.org/10.2352/j.imagingsci.technol.1998.42.1.art00004.
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Zuska, Ada, Alla Goychuk, Valery Riabchii und Vladyslav Riabchii. „Methods of mapping the lands disturbed by mining operations and accuracy of cartographic images obtained from Unmanned Aerial Vehicles: A review“. Mining of Mineral Deposits 16, Nr. 1 (30.03.2022): 58–67. http://dx.doi.org/10.33271/mining16.01.058.
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Purpose. Analyzing the land disturbance consequences caused by surface mining operations and methods for mapping these lands, as well as studying the accuracy of point coordinates of digital images obtained from materials of aerial photographic surveys using Unmanned Aerial Vehicles (UAVs). Performing a quantitative assessment of the Root Mean Square Error (RMSE) of point coordinates on cartographic images and determining the dependences of the RMSE of point coordinates on the photogrammetric parameters. Methods. The review of previous research publications within the framework of the presented subject is performed in the following sequence: analysis of ecosystem disbalance as a result of surface mining operations; based on previous studies, collecting the data for quantitative assessment of accuracy in the form of RMSE of point coordinates on cartographic images obtained from the materials of aerial photographic survey using UAVs; statistical study of the relationship between the RMSE and photographic survey parameters. Findings. The methods for mapping the disturbed lands to return them to their natural state after the consequences of surface mining operations are presented, based on a review of previous research publications on the subject of the work. According to the previous studies, the RMSE of point coordinates of cartographic images has been systematized, and, based on this, the accuracy of topographic plans has been determined for them. Statistical studies of the relationship between the quantitative assessment of the RMSE (xy) and RMSE (z) accuracy in relation to the photographic survey parameters have been performed. In addition, the scattering diagrams of the correlation dependence and the range of RMSE relative frequency have been presented. Originality. Based on a critical analysis of previous studies on the lack of quantitative accuracy regulation of cartographic images obtained from aerial photographic survey using UAVs, the RMSE systematics has been performed in terms of the photographic survey height. Based on this, the accuracy of topographic plans, the relative frequency of horizontal and vertical distribution of errors, the mean value and the root mean square error (σ) have been determined. Practical implications. The systematics of the RMSE values of cartographic image point coordinates for certain photographic survey parameters and the scale of topographic images makes it possible to take this into account in the project of aerial photographic survey using UAVs of lands for various purposes, as well as to choose the height and photographic equipment according to the required accuracy.
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Luo, H.-W., C.-J. Chou, H.-S. Chen und MR Luo. „Museum lighting with LEDs: Evaluation of lighting damage to contemporary photographic materials“. Lighting Research & Technology 51, Nr. 3 (23.03.2018): 417–31. http://dx.doi.org/10.1177/1477153518764538.
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It is possible to assess the damage to artworks by measuring different physical and chemical parameters. One of the most important parameters is colour difference, which is a consequence of chemical changes in the material. CIE 157:2004 ‘Control of Damage to Museum Objects by Optical Radiation’ classifies museum collections into four groups, according to different levels of light fastness. However, these classes were developed from research using traditional light sources. Even though LED technology is becoming more popular, there is no advanced evaluation of colour fading or a colour change test for contemporary artworks. This study established that the CIE 157:2004 method, based on threshold effective radiant exposure, can be applied to an actual ageing test of ultraviolet-blocked light sources including two types of white LEDs and one traditional halogen lamp. The results also present a colour fading model that can be used in museum LED lighting to predict the colour difference in contemporary photographic materials for short- and long-term exhibition. This study also provides a revised light dosage classification of modern photographic materials for museums. Moreover, the verification studies can be used as a conceptual reference for assessing the damage potential of other art materials under the tunable multi-LED system of the future.
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Maev, R. GR, A. Baradarani und J. R. B. Taylor. „New concept for art and antiquities identification based on craquelure pattern analysis“. Insight - Non-Destructive Testing and Condition Monitoring 62, Nr. 3 (01.03.2020): 134–38. http://dx.doi.org/10.1784/insi.2020.62.3.134.
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In this paper, it is shown that the craquelure patterns of paintings and other antiquities can be considered as fingerprints so that the authenticity of any given artwork can then be verified against prior works. The authors propose to extract craquelure features from photographic images and use them in the implementation of a unique matching procedure to address the art forgery issue as well as to monitor the health conditions of the objects concerned. This feature extraction strategy is robust against illumination, scale, rotation and perspective distortion. The craquelure extraction system developed, called multi-scale multi-orientation morphological processing (MMMP), performs analyses in each sub-band. A comprehensive craquelure image dataset has been constructed from a variety of different types of painting and other art objects. The results show significant improvement and compare favourably with the current best results in the market.
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Staples, Amy J. „Visualism and the Authentification of the Object: Reflections on the Eliot Elisofon Collection at the National Museum of African Art“. Collections: A Journal for Museum and Archives Professionals 3, Nr. 2 (Juni 2007): 183–90. http://dx.doi.org/10.1177/155019060700300209.
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Photographic resources are well known within museum contexts. However, these images are rarely considered in terms of how they enhance the historical value of museum objects, construct aesthetic and ethnographic meanings, and interpret museum collection practices. This paper examines the multi-media collections of Eliot Elisofon, an internationally known photographer and filmmaker who traveled in Africa from 1943-1972. The Elisofon collection at the National Museum of African Art contains both photographic materials and three-dimensional objects created and collected in the course of Elisofon's professional career. I explore the ways in which Elisofon's images have been used to illustrate objects in situ, represent cultural contexts of use and meaning, and create multiple layers of authentication for the objects (i.e., artistic, documentary, ethnographic). Attention is also given to the importance of photography as a collection practice in and of itself.
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Purnamasari, Putu Rahayu, I. Nyoman Putu Budiartha und Ni Made Puspasutari Ujianti. „Perlindungan Hukum terhadap Hak Cipta Karya Fotografi yang Digunakan tanpa Izin“. Jurnal Konstruksi Hukum 1, Nr. 1 (27.08.2020): 203–8. http://dx.doi.org/10.22225/jkh.1.1.2159.203-208.
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Photo is the result of an image taken by a camera through a photographic process carried out by a photographer and protected as one of the copyright works in the Prevailing Laws, namely the Copyright Law No. 28/2014. Violations against copyright works often occur, but there are still many photographers who do not understand or even know about copyright and the legal provisions governing and protecting it and do not register their creations with the Directorate General of IPR. So the problem that can be investigated is how the legal protection of the rights of the creator of photographic works and what legal remedies can the creator take on the work of photography that is used without permission by other people. This study aims to determine the level of legal protection for the rights of photographic creators as well as to find out the legal actions taken by the creators of photographic works that are used without the permission of others. The method used is legal research that is normative through a statutory approach as well as a conceptual approach, and the sources of legal materials used are primary and secondary legal materials with literature collection techniques which are analyzed in descriptive analytical form. Based on the results of research and analysis, it can be concluded that the copyright of photographic works is to provide protection for photo art works and to provide economic rights for the creators or copyright holders and moral rights for the creators. The route outside the court and the court route are two legal routes that can be taken in making legal remedies.
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Giannuzzi, L. A., und J. B. Bindell. „The UCF/CIRENT Materials Characterization Facility“. Microscopy and Microanalysis 4, S2 (Juli 1998): 468–69. http://dx.doi.org/10.1017/s1431927600022467.
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New state-of-the-art analytical equipment is becoming more specialized and more expensive. With the availability of federal funding decreasing over the years, it has become increasingly difficult for University laboratories to maintain and upgrade existing analytical equipment, or purchase new analytical equipment. There are also instances where large industrial laboratories may only need a particular piece of analytical equipment on a part-time basis, or where small companies cannot afford to purchase a particular technique. An obvious solution to these problems is to merge industry and university into a viable working collaboration whereby resources are shared among partners.The University of Central Florida and Cirent Semiconductor (a joint venture of Lucent Technologies and Cirrus Logic) have entered into such a collaboration with the development of the UCF/Cirent Materials Characterization facility (MCF). The MCF is a shared user facility that is available to (i) UCF and other State University System (SUS) Florida University students, faculty, and staff, and (ii) MCF industrial affiliates and others requiring specialized instrumentation and expertise.
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Ko *, H. S., und K. D. Kihm. „An extended algebraic reconstruction technique (ART) for density-gradient projections: laser speckle photographic tomography“. Experiments in Fluids 27, Nr. 6 (04.11.1999): 542–50. http://dx.doi.org/10.1007/s003480050378.
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Quaye, Francis Nii Addo, Steve Kquofi und Dickson Adom. „Building the capacity of students in creative problem-solving and critical thinking skills: Aesthetic narrative of Ayigya Township, Ghana“. Research Journal in Advanced Humanities 4, Nr. 1 (01.01.2023): 1–15. http://dx.doi.org/10.58256/rjah.v4i1.926.
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The study set out to investigate the environmental aesthetics present in habitual areas, specifically in Ayigya Township, Ashanti Region, focusing on picture-making tendencies for optimal skill development. A total of 346 respondents from various structures were specifically chosen to participate in the study using the Narrative Case Study Design under the qualitative research approach. Semi-structured interviews, observation, and photographic documentation were used for the data collection. The data were analysed using photographic documentary and qualitative narrative analysis. The findings demonstrated how dispersed aesthetic elements are in everyday life and how this appreciation would have a positive impact on the Senior High School student’s capacity for creative problem-solving and critical thinking skills. It is suggested that students develop alternative means of expressing their creativity. The study contends that art teachers must help students to use aesthetics in their environments to develop the tools and materials for their artistic productions.
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Widiastuti, Ni Made. „Photogram: The Art of Recording Shapes in Photography as Media for Enhaching Creativity in Children's Communication“. MEDIASI 2, Nr. 2 (23.08.2021): 91–99. http://dx.doi.org/10.46961/mediasi.v2i2.363.
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Photogram is a technique that produces images without using a camera as an image recording aid. However, it makes more use of sunlight and chemicals as recording materials. The photos from this photogram are in the form of a silhouette or an outline of the object being recorded. Considering the dangers of chemicals for children, using natural dyes is friendlier to them. Therefore, the process of conveying messages through photographs by children can run well. This study aims to analyze the 4P elements (Personal, Process, Press, Product) of photogram's work as an enhancer of creativity in children's communication. This study uses a descriptive qualitative approach which will elaborate the data by describing them into sentences. The technique of collecting data is in the form of observing photogram works, documenting the work and looking for references through literature study. The photographic works produced by the children will be studied in terms of creativity by describing the 4P elements. Apart from that through the photographic works produced by these children, it can be concluded that creativity arises because of one's own interaction with the environment which is then processed and supported by the people around them and the environment so that it becomes creative photogram work. It is also intended that photogram can become an alternative media in honing children's creativity in communicating with their environment.
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SHPAKOVA, Hanna, Andrii SHPAKOV, Wolodymyr KRIPAK und Vira KOLIAKOVA. „Structural and Technological Aspects of Conservation of Street Art on Buildings Damaged During the War“. International Journal of Conservation Science 15, SI (28.02.2024): 103–18. http://dx.doi.org/10.36868/ijcs.2024.si.09.
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Using the example of graffiti created by famous artists on the walls of buildings and structures damaged during hostilities in Kyiv and its suburbs, the article analyzes and summarizes the factors influencing the lifespan of street artworks. Special conditions for dismantling graffiti and changing the exposure are considered. Examples of measures taken to preserve art objects are given. The study provides recommendations for additional protection of building structures, which are the basis of murals, taking into account their condition and degree of destruction. The authors provide photographic materials and results from some of the most common objects. Also provided are constructive schemes for strengthening the building elements or their fragments and options for technological solutions for protection, preservation and further dismantling. The article also includes materials from already implemented projects: applications of street art, which were saved using these other methods and techniques.
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Marsh, Kenneth N. „Role of reference materials for the realization of physicochemical properties. Past, present, and future“. Pure and Applied Chemistry 72, Nr. 10 (01.01.2000): 1809–18. http://dx.doi.org/10.1351/pac200072101809.
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Reference materials have long been considered essential for both calibration and checking the correct operation of equipment used for the determination of physicochemical properties. Up until the 1970s, the maintenance of pure reference materials and the means to verify their properties through measurement using state-of-the-art equipment was the prerogative of many national standards laboratories. Over the last 30 years, many of the standards laboratories have either limited or eliminated their activity in maintaining both reference materials and state-of-the-art measuring equipment. One reason is the ready availability of high-purity materials from commercial sources and the ease with which one can now determine purity. A second reason is the ready availability of instruments to measure digitally fundamental quantities such as time, temperature, length, frequency, and voltage accurately has enabled chemical calibration using reference materials to be replaced in many instruments by electrical calibration. At the same time, digitization has enabled the computerization of the whole measurement process. Such automated devices, if not checked with reference materials, can give highly reproducible results but have large systematic errors, leading to poor values. The role of physicochemical reference materials in the past and the present will be outlined, and their status in the future will be explored.
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Ibenegbu, Christopher Ifeanyi, RitaDoris Ubah und Queendaline Obiajulu Ibenegbu. „Awareness and Attitudes of Art Students and Lecturers on Health Hazards Associated With Fine and Applied Arts Making in Nigeria“. Global Advances in Health and Medicine 10 (Januar 2021): 216495612199827. http://dx.doi.org/10.1177/2164956121998277.
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Background Art-making can pose significant risks to the health and safety of artists. Some art materials and equipment are hazardous. Objective This article highlights the various hazards caused by the use of these materials in art-making and actions that could be taken to prevent it. Methods We used documentary research approaches to find out and study the relevant literature sources and to analyze and synthesize the information got. Result The results showed that art students and lecturers are not aware of the health hazards of art materials they use in their art practice, and they have a nonchalant attitude towards taking appropriate health precautions in the use of these art materials. We also observed that changing the attitudes of university art students, and lecturers on the health hazards involved in art-making would require several actions. Conclusion The awareness of health hazards associated with art-making/studio practice is useful to help art students and lecturers to increase their health precautions in using art materials.
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Avetyan, N. Yu. „MATERIALS TO THE BIOGRAPHY OF THE ARTIST AND PHOTOGRAPHER HIPPOLYTE ROBILLARD“. Arts education and science 3, Nr. 32 (2022): 87–94. http://dx.doi.org/10.36871/hon.202203010.
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This article presents new facts on the biography of Hippolyte Robillard, talented French artist and distinguished photographer. The sources include information from periodicals and art reference books, materials from museum and archival collections. A special role in the study of Robillard's biography is played by his archive, stored in the Russian State Archive of Literature and Art (Moscow), which revealed previously unknown facts about the life and work of the French master. The article examines the little-known period in Robillard's oeuvre in the 1840s–1850s, when he worked first as a lithographer and then as a pastelist. The author introduces previously unknown archival materials related to the activities of the French master's photographic studio and his social activities and analyzes the reasons for its rapid decline and liquidation, and provides arguments in favor of a new estimated date of Robillard's death. The main task of the article is to reconstruct the general direction of the artist's creative path, about which little was known until now. Domestic research on the history of light painting rarely mentions Robillard's name, which seems unfair and can be explained by insufficient study of his life and work. Thus, the relevance of studying the legacy of Robillard, deservedly one of the leading masters of photography of the 1860s, becomes evident.
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Ramkumar, Bharath, und Rebecca M. Dias. „Sustaining traditional textile art among the Indigenous Nongtluh women of north-eastern India: An interpretative phenomenological analysis“. Fashion, Style & Popular Culture 00, Nr. 00 (30.03.2021): 1–28. http://dx.doi.org/10.1386/fspc_00075_1.
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Indigenous textile artisans have, for centuries, maintained traditional methods of textile making that is central to their livelihood and cultural identity. However, the increasing commodification of indigenous textiles around the world has threatened the preservation of traditional, eco-friendly methods of textile production, making it imperative to learn how indigenous groups that have successfully sustained their traditional textile art, have done so. This ethnographic study peers through the lens of indigenous Nongtluh women textile artisans belonging to the Ri-Bhoi district in the state of Meghalaya in the north-eastern region of India, with the aim of understanding how their traditional textile art has been sustained. An interpretative phenomenological analysis (IPA) of in-depth interview, focus group, field observation and photographic data uncovered two overarching themes that represented internal and external factors that have contributed to the sustenance of the Nongtluh women’s traditional textile art. Internal factors signified the artisans’ deep love for their textile art through inheritance, passion, ingenuity and pride. External factors revealed the role of government, economic prospect and convenience in the sustenance of the traditional textile art in this region. An interpretive framework is presented, representing these factors through the tree of sustenance. Implications and limitations are discussed.
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de Menezes, Marcio, Riccardo Rosati, Cristina Allievi und Chiarella Sforza. „A Photographic System for the Three-Dimensional Study of Facial Morphology“. Angle Orthodontist 79, Nr. 6 (01.11.2009): 1070–77. http://dx.doi.org/10.2319/111008-570.
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Abstract Objectives: To test whether digital photographs supported by three-dimensional (3D) software are suitable for measuring the facial soft tissues of healthy subjects as compared with data obtained by a certified 3D computerized electromagnetic digitizer. Materials and Methods: Three-dimensional soft tissue facial landmarks were obtained from the faces of 15 healthy young adults, using a 3D computerized electromagnetic digitizer and a new low-cost photogrammetry system. Twelve linear and 18 angular measurements were computed. Errors between methods and repeatability of the new method were calculated. Results: Systematic errors between methods were found for only two distances and three angles (paired t-test, P < .05). The mean absolute differences between methods were always lower than 3 mm and 3 degrees. Repeated digitization of photographs showed that the method was repeatable (no systematic differences; random errors lower than 1.6 mm and 3 degrees). Repeated sets of photographs showed random errors of up to 5.3 mm and 5.6 degrees, without systematic biases. Conclusion: The 3D photogrammetry system can provide reliable facial measurements. The method is relatively fast and requires only inexpensive equipment. It is simple to use for private practice, research, or other practice.
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of Nanomaterials, Journal. „Retracted: Application Value Analysis of Nanooptical Materials in Martial Art Single-Kick Protective Equipment“. Journal of Nanomaterials 2023 (19.07.2023): 1. http://dx.doi.org/10.1155/2023/9869153.
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Kenik, Edward A., und Karren L. More. „SHaRE: Collaborative materials science research“. Proceedings, annual meeting, Electron Microscopy Society of America 46 (1988): 804–5. http://dx.doi.org/10.1017/s0424820100106089.
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The Shared Research Equipment (SHaRE) Program provides access to the wide range of advanced equipment and techniques available in the Metals and Ceramics Division of ORNL to researchers from universities, industry, and other national laboratories. All SHaRE projects are collaborative in nature and address materials science problems in areas of mutual interest to the internal and external collaborators. While all facilities in the Metals and Ceramics Division are available under SHaRE, there is a strong emphasis on analytical electron microscopy (AEM), based on state-of-the-art facilities, techniques, and recognized expertise in the Division. The microscopy facilities include four analytical electron microscopes (one 300 kV, one 200 kV, and two 120 kV instruments), a conventional transmission electron microscope with a low field polepiece for examination of ferromagnetic materials, a high voltage (1 MV) electron microscope with a number of in situ capabilities, and a variety of EM support facilities. An atom probe field-ion microscope provides microstructural and elemental characterization at atomic resolution.
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Chan, S. S., R. W. McCreight, J. D. Walstad und T. A. Spies. „Evaluating Forest Vegetative Cover with Computerized Analysis of Fisheye Photographs“. Forest Science 32, Nr. 4 (01.12.1986): 1085–91. http://dx.doi.org/10.1093/forestscience/32.4.1085.
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Abstract A versatile, computerized system for expediting analysis of fisheye photos of forest and shrub canopy conditions was developed and refined. The materials necessary for taking and analyzing fisheye photos are readily available and the methods easily learned. Although the equipment required (camera, fisheye lens, microcomputer, and related accessories) has a relatively high fixed cost, the efficiency and accuracy gained may justify implementing the system, particularly if large numbers of photos must be processed. Computerized fisheye photographic analysis is a practical tool for assessing and documenting forest vegetative cover and its implications for the radiation environment of understory plants. Forest Sci. 32:1085-1091.