Dissertationen zum Thema „Photographic techniques“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Dissertationen für die Forschung zum Thema "Photographic techniques" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Dissertationen für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
Phillips, Carlos. „Photographic transformations and greyscale pictures“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101163.
Der volle Inhalt der QuelleThe presented algorithm used properties of best-fit planes to represent a photograph. There are many other possibilities for measurements which would fit this framework. Further, the representation of photographs presented in this thesis could be combined with existing computer vision algorithms for such tasks as object recognition within photographs for which we do not know the development process.
Carstens, Andries Theunis. „Digitising photographic negatives and prints for preservation“. Thesis, Cape Peninsula University of Technology, 2013. http://hdl.handle.net/20.500.11838/1355.
Der volle Inhalt der QuelleThis study deals with the pitfalls and standards associated with the digitisation of photographic artefacts in formal collections. The popularity of the digital medium caused a rapid increase in the demand for converting images into digital files. The need for equipment capable of executing the task successfully, the pressure on collection managers to display their collections to the world and the demand for knowledge needed by managers and operators created pressure to perform optimally and often in great haste. As a result of the rush to create digital image files to be displayed and to be preserved, the decisions that are being made may be questionable. The best choice of file formats for longevity, setting and maintaining standards to guarantee quality digital files and consultation with experts in the field of digitisation as well as attention to best practices are important aspects which must be considered. In order to determine the state of affairs in countries with an advanced knowledge and experience in the field of digitisation, a comprehensive literature study was done. It was found that enough information exists to enable collection managers in South Africa to make well informed decisions to ensure a high quality of digital collection. By means of questionnaires, a survey was undertaken amongst selected Western Cape image preservation institutions to determine the level of knowledge of the managers who are required to make informed decisions. The questionnaire was designed to give insight into choices being made regarding the technical quality, workflow and best practice aspects of digitisation. Comparing the outcome of the questionnaires with best practices and recommended standards in countries with an advanced level of experience it was found that not enough of this experience and knowledge is used by local collection managers although readily available. In some cases standards are disregarded completely. The study also investigated by means of questionnaires the perception of the digital preservation of image files by fulltime photographic students and volunteer members of the Photographic Society of South Africa. It was found that uncertainty exist within both groups with regard to file longevity and access to files in five to ten year's time. Digitisation standards are set and maintained by the use of specially designed targets which enable digitising managers to maintain control over the quality of the digital content as well as monitoring of equipment performance. The use of these targets to set standards were investigated and found to be an accurate and easy method of maintaining control over the standard and quality of digital files. Suppliers of digitising equipment very often market their equipment as being of a high quality and being able to fulfil the required digitisation tasks. Testing selected digitising equipment by means of specially designed targets proved however that potential buyers of equipment in the high cost range should be very cautious about suppliers' claims without proof of performance. Using targets to verify performance should be a routine check before any purchase. The study concludes with recommendations of implementing standards and it points to potential future research.
Santa, Clara Miguel Eduardo. „The application of digital photographic technologies to lighting research“. Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609406.
Der volle Inhalt der QuelleHeiss, Detlef Guntram. „Calibrating the photographic reproduction of colour digital images“. Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/24680.
Der volle Inhalt der QuelleScience, Faculty of
Computer Science, Department of
Graduate
Cedillos, Elizabeth M. „Use of Intelligent Tutor Dialogues on Photographic Techniques: Explanation versus Argumentation“. Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1386087498.
Der volle Inhalt der QuellePolignano, Sergio. „Do sensivel a significação : uma poetica da fotografia“. [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284754.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T06:14:51Z (GMT). No. of bitstreams: 1 Polignano_Sergio_M.pdf: 19138121 bytes, checksum: a2a1fa7467459819c2d2f07679e2acbd (MD5) Previous issue date: 2006
Resumo: Este trabalho propõe uma abordagem conceitual, dos diversos conteúdos da imagem fotográfica, a sua leitura e decodificação, que vai da sensibilidade aos significados. Apresenta uma proposta de análise que busca justificar e demonstrar a condição da poética (Arte) da fotografia. Nesse sentido, mostra o que de incomum pode deter o olhar que eterniza e o olhar que ressuscita, dando um real valor às imagens fotográficas, sejam elas quais forem e mostrem o que de mais importante possam mostrar, mantendo as informações ao longo do tempo. Desse modo, busca contribuir para uma melhor compreensão da época em que as fotografias foram feitas, dos cenários que as mesmas registram, de seus contextos, assim como das implicações e relações que tenham com as formas de expressão diferenciadas, que chamamos: Arte
Abstract: This work proposes an conceptual approach to the various contents of photographic image, its interpretation, and decoding, which goes from sensibility to signification; it brings a proposal for an analysis that can effectively justify and demonstrate the condition of poetry (art) of photography, showing which of its uncommon aspects can capture the point of view that makes it eternal and the point of view that resuscitates it, bringing the real value to photographic images, being them whatever they are, showing whatever most important subject they can hold, maintaining their image content throughout time, and serving for a better understanding of the time in which photographs were taken, their scenarios, contexts, implications, and relationships that they have with the different forms of expression that we cal!: Art
Mestrado
Mestre em Artes
Hardesty, Rudd Matthew. „Development of sensitometric techniques for the characterization of stereolitographic resins /“. Online version of thesis, 1994. http://hdl.handle.net/1850/11735.
Der volle Inhalt der QuelleSparrow, Ryan J. „Photographic disconnect : examining the divide between newspaper photographers and designers on the matter of digital alteration of photographs on the front page“. Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391238.
Der volle Inhalt der QuelleDepartment of Journalism
McQuade, Patrick John Art College of Fine Arts UNSW. „Visualising the invisible :articulating the inherent features of the digital image“. Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43307.
Der volle Inhalt der QuelleGavard, Sandra. „Photo-graft : a critical analysis of image manipulation“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/MQ54990.pdf.
Der volle Inhalt der QuelleAllan, Christopher. „An analysis of digital photojournalistic practices: a study of the Sowetan's photographic department“. Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1003071.
Der volle Inhalt der QuelleKnight, S. J. „Separation and identification of RA2000 photographic developing solution components using LC, LC-MS and LC-MS-MS techniques“. Thesis, Swansea University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.637812.
Der volle Inhalt der QuelleVan, der Westhuizen Christo Carel. „Efficient registration of limited field of view ocular fundus imagery“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85633.
Der volle Inhalt der QuelleENGLISH ABSTRACT: Diabetic- and hypertensive retinopathy are two common causes of blindness that can be prevented by managing the underlying conditions. Patients suffering from these conditions are encouraged to undergo regular examinations to monitor the retina for signs of deterioration. For these routine examinations an ophthalmoscope is used. An ophthalmoscope is a relatively inexpensive device that allows an examiner to directly observe the ocular fundus (the interior back wall of the eye that contains the retina). These devices are analog and do not allow the capture of digital imagery. Fundus cameras, on the other hand, are larger devices that o er high quality digital images. They do, however, come at an increased cost and are not practical for use in the eld. In this thesis the design and implementation of a system that digitises imagery from an ophthalmoscope is discussed. The main focus is the development of software algorithms to increase the quality of the images to yield results of a quality closer to that of a fundus camera. The aim is not to match the capabilities of a fundus camera, but rather to o er a cost-e ective alternative that delivers su cient quality for use in conducting routine monitoring of the aforementioned conditions. For the digitisation the camera of a mobile phone is proposed. The camera is attached to an ophthalmoscope to record a video of an examination. Software algorithms are then developed to parse the video frames and combine those that are of better quality. For the parsing a method of rapidly selecting valid frames based on colour thresholding and spatial ltering techniques are developed. Registration is the process of determining how the selected frames t together. Spatial cross-correlation is used to register the frames. Only translational transformations are assumed between frames and the designed algorithms focuses on estimating this relative translation in a large set of frames. Methods of optimising these operations are also developed. For the combination of the frames, averaging is used to form a composite image. The results obtained are in the form of enhanced grayscale images of the fundus. These images do not match those captured with fundus cameras in terms of quality, but do show a signi cant increase when compared to the individual frames that they consists of. Collectively a set of video frames can cover a larger region of the fundus than what they do individually. By combining these frames an e ective increase in the eld of view is obtained. Due to low light exposure, the individual frames also contain signi cant noise. In the results the noise is reduced through the averaging of several frames that overlap at the same location.
AFRIKAANSE OPSOMMING: Diabetiese- en hipertensiewe retinopatie is twee algemene oorsake van blindheid wat deur middel van die behandeling van die onderliggende oorsake voorkom kan word. Pasiënte met hierdie toestande word aangemoedig om gereeld ondersoeke te ondergaan om die toestand van die retina te monitor. 'n Oftalmoskoop word gebruik vir hierdie roetine ondersoeke. 'n Oftalmoskoop is 'n relatiewe goedkoop, analoë toestel wat 'n praktisyn toelaat om die agterste interne wand van die oog the ondersoek waar die retina geleë is. Fundus kameras, aan die ander kant, is groter toestelle wat digitale beelde van 'n hoë gehalte kan neem. Dit kos egter aansienlik meer en is dus nie geskik vir gebruik in die veld nie. In hierdie tesis word die ontwerp en implementering van 'n stelsel wat beelde digitaliseer vanaf 'n oftalmoskoop ondersoek. Die fokus is op die ontwikkeling van sagteware algoritmes om die gehalte van die beelde te verhoog. Die doel is nie om die vermoëns van 'n fundus kamera te ewenaar nie, maar eerder om 'n koste-e ektiewe alternatief te lewer wat voldoende is vir gebruik in die veld tydens die roetine monitering van die bogenoemde toestande. 'n Selfoonkamera word vir die digitaliserings proses voorgestel. Die kamera word aan 'n oftalmoskoop geheg om 'n video van 'n ondersoek af te neem. Sagteware algoritmes word dan ontwikkel om die videos te ontleed en om videogrepe van goeie kwaliteit te selekteer en te kombineer. Vir die aanvanklike ontleding van die videos word kleurband drempel tegnieke voorgestel. Registrasie is die proses waarin die gekose rame bymekaar gepas word. Direkte kruiskorrelasie tegnieke word gebruik om die videogrepe te registreer. Daar word aanvaar dat die videogrepe slegs translasie tussen hulle het en die voorgestelde registrasie metodes fokus op die beraming van die relatiewe translasie van 'n groot versameling videogrepe. Vir die kombinering van die grepe, word 'n gemiddeld gebruik om 'n saamgestelde beeld te vorm. Die resultate wat verkry word, word in die vorm van verbeterde gryskleur beelde van die fundus ten toon gestel. Hierdie beelde is nie gelykstaande aan die kwaliteit van beelde wat deur 'n fundus kamera geneem is nie. Hulle toon wel 'n beduidende verbetering teenoor individuele videogrepe. Deur dat 'n groot versameling videogrepe wat gesamentlik 'n groter area van die fundus dek gekombineer word, word 'n e ektiewe verhoging van data in die area van die saamgestelde beeld verkry. As gevolg van lae lig blootstelling van die individuele grepe bevat hul beduidende ruis. In die saamgestelde beelde is die ruis aansienlik minder as gevolg van 'n groter hoeveelheid data wat gekombineer is om sodoende die ruis uit te sluit.
Suen, Tsz-yin Simon, und 孫子彥. „Curvature domain stitching of digital photographs“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38800901.
Der volle Inhalt der QuelleSéguy, François. „Le sens et l'origine du vocabulaire technique en photographie dans les ouvrages techniques de langue française traitant de photographie, publiés entre 1840 et 1922“. Toulouse 2, 1998. http://www.theses.fr/1998TOU20034.
Der volle Inhalt der QuelleThe aim of this thesis is to compile the first French semantic dictionary of the technical vocabulary of photography, based on the most significant works published during that period. The first part of the thesis is a recapitulation of all information necessary to assess the position of photography at the time: its history, its evolution up to 1922, its function in the graphic and photomechanical industry, its contribution to science, art and communication. A section is devoted to the 19th-century knowledge of physics, optics and chromatics. The analysis examines how this vocabulary borrowed from and contributed to the grammar and language of other techniques and professions. The second part, comprising 5,992 entries, is the actual dictionary, in which are defined all expressions, words and terms used in the publications. Our aim has been to characterize in detail all words and expressions beginning to assume a specific meaning in an evolving professional vocabulary. As the entries are essentially studied in their context, the complete quotes and their dated sources are included. In each case, the word in the references, given in the alphabetical order, was used in the common language or in a specifically photographic sense. The entries have been composed with the objective of observing, defining or establishing - the words or groups of words in the technical vocabulary and the newly created terminology which have assumed a specific meaning, sometimes in an originally polysemic situation; - the technical or cultural origin of the words or groups of words in the technical vocabulary, the way they were invented or devised through a twisting of the sense; - the use of new roots and the formation of new terminological groups; - the emergence, evolution, establishing or disappearance of words or groups of words in the terminology of photography
Wolin, Martin Michael. „Digital high school photography curriculum“. CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2414.
Der volle Inhalt der QuelleGlen, Gregory D. „High-Speed Photography Using Television Techniques“. International Foundation for Telemetering, 1995. http://hdl.handle.net/10150/611602.
Der volle Inhalt der QuelleThere are many applications for High-speed photography, and most rely on film as the primary medium of data acquisition. One such application of interest to the military services is the study of stores separation from aircraft. This type of testing has traditionally used high-speed film to gather data, however, there are many disadvantages to using film, such as the high cost of raw film, as well as the high processing expense after it has been exposed. In addition, there is no way to review data from film until it has been processed, nor is there any way to preview in real-time other conditions such as lighting which may affect the outcome of a test event. This paper discusses the characteristics of television systems with respect to motion picture systems, the challenges of recording and transmitting pictures, as well as the nature of what the first and eventual desired systems might be.
Garza-Meza, Laura Elizabeth. „Photography as a spiritual technique“. Thesis, Pepperdine University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3558387.
Der volle Inhalt der QuelleThe purpose of this study is to compare the spiritual benefits of practicing photography to the spiritual benefits of practicing prayer, meditation and yoga. Benefits noted were divided into the 4 dimensions of being human: physical, emotional, intellectual, and spiritual. The study considers Mexican leaders' perceptions of photography as a spiritual practice. A total of 105 Mexican leaders answered surveys. Of the 105 leaders, 14 were professors, 30 were entrepreneurs, 46 were business executives and 15 were students and homemakers (listed as "other") varying in ages from 21 to over 61.
The design of this study is descriptive, while the study was quantitative in nature. In preparation for the study, the researcher gathered qualitative information regarding the benefits observed as leaders practice photography. These descriptive answers were then used to create the quantitative surveys for the study.
The data demonstrated that photography can be considered a spiritual technique. First, the spiritual benefits shown from practicing photography mirror, to a large degree, the spiritual benefits reported for practicing prayer, meditation, and yoga. The literature also supports the reported similarities; however, participants do not consciously recognize these benefits. Second, the 4 dimensions of being human (physical, intellectual, emotional, and spiritual) are divided into 5 factors: (a) physical well-being and better decision-making, (b) optimism in life, (c) interrelation with the environment and intellectual development, (d) relaxing, and (e) spiritual growth.
Vioix, Jean-Baptiste. „Conception et réalisation d'un dispositif d'imagerie multispectrale embarqué : du capteur aux traitements pour la détection d'adventices“. Dijon, 2004. http://www.theses.fr/2004DIJOS022.
Der volle Inhalt der QuelleWeed detection is one of the most important issues for a non-polluting and productive agriculture. In this PhD we present a new method based on aerial images acquired with a remote controlled aircraft. We use a multispectral image sensor based on a CCD camera and a wheel of filters. This sensor is compact enough to be shipped in a remote controlled aircraft. An image mosaicing is done in order to be able to use spectrometric information. Later, spectral information is used to establish three classes : soil, crops and weeds. Classification is split in two steps. First, a non-supervised algorithm allows the separation between soil and plants. Second, supervised methods are used to distinguish crops and weeds. These various algorithms are compared to each other. A crop row detection method based on Gabor filter is developed. This information allows weeds/crop separation regardless of their spectral characteristics. An original method for computing time acceleration based on wavelet packets is detailed. These two methods having different error sources, we suggest to merge them using a Bayesian approach. Finally, a region growing algorithm achieves the classification. Experimental results obtained in test fields are provided to assess the quality of the classification
Jones, Gawain. „Modélisation d'images agronomiques : application à la reconnaissance d'adventices par imagerie pour une pulvérisation localisée“. Dijon, 2009. http://www.theses.fr/2009DIJOS035.
Der volle Inhalt der QuellePlant (crop and weed) identification is a very active field of research in agriculture since the reinforcement of European laws about pesticide applications for a site-specific management of spraying practices. A new crop/weed simulation model was developed to allow the evaluation of crop/weed spatial identification methods from imaging. Considering multiples agronomic parameters – crop location, weed infestation rate, weed spatial distribution – the first step of this model allows the simulation of an infested crop field. Then, in a second step, a world to camera transformation is applied to allow every kind of picture (with or without perspective effect). The validation of this model was performed using statistical tests comparing a real image to its homologous virtual one. New crop/weed discrimination algorithms based on the Hough Transform to detect crop rows were also developed. Three methods, using the crop row information and based on a blob-coloring, an edge estimation or a probabilistic classification were exhaustively tested using this model. Results show very good performance of these methods with correct average classification rate of 90% and up to 98% under special conditions. A spectral approach was also explored for the model in order to overcome the limitations imposed by spatial algorithms. Crop and weed plant patterns are now in 3D to allow the calculation of the bidirectional reflectance (BRDF) of plants and soil based on PROSPECT and SOILSPECT models. We also discussed the transformation of a reflectance spectrum into a RGB color, the simulation of optical filter effects and the creation of multispectral images
Calderón, Natalia. „Technologie de l'appareil photographique en Amérique latine : entre prise de vue et prise de pouvoir“. Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080041.
Der volle Inhalt der QuelleThe arrival of the photographic apparatus in nineteenth century Latin America must be considered as a technopolitical issue, and not only as the advent of a new form of representation that adds up to the old types of images already present in the New Continent. On the contrary, we consider that the apparatus’ inherent mode of functioning, as a maker of technical images, modified the way of perceiving and considering the event. In order to give an account of this “change in the means of perception” as Walter Benjamin stated, we will first of all tackle the issue of the apparatus itself. We will try to understand the mo-de of functioning inherent to the photographic apparatus, its means of emergence, and the theoreti-cal context from which it buds, this is, the discussions around automatism in the frame of techni-que, but also in the frame of physiology theories that tried to render account of psychic automa-tism. Once this issue is set, we will address the question of the photographic apparatus’ situation in the Latin American context. Thus, we will consider the apparatus as the starting point, in order to reflect later upon the consequences of its insertion into a context that is completely foreign to its means of emergence. We will thus approach the photographic images produced in nineteenth century Latin Ame-rica from the standpoint of the apparatus, since this is the one that made the various photographic uses and practices possible. It is its functioning mode which will have transformed perception, establishing, at the same time, a new temporality: the one of reproducibility
Dudragne, Julie. „Desseins polymorphes, une approche poétique de la lumière : dessiner la lumière“. Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010565.
Der volle Inhalt der QuelleThe narrative outline of a practice is sometimes sketched by the presence of a simple letter, like a humble dot can reveal the existence of a line.The "e" appears again in the drawing, adorns it with a multiplicity of meanings, giving it the weight never acquired of an autonomous sketch. (There is distinction in French language between the words "dessein" and "dessin" which one I play). At a time of heightened technical reproducibility and through a phenomenon - drawing the Light - the ambition and its tradition question themselves.The Drawing, on a sinuous path, crosses some excessive borders/frontiers, announcing his "transversality". The movement immanent to the material used and the hybridization as an intrinsic concept of the actual creative process, always at the service of the graphic element, will push the Drawing in many directions within and across disciplines - inviting origins, ideas, technical concepts and processes - but also physical. The light produced by the graphic experience, movements between visible and invisible, can be found not only in the sign but also in the photographic index and questions our perception.The research forn brightness and contrast in shades, often with black and white tons, gives an infinite range of potential variations to the creative/esthetic space/arena. This exhaustive potential is threatened by the ultimate act of creativity : the choice, shaping the spatial dispositions of light into multiple graphic compositions.Despite certain technical processes and their evolution, play, phantasy and light phenomenon' poetics protecting the Drawing' secret : an intimate characteristic in which onirism, as a wayto resist, appears. Working with light today - in a secret of a blind act, blinded, blinding - questions the Authenticity as a concept, creating an uneasy relationship to the aura, always between appearance and disappearance facing its previously announced loss
Barboza, Pierre. „La parenthèse indicielle dans l'image, de la reproduction chimique et électronique à la représentation numérique“. Paris 8, 1994. http://www.theses.fr/1994PA080925.
Der volle Inhalt der QuelleThis work is focused on a period in the history of images, that was unloked by photography and is caracterized by trend toward an exact reproduction of reality using technical inscribing methods that can be termed indexical. Consequently, the ways in which technical systems of chemical, electronic and numerical images have been shaped and developed, are at the heart of this subject. "backward chaining" initiated the issues that guided this work. We hav examined more particularly the reasoning behing the progressive transformation of the basic principal underlying the photographic and electronic images system numerisation, and its consequences on the indexical status of the image
Laffont, Pierre-Yves. „Intrinsic image decomposition from multiple photographs“. Nice, 2012. http://www.theses.fr/2012NICE4060.
Der volle Inhalt der QuelleEditing materials and lighting is a common image manipulation task that requires significant expertise to achieve plausible results. Each pixel aggregates the effect of both material and lighting, therefore standard color manipulations are likely to affect both components. Intrinsic image decomposition separates a photograph into independent layers : reflectance, which represents the color of the materials, and illumination, which encodes the effect of lighting at each pixel. In this thesis, we tackle this ill-posed problem by leveraging additional information provided by multiple photographs of the scene. We combine image-guided algorithms with sparse 3D information reconstructed from multi-view stereo, in order to constrain the decomposition. We first present an approach to decompose images of outdoor scenes, using photographs captured at a single time of day. This method not only separates reflectance from illumination, but also decomposes the illumination into sun, sky and indirect layers. We then develop a new method to extract lighting information about a scene only from a few images, thus simplifying the capture and calibration steps of our intrinsic decomposition. In the third part of this thesis, we focus on image collections gathered from photo-sharing websites or captured with a moving light source. We exploit the variations of lighting to process complex scenes without user assistance, not precise and complete geometry. The method described in this thesis enable advanced image manipulations such as lighting-aware editing, insertion of virtual objects, and image-based illumination transfer between photographs of a collection
Romedenne, Jean. „Nouvelles techniques iconiques et publicité“. Paris 7, 1995. http://www.theses.fr/1995PA070027.
Der volle Inhalt der QuelleNew iconic technics present techno-esthetic polymorphism, stylistic diversity; bulimic thematics, multi-functionality, and reveal new precision and interactivity
Giloi, Susan Louise. „Effective application of digital printing techniques for fine artists in the South African context“. Thesis, Port Elizabeth Technikon, 1999. http://hdl.handle.net/10948/15.
Der volle Inhalt der QuelleGrativol, Kariny. „Viajante incansável: trajetória e obra fotográfica de Theodor Preising“. Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-18032012-130233/.
Der volle Inhalt der QuelleThis dissertation discusses Theodor Preisings trajectory and photographic work at Brasil. The photographer has covered considerable area of national territory taking views to postcards and registering trips of Touring Clube do Brasil affiliations. He has still worked to S.Paulo magazine, and joined the staffs of Departamento de Imprensa e Propaganda de São Paulo, contributing to the development of the countrys image in the official publications in Brazil and overseas. Between these publications was: the Brasil Novo newspaper, the Travel in Brazil magazine, reports of the Agência Nacional and two touristic papers. This work proposes to demonstrate Preisings versatility and the extent of his work. By analyzing Preisings work, since 1923 to 1948, we can understand the transformation of his technique, witch exemplifies the metamorphosis of the society.
Delvert, Francis. „La construction par l'image photographique de connaissances scientifiques et techniques sur des phénomènes survenant dans des situations extrêmes“. Paris 10, 2006. http://www.theses.fr/2006PA100043.
Der volle Inhalt der QuelleThe History allows identifying contributions to the Science and the Technology of the image. The process of "Déconstruction has opened possibilities to creation of image modem process able to have applications in extreme situations. The theorisation of "Déconstruction" is the substratum of creations on the artistic, intellectuals and more "physical" panels in areas of maritime, terrestrial, aerial and space extreme situations. An inventory of these contributions to the benefit of structures coming from scientific organisms to special units cornes before the presentation of a major example of creative Déconstruction : The "Velocigraphe II" which realised first image shootings in space within total autarky. Finally, the "Francis Delvert Time Bar", real bridge between the "non digital" and the "digital" spaces, through which emerges an multidirectional and interactive original idea established in order to improve the image or the communication and the communication of the image in the area of its history and the history of the photography
Landry, Brian Michael. „Storytelling for digital photographs supporting the practice, understanding the benefit /“. Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/31805.
Der volle Inhalt der QuelleCommittee Chair: Guzdial, Mark; Committee Member: Abowd, Gregory; Committee Member: Mynatt, Elizabeth; Committee Member: Smith, Michael; Committee Member: Thomas, John. Part of the SMARTech Electronic Thesis and Dissertation Collection.
Pedroso, Anderson Antonio. „Vilém flusser : de la philosophie de la photographie à l’univers des images techniques“. Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL103.
Der volle Inhalt der QuelleThe thought of Vilém Flusser (1920-1991) has given rise to an abundant critical bibliography on his contributions in the field of communication, where his wager on a "new imagination" brings together art, science and technology, under the aegis of his philosophy of photography. The archaeology of his thought, proposed here, is constructed alongside this disciplinary underpinning of his work in the theories of communication and media: it involves the notion of art that Flusser developed during his career, in order to grasp the deployment of this artistic dimension, its status and its contours, in his thought. Flusser's notion of art is inseparably linked to history: the traumatic experience of exile becames central in his critical thinking regarding all totalitarianism. The practices and knowledge that underpin his relationship to the world and guide the development of his conception are worked on by a Kulturgeschichte, seen from the perspective of a "post-history". But there is, in particular, a playful thinking of the game, where the objective is less to play within the established rules than to thwart the rules, to "play to change the game". In other words, it is a radically dialogical and polyphonic way of thinking, whose Kommunikologie, shaped as metatheory, directs the development of Flusser's work. His historical trajectory and the knowledge associated with it contribute to the construction of a cybernetic way of thinking that sketches the fundamental lines of a Kunstwissenschaft, in which he proposes a kind of iconoclasm without giving up images
Martin-Rainaud, Claude. „Dans le regard de la chambre“. Thesis, Avignon, 2015. http://www.theses.fr/2015AVIG1143/document.
Der volle Inhalt der QuelleThrough a hole, the inverted image of what is outside, is projected inside a dark room. This phenomenon,constantly at work in naturally sombre closed spaces, in the eyes of humans and most animals, occasionallyinside habitations, is also the optical principle that made photography and motion pictures possible. This opticalproblem was observed and described for the first time in Europe by Aristotle in his Problemata. Then, over thecenturies, this “camera obscura phenomenon” was studied and used to measure time and space, makeastronomical observations and experiments, produce images or theatrical performances. In the last few decades,science has demonstrated that for matter to come to life, breed and evolve, it has gradually taken hold of thisphenomenon produced by light. Through vision it plays a fundamental role in our intimate perception of theworld and our self-consciousness. However, few academic studies address its natural, technical as well asaesthetic characteristics. This research will try to bring forth a global coherence in this field. The method that weuse is founded on our artistic practice of the photographic capture of the images as they appear inside thecamera obscura. In addition, this practice is also based on an analytical approach founded on a range ofphilosophical, scientific and fictional sources including poetry and movies. We follow through these documentsthe genesis of the technical objects related to the camera obscura phenomenon. Then, our research focuses onsome artists alleged to have, or have actually utilized "optical" devices to perform their works of arts since thefifteenth century. We conclude with the approach and practice of some contemporary photographers committedto photographing the camera obscura phenomenon, whose works of arts open new perspectives forphotographic art, yet still refer to fundamental questions about art
Meintjes, Anthony Arthur. „"From digital to darkroom"“. Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1007418.
Der volle Inhalt der QuelleSt, George Julia. „Visual codes of secrecy photography of death and projective identification /“. Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060608.143049/index.html.
Der volle Inhalt der QuellePrentice, Helen Jane. „Development of stereoscopic speckle photography techniques for studies of dynamic plate deformation“. Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614341.
Der volle Inhalt der QuelleAbebe, Mekides Assefa. „Perceptual content and tone adaptation for HDR display technologies“. Thesis, Poitiers, 2016. http://www.theses.fr/2016POIT2285/document.
Der volle Inhalt der QuelleCamera and display technologies have greatly advanced in their capacities of reproducing color, dynamic range and details of real scenes in recent years. New and powerful high dynamic range (HDR) camera and display technologies are currently available in the market and, recently, these new HDR technologies offer higher flexibility to content creators, allowing them to produce a more precise representation of real world scenes.At the same time, limitations of conventional camera and display technologies mean that there is a significant gap in terms of content and color appearance reproduction between new and existing technologies. These mismatches lead to an increased demand for appearance studies and algorithms which take such under consideration and help content creators to perform accurate cross-media reproductions.In this thesis we mainly considered the adaptation and reproduction of standard dynamic range content towards HDR displays. First, existing color appearance models and reverse tone mapping operators were subjectively studied for their color fidelity during dynamic range expansion of legacy contents. Then perceptual lightness, chroma and saturation attributes were analyzed for emissive stimuli with higher range of luminance levels using adapted psycho-visual experimental setups based on the partition scaling method. The experimental results lead to a new, more efficient and accurate HDR color space, specifically optimized for dynamic range adaptation applications. Finally, to recover lost details and enhance the visual quality of legacy content before visualizing on an HDR display, two methods for color-clipping and over-exposure correction were introduced. The models and algorithms presented, were evaluated relative to HDR ground truth content, showing that our results are closer to the real scene than can be achieved with previous methods
Pieuchard, Marion. „La photographie et l'automatisme : histoire d'une utopie du Photomaton au procédé Polaroïd“. Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010746.
Der volle Inhalt der QuelleThis work present the history of automatism. A technical, artistical history of automatic photography. In this project we shows how the pionneer of photography imagined photographic devices and then, the first automatic machine. Later two forms of automatisms rises from the inventor's imagination : an absolute and a partial one. In this work we studied the absolute form because it connect two unique devices, alone in the history : Photomaton and Polaroïd. At least we discover the history of these two automatic device and image related to the absolute automatism, their photography legacy and the contemporary history
Walton, Shireen Marion. „Camera Iranica : popular digital photography in/of Iran“. Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:7f6516bf-64c6-4551-b58c-08e42915183f.
Der volle Inhalt der QuelleWolf, Pierre. „La photographie en pratique medicale courante : conception theorique, historique, technique, mise en oeuvre“. Université Louis Pasteur (Strasbourg) (1971-2008), 1985. http://www.theses.fr/1985STR1M003.
Der volle Inhalt der QuelleIngersoll, Justin E. „A regularization technique for the analysis of photographic data used in chemical release wind measurements“. Connect to this title online, 2008. http://etd.lib.clemson.edu/documents/1219854940/.
Der volle Inhalt der QuelleHuang, Ben. „Removing Textured Artifacts from Digital Photos Using Spatial Frequency Filtering“. PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/148.
Der volle Inhalt der QuelleThorn, James E. „Development of editing and transforming methods & techniques for visual communication /“. View abstract, 2000. http://library.ctstateu.edu/ccsu%5Ftheses/1609.html.
Der volle Inhalt der QuelleThesis advisor: John Larkin. [In partial fulfillment of the requirements for the degree of Master of Science in Technology Education.]. Includes bibliographical references.
Montesinos, Philippe. „Une méthodologie en vue de l'interprétation automatique d'images aériennes : application à la détection des bâtiments“. Nice, 1990. http://www.theses.fr/1990NICE4378.
Der volle Inhalt der QuelleBarbeito, António. „Orientação de fotografia aérea por ajuste de entidades lineares“. Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Ciências, 2000. http://dited.bn.pt:80/29283.
Der volle Inhalt der QuelleSmoaca, Andreea. „ID Photograph hashing : a global approach“. Thesis, Saint-Etienne, 2011. http://www.theses.fr/2011STET4034/document.
Der volle Inhalt der QuelleThis thesis addresses the question of the authenticity of identity photographs, part of the documents required in controlled access. Since sophisticated means of reproduction are publicly available, new methods / techniques should prevent tampering and unauthorized reproduction of the photograph. This thesis proposes a hashing method for the authentication of the identity photographs, robust to print-and-scan. This study focuses also on the effects of digitization at hash level. The developed algorithm performs a dimension reduction, based on independent component analysis (ICA). In the learning stage, the subspace projection is obtained by applying ICA and then reduced according to an original entropic selection strategy. In the extraction stage, the coefficients obtained after projecting the identity image on the subspace are quantified and binarized to obtain the hash value. The study reveals the effects of the scanning noise on the hash values of the identity photographs and shows that the proposed method is robust to the print-and-scan attack. The approach focusing on robust hashing of a restricted class of images (identity) differs from classical approaches that address any image
Pommeray, Michel. „Etude d'un vidéoprojecteur laser stéréoscopique“. Valenciennes, 1995. https://ged.uphf.fr/nuxeo/site/esupversions/9fd20f01-dce5-49a3-b087-e8faf2cfc241.
Der volle Inhalt der QuellePrès une analyse des principales techniques de restitution du relief, ce mémoire propose l'étude d'un vidéoprojecteur laser, autorisant la visualisation simultanée des deux images d'un couple stéréoscopique. Les images gauche et droite du couple correspondent à deux directions de polarisation orthogonales du faisceau laser. Ainsi, pour chaque pixel, une intensité et un angle de polarisation sont calcules a partir des intensités des pixels des images gauche et droite. A la restitution, les lunettes a verres polarises orthogonalement, portées par le spectateur, adressent a chaque il l'image qui lui est destinée. La projection des images s'effectuant par paquet de quatre lignes, de manière a réduire la vitesse de rotation du miroir polygonal assurant le balayage horizontal, le faisceau laser est diffracte et module en intensité par un composant acousto-optique multifréquence. La linéarisation des rendements de diffraction de ce dernier est réalisée par l'adjonction d'une voie supplémentaire, dite de compensation. Les phénomènes d'intermodulation sont réduits par le choix d'une coupe acoustique particulière dans la paratellurite. Le modulateur électro-optique ne permet pas la modulation indépendante de l'angle de polarisation des faisceaux lumineux issus du composant acousto-optique. Une étude, dans le domaine spatial et fréquentiel, de la dégradation des images, qui s'en suit, est présentée dans le cas ou les intensités sont moyennées sur deux lignes consécutives d'une trame, pour chaque image. Une seconde méthode, minimisant l'erreur quadratique moyenne, est ensuite analysée, puis comparée à la précédente à l'aide d'un ensemble de résultats numériques et de simulations
Penon, Jacques. „La photographie à l'épreuve du numérique : étude compréhensive de l'émergence d'une nouvelle technologie“. Montpellier 3, 1997. http://www.theses.fr/1997MON30037.
Der volle Inhalt der QuelleFor a decade or so, we have witnessed the intrduction of digital technology in a field of practices and uses established by traditional photography. This introduction of a new technology is not a passive phenomenon. It goes with a deep change in the relationships between a technical device individuals, and uses. Our research done in a comprehensive and complex perspective, aims at revealing the contributing to the emergence of digital technology in the field of phtography. With this aims in view, we will in the first place study photography trough its history, from a utilitarian and aesthetic point of view, in order to grasp the relationships woven between the photographic machine, the photographers and the uses of their products. In the second place, a similar process will be practised about digital technology. These approaches to the two technologies will allow us, through the observation and analysis of numerous studies about traditional and digital phtography, to question between structuralism and phenomenology, the processes, identities and conceptual tools maintaining the symbolic worlds to those two technologies
Deacon, Henry Christopher. „The perspective of Cape Town professional photographers on issues of integrity in the documentary photograph“. Thesis, Cape Peninsula University of Technology, 2013. http://hdl.handle.net/20.500.11838/1312.
Der volle Inhalt der QuelleThis study investigates the perspective of Capetonian professional photographers on issues of integrity, regarding the impact of digital imaging technology. Key objectives are to establish how the concept of photographic integrity manifests itself throughout the history of the documentary genre, prior and subsequent to the introduction of digital imaging technology; to ascertain the extent to which the Capetonian professional photographer uses digital imaging technology compared to film technology; to discover how Capetonian professional photographers perceive various concepts related to integrity in a documentary photograph; to identify what Capetonian professional photographers regard as acceptable digital editing to the photojournalistic documentary photograph; to ascertain whether Capetonian professional photographers believe that digital imaging technology impacted on the integrity of the documentary photograph; and finally, to discern whether Capetonian professional photographers who have practiced professional photojournalism see the need for a national regulating body, which clearly makes known what acceptable picture taking (in terms of content, e.g. staging of a photograph) and digital editing entails, for the South African photojournalist. The rationale for this study is that we exist in an era where we are faced with a digital revolution which transforms perceptions of integrity and it is essential to ascertain how technology influences the perceptions of the very professionals who produce documentary photography images. The literature review evolves a context for this study. This empirical study’s data collection and analyses has a mixed-method design. The survey’s instrument of data collection is a questionnaire, which captured quantitative data and with half of one question captures qualitative data. I analysed quantitative data with the help of SPSS and I analysed qualitative data much akin to a case study. The statistical test used to analyse quantitative data is a chi-square test and there are 66 participants in the study. I found that a breach of integrity, for instance manipulation, was always possible in the era prior to the introduction of digital imaging technology. Now it is only done faster, more thorough and more people have access to editing technology. Many who lack moral fiber are tempted now, more than ever, to illicitly manipulate. Capetonian professional photographer’s experience in digital image creation and editing technology outweighs the equivalent in the film medium. Digital camera usage takes precedence over film cameras. An example of a perception of a concept related to integrity in documentary photography is the sub-group which has practiced professional photojournalism insisted (73.5% of them strongly agreed) that it is possible to be creative and truthful at the same time in documentary photography. With regard to what acceptable editing entails, for cropping respondents favoured slight cropping; for dodging and burning in respondents favoured very light dodging and burning in; for pasting in respondents favoured no pasting in is acceptable; and for removing of objects respondents favoured no removing of objects. The Capetonian professional photographer believes that digital imaging technology has impacted on the integrity of the documentary photograph. For instance, the study has measured and proved that a majority of Capetonian professional photographers believe that a documentary essay taken in film and processed in the traditional darkroom feels more consistently trustworthy than its digital equivalent. This study has shown that there is a need for a body that clearly makes known what acceptable picture taking and digital editing entails for the professional photojournalistic photographer in South Africa.
Bruni, Gilles. „Installations paysagères et land art : la conduite créatrice technique, le projet et le comportement éthique“. Rennes 2, 1997. http://www.theses.fr/1997REN20017.
Der volle Inhalt der QuelleLàzaro, Angelique Maria. „An informed community's perception of the impact of digital technology on the credibility of news photography“. Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002905.
Der volle Inhalt der QuelleIlic, Nevena. „Former factory fotokemika as a museum of photography“. Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/21121.
Der volle Inhalt der Quelle