Dissertationen: „Photographic techniques“

1

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.

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We have introduced a geometry which is invariant to certain forms of burning and dodging photographic prints. We then used this geometry to create invariant measurements which represent information which would not change given different photographic printing processes.
The 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.

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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.

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A DISSERTATION PRESENTED TO THE FACULTY OF INFORMATICS AND DESIGN OF THE CAPE PENINSULA UNIVERSITY OF TECHNOLOGY IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MAGISTER TECHNOLOGIAE PHOTOGRAPHY CAPE PENINSULA UNIVERSITY OF TECHNOLOGY 2013
This 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.

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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.

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4

Heiss, Detlef Guntram. „Calibrating the photographic reproduction of colour digital images“. Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/24680.

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Colour images can be formed by the combination of stimuli in three primary colours. As a result, digital colour images are typically represented as a triplet of values, each value corresponding to the stimulus of a primary colour. The precise stimulus that the eye receives as a result of any particular triplet of values depends on the display device or medium used. Photographic film is one such medium for the display of colour images. This work implements a software system to calibrate the response given to a triplet of values by an arbitrary combination of film recorder and film, in terms of a measurable film property. The implemented system determines the inverse of the film process numerically. It is applied to calibrate the Optronics C-4500 colour film writer of the UBC Laboratory for Computational Vision. Experimental results are described and compared in order to estimate the expected accuracy that can be obtained with this device using commercially available film processing.
Science, Faculty of
Computer Science, Department of
Graduate

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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.

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6

Polignano, Sergio. „Do sensivel a significação : uma poetica da fotografia“. [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284754.

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Orientador: Ernesto Giovanni Boccara
Dissertação (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

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Hardesty, Rudd Matthew. „Development of sensitometric techniques for the characterization of stereolitographic resins /“. Online version of thesis, 1994. http://hdl.handle.net/1850/11735.

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8

Sparrow, 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.

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This study explores the differences in attitude held by newspaper photographers and designers concerning the acceptability of digitally altering front-page photographs. It takes its findings from a summer 2006 survey that asked these two newsroom groups to rate their acceptance of certain common techniques used to change photographs from their original forms. Their answers revealed that designers are generally more accepting of altered photographs than their photographer colleagues. Also, photographers are more likely to find acceptable those photographs altered for technical reasons than for aesthetic ones. Least acceptable to photographers, this study finds, are alterations that affect a photograph's content.
Department of Journalism

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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.

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Contemporary digital imaging practice has largely adopted the visual characteristics of its closest mediatic relative, the analogue photograph, In this regard, new media theorist Lev Manovich observes that "Computer software does not produce such images by default. The paradox of digital visual culture is that although all imaging is becoming computer-based, the dominance of photographic and cinematic imagery is becoming even stronger. But rather than being a direct, "natural" result of photo and film technology, these images are constructed on computers" (Manovich 2001: 179), Manovich articulates the disjuncture between the technical processes involved in the digital image creation process and the visual characteristics of the final digital image with its replication of the visual qualities of the analogue photograph. This research addresses this notion further by exploring the following. What are the defining technical features of these computer-based imaging processes? Could these technical features be used as a basis in developing an alternative aesthetic for the digital image? Why is there a reticence to visually acknowledge these technical features in contemporary digital imaging practice? Are there historic mediated precedents where the inherent technical features of the medium are visually acknowledged in the production of imagery? If these defining technical features of the digital imaging process were visually acknowledged in this image creation process, what would be the outcome? The studio practice component of the research served as a foundation for the author's artistic and aesthetic development where the intent was to investigate and highlight four technical qualities of the digital image identified through the case studies of three digital artists, and other secondary sources, These technical qualities include: the composite RGB colour system of the digital image as it appears on screen; the pixellated microstructure of the digital image; the luminosity of the digital image as it appears on a computer monitor, and the underlying numeric and (ASCII based) alphanumeric codes of the image file which enables that most defining feature of the image file, that of programmability, Based on research in the visualization of these numeric and alphanumeric codes, digital images of bacteria produced through the use of the scanning electron microscope, were chosen as image content for an experimental body of work to draw the conceptual link between these numeric and alphanumeric codes of the image file and the coded genetic sequence of an individual bacterial entity.

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Gavard, 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.

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11

Allan, 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.

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Photojournalism in South Africa is in the process of undergoing a shift from an analogue past to a fully digital future. This shift to digital has already been completed by many of the newspapers in the United States of America and Europe, and the new technology is seen to have made fundamental differences in the way that journalists do their job. This thesis attempts to explore the differences brought about, as well as the problems experienced by the photographic department at the Sowetan newspaper as a result of the shift to digital. How the development of technology has affected the photojournalist throughout is focused upon in a brief history of photojournalism and examples of how technology has shaped different aspects of journalism in both a positive and negative manner is considered. Exactly what digital photography is, how it has been integrated into American Photographic departments and the changes that the new technology has prompted are also explained. The manipulation of images in the past as well as the relative ease of digital manipulation are covered and concerns are raised about the future implications of digital manipulation. By conductlng participant observation and holding interviews, research data was compiled which allowed conclusions to be drawn about the impact that the shift to digital had had on the Sowetan photographic department. Intentional and unintentional consequences were expected and revealed in the research. The job of the photojournalist and photographic editor was found to have changed but perhaps not as dramatically as expected. Third world factors such as crime, poverty and lack of education were discovered to have resulted in problems that differed noticeably from those experienced by American and European photographic departments. Some expected difficulties were not experienced at all, while other major obstacles, specifically the repairs that must constantly be made to the digital cameras, continue to hamper the operations of the new digital department. Some understanding of the problems that might be encountered by future photojournalism departments that are considering making the shift to digital are arrived at, in the hope that they may be foreseen and overcome.

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Knight, 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.

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The analysis of photographic developing solutions presents an interesting and challenging problem for the analytical chemist. The developing agents themselves contain a wide range of components of various different chemistries, both inorganic and organic components are present at a wide range of concentrations. The developing agents as well has having a complex chemistry of their own, on use, are further complicated by the formation of products which can further affect the developing solutions performance. This work uses a variety of chromatographic and mass spectrometric techniques to examine a range of compounds present in the black and white Kodak developer RA2000. Emphasis is given to the application of these techniques to solving the analytical problem. The first chapter gives a theoretical introduction to mass spectrometry and liquid chromatography, with a discussion on the general principles in interfacing the two techniques. Chapter two gives a theoretical introduction to photography as well as an in depth discussion of developing solutions, specifically the RA2000 black and white developing solution. Analysis of RA2000 by liquid chromatography and capillary electrophoresis is also described. Chapter three provides an in depth discussion of solid phase extraction techniques as an alternative sample preparation method to liquid / liquid solvent extraction. Analysis of RA2000 by solid phase extraction and liquid chromatography was carried out in an attempt to concentrate the components formed after use, as well as to try and separate out the heavily concentrated compounds. Chapter four describes the analysis of RA2000 by liquid chromatography-thermospray-mass spectrometry and liquid chromatography-particle beam-mass spectrometry. An in depth discussion of both techniques is given. A column switching arrangement was used to allow analysis of the lower concentration components.

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Van, 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.

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Thesis (MScEng)-- Stellenbosch University, 2013.
ENGLISH 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.

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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.

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15

Séguy, 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.

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La thèse se fixe pour buts la création originale d'un dictionnaire sémantique du vocabulaire technique français extrait des ouvrages les plus significatifs de photographie de la période étudiée. La première partie est un rappel des informations indispensables au positionnement de la photographie dans son époque : son histoire, son évolution jusqu'en 1922, la part qu'elle prend dans les industries graphiques et photomécaniques, son apport aux sciences, aux arts et à la communication. Une part est faite à la physique du XIXe, à la connaissance de la lumière et de la couleur. L'analyse traite des emprunts ou apports faits à la grammaire et aux discours d'autres techniques et pratiques professionnelles. La seconde partie composée de 5992 articles, est le dictionnaire expliquant tes expressions, mots ou termes présents dans les ouvrages analysés. Le principe est de bien détailler ce qui, dans un discours professionnel en train de s'élaborer, fait sens pour sa communication particulière. Seul l'extrait contextuel reste la préoccupation majeure de l'étude de l'article, d'où la présence obligatoire de la citation et de la source bibliographique datée. Dans tous les cas, le mot utilisé dans l'appel alphabétique est présent, dans les discours communs ou qu'il soit propre au discours photographique. La rédaction des articles se donne pour principes d'observer, de définir ou de fixer : - les mots ou ensembles de mots du vocabulaire technique et les créations terminologiques nouvelles qui font sens comme indicateurs particuliers, parfois dans une polysémie originale ; - l'origine culturelle ou technique, l'invention ou le détournement des mots ou ensembles de mots du vocabulaire technique ; - l'utilisation des souches nouvelles et la formation de nouveaux groupes terminologiques ; - l'apparition, l'évolution, la fixation ou la disparition des mots ou ensembles de mots de la terminologie photographique
The 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

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Wolin, Martin Michael. „Digital high school photography curriculum“. CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2414.

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The purpose of this thesis is to create a high school digital photography curriculum that is relevant to real world application and would enable high school students to enter the work force with marketable skills or go on to post secondary education with advanced knowledge in the field of digital imaging.

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Glen, Gregory D. „High-Speed Photography Using Television Techniques“. International Foundation for Telemetering, 1995. http://hdl.handle.net/10150/611602.

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International Telemetering Conference Proceedings / October 30-November 02, 1995 / Riviera Hotel, Las Vegas, Nevada
There 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.

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Garza-Meza, Laura Elizabeth. „Photography as a spiritual technique“. Thesis, Pepperdine University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3558387.

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The 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.

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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.

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La détection des adventices (mauvaises herbes) est un des enjeux clefs d'une agriculture propre et productive. Nous proposons dans ce mémoire une nouvelle méthode de détection basée sur des images aériennes acquises à l'aide d'un avion radiocommandé. Nous utilisons un capteur d'images multispectrales basé sur une caméra CCD et une roue de filtres. Ce capteur est suffisamment compact pour être embarqué dans un avion radiocommandé. Des images aériennes sont ainsi obtenues pour un coût trés bas. Un recalage géométrique des images est effectué afin de pouvoir utiliser les informations spectrométriques. Les informations spectrales obtenues sont ensuite utilisées pour créer trois classes dans ces images : le sol, les cultures et les adventices. La classification est décomposée en deux étapes. Dans un premier temps, un algorithme non supervisé permet de séparer la végétation du sol. Puis, des algorithmes supervisés sont mis en oeuvre pour séparer les cultures des adventices. Nous proposons une comparaison de différents algorithmes entre eux. Une méthode de détection des lignes de semis basée sur le filtre de Gabor est ensuite présentée. Cette information permet de séparer les cultures des adventices indépendamment de leurs caractéristiquesspectrales. Une méthode originale d'accélération des temps de calcul basée sur les paquets d'ondelettes est exposée. Les deux approches ayant des sources d'erreur différentes, nous proposons de les fusionner à l'aide d'une approximation de la théorie bayesienne. Enfin, un algorithme de croissance de région permet de lever les dernières incertitudes. La méthode est testée sur des parcelles d'essais
Weed 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

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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.

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Les nouvelles réglementations concernant les usages de produits phytosanitaires en agriculture ont conduit à la mise au point de méthodes d'identification de plantes (culture et adventices) par une gestion des adventices par imagerie. Afin de disposer d'un outil performant permettant l'évaluation de ces méthodes d’identification reposant sur une analyse spatiale de la scène photographiée, un modèle de simulation de scènes agronomiques a été mis au point. Prenant en considération les caractéristiques agronomiques d'une parcelle, ce modèle permet de simuler une vérité terrain dont les paramètres sont contrôlés. La scène agronomique ainsi créée subit ensuite une transformation projective afin de simuler la prise de photographie. Ce modèle a ensuite été validé à l'aide de comparaison statistique avec des données réelles. De nouveaux algorithmes spatiaux basés sur la Transformée de Hough et utilisant l'alignement en rang de la culture ont été développés. Trois méthodes basées sur une analyse en composante connexe, une estimation de contours et une méthode probabiliste ont été mises en oeuvre et évaluées à l'aide du modèle. Les résultats obtenus sont très bons avec une classification correcte culture/adventices supérieure à 90% et pouvant atteindre 98%. Enfin, pour ce modèle, une approche spectrale a été explorée afin de dépasser les limitations des méthodes spatiales. Une extension 3D a été apportée à ce modèle afin de permettre la simulation de la réflectance bidirectionnelle (BRDF) des plantes et du sol. La transformation d'une information spectrale en une information RGB, la prise en compte de filtres optiques ou la création de données multispectrales sont discutées
Plant (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

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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.

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L’arrivée de l’appareil photographique en Amérique latine au XIX siècle doit être considérée comme une problématique d’ordre techno-politique et pas seulement comme l’arrivée d’un nou-veau mode de représentation qui vient s’ajouter aux anciens types d’images déjà présentes dans le Nouveau Continent. À l’opposé, on considère que le mode de fonctionnement propre à l’appareil, en tant que producteur d’images techniques, a généré un changement dans le mode de perception et dans le mode de penser l’événement. Pour rendre compte de ce « changement du médium de la perception » comme le signalait Walter Benjamin, on abordera en premier lieu la problématique de l’appareil lui-même. On essa-yera de comprendre le fonctionnement propre à l’appareil photographique, son milieu d’émergence, et le contexte théorique dans lequel il est né, à savoir, les discussions autour de l’automatisme dans le cadre des techniques, mais également dans le cadre des théories physiolo-gistes qui ont essayé de rendre compte de l’automatisme psychique. Une fois établie cette problé-matique, on abordera la question de la situation de l’appareil photographique dans le contexte américain. C’est ainsi qu’on part de l’appareil, pour en suite réfléchir sur les conséquences de l’insertion de ce dernier dans un contexte complètement étranger à son milieu d’émergence. On abordera ainsi les images photographiques produites au XIX siècle en Amérique du point de vue de l’appareil, c’est lui qui aura permis les différents usages et pratiques photographi-ques. C’est son mode de fonctionnement qui aura transformé la perception en imposant en même temps une nouvelle temporalité, celle de la reproductibilité
The 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

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Dudragne, Julie. „Desseins polymorphes, une approche poétique de la lumière : dessiner la lumière“. Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010565.

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La narration d'une pratique s'ébauche parfois par la présence d'une simple lettre, comme un humble point dévoile l'existence d'une ligne. Le "e" réapparaît au sein du dessin, le pare d'une multiplicité de significations, lui donne le poids perdu ou jamais acquis d'une esquisse autonome.La tradition du dessein se questionne par le biais d'un phénomène, dessiner la lumière, à l'heure d'une reproductibilité technique exacerbée.Le chemin sinueux emprunté par le dessin le mène au franchissement de frontière pléthorique, annonçant sa transversalité. Le mouvement immanent à la matière utilisée et l'hybridation comme notion intrinsèque à la création actuelle, toujours au service de l'élément graphique, vont faire opérer au dessin de nombreux déplacements intra et interdisciplinaires - conviant origines, idées, concepts et procédés techniques - mais aussi physiques. La réalisation de la lumière produite par l'expérience graphique, ses passages entre visible et non visible, se retrouve dans le signe et dans l'indice photographique et interroge la perception. La recherche de luminosité et de contraste, souvent traduites par la présence de noirs et de blancs, offre à l'espace plastique une palette infinie de possibles variations.Cette potentialité exhaustive requiert l'ultième acte du processus créatif, le choix, façonnant la mise en espace de la lumière en de multiples compositions graphiques.Le jeu, la phantasia et la poétique du phénomène lumineux, malgré l'évolution des procédés techniques employés, préservent la confidence qui confère au dessin se caractère intime dans lequel se silhouette un onirisme, une manière de résister. Travailler la lumière aujourd'hui dans le secret d'un acte aveugle, aveuglé, aveuglant, problématise la notion d'authenticité induisant un rapport à l'aura toujours en valse-hésitation entre apparition et disparition face à sa perte auparavant annoncée
The 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

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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.

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Ce travail porte sur une periode de l'histoire des images, periode ouverte par la photographie et caracterisee par une tension vers la reproduction de la realite selon un mode d'inscription determine par l'instrumentation technique. En consequence, la formation et l'evolution des systemes techniques d'images chimiques, electroniques et numeriques sont au centre du propos. Le questionnement qui guide ce travail procede d'un "chainage arriere". En effet, constatant que les systemes d'images photographiques et electroniques se numerisent progressivement jusqu'a modifier leur principe de base respectif, nous nous interrogeons plus particulierement sur les logiques qui permettent d'expliquer cette transformation progressive et sur les consequences de la numerisation quant au statut indiciel de l'image produite
This 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

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Laffont, Pierre-Yves. „Intrinsic image decomposition from multiple photographs“. Nice, 2012. http://www.theses.fr/2012NICE4060.

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La modification d’éclairage et de matériaux dans une image est un objectif de longue date en traitement d’image, vision par ordinateur et infographie. Cette thèse a pour objectif de calculer une décomposition en images intrinsèques, qui sépare une photographie en composantes indépendantes : la réflectance, qui correspond à la couleur des matériaux, et l’illumination, qui représente la contribution de l’éclairage à chaque pixel. Nous cherchons à résoudre ce problème difficile à l’aide de plusieurs photographies de la scène. L’intuition clé des approches que nous proposons est de contraindre la décomposition en combinant des algorithmes guidés par l’image, et une reconstruction 3D a=éparse et incomplète générée par les algorithmes de stéréo multi-vue. Une première approche permet de décomposer des images de scènes extérieures, à partir de plusieurs photographies avec un éclairage fixe. Cette méthode permet non seulement de séparer la réflectance de l’illumination, mais décompose également cette dernière en composantes dues au soleil, au ciel et à l’éclairage indirect. Une méthodologie permettant de simplifier le processus de capture et de calibration est ensuite proposée. La troisième partie de cette thèse est consacrée aux collections d’images : nous exploitons les variations d’éclairage afin de traiter des scènes complexes sans intervention de l’utilisateur. Les méthodes décrites dans cette thèse rendent possible plusieurs manipulations d’images, telles que l’édition de matériaux, telles que l’édition de matériaux tout en préservant un éclairage cohérent, l’insertion d’objets virtuels ou le transfert d’éclairage entre photographies d’une même scène
Editing 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

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Romedenne, Jean. „Nouvelles techniques iconiques et publicité“. Paris 7, 1995. http://www.theses.fr/1995PA070027.

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Les nouvelles techniques iconiques presentent un polymorphisme techno-esthetique, un eclectisme stylistique, une thematique boulimique, une plurifonctionnalite, et consacrent l'avenement du coblage et de l'interactivite
New iconic technics present techno-esthetic polymorphism, stylistic diversity; bulimic thematics, multi-functionality, and reveal new precision and interactivity

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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.

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Grativol, 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/.

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Esta dissertação trata da trajetória e obra fotográfica de Theodor Preising no Brasil. O fotógrafo percorreu área considerável do território nacional tomando vistas para a produção de cartões-postais e registrando viagens de sócios do Touring Clube do Brasil. Trabalhou ainda para a revista S.Paulo, e integrou os quadros funcionais do Departamento de Imprensa e Propaganda de São Paulo, contribuindo com a elaboração de uma imagem do país nas publicações oficiais direcionadas para leitura no Brasil e no exterior. Entre essas publicações estavam: o jornal Brasil Novo, a revista Travel in Brazil, as reportagens da Agência Nacional e dois folhetos turísticos. Trata-se de um estudo que busca demonstrar a versatilidade de Preising e a extensão de sua obra. A análise do trabalho de Preising, entre 1923 e 1948, permite observamos a transformação de sua linguagem, que se sobrepõe e exemplifica a metamorfose da sociedade.
This 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.

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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.

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L'Histoire permet d'identifier les contributions à la Science et la Technologie de l'image. Le processus de "Déconstruction" a ouvert des possibilités à la creation de procédés modernes d'image capables d'avoir des applications en situations extremes. La théorisation de la "Déconstruction" est le substratum de créations artistiques, intellectuelles et plus "physiques" dans les domaines de situations extrêmes maritime, terrestre, aérien et spatial. L'inventaire de ces contribution au profit de structures allant d'organismes scientifiques à des unîtes spéciales précède la présentation d'un exemple majeur de "Déconstruction" créative Le "Vélocigraphe II" qui a réalisé les premières prises de vue dans l'espace en autarcie totale. Enfin, la "Barre-temps Francis Delvert", constitue un véritable pont entre les domaines de "l'analogique" et du "numérique, à travers laquelle est développée une idée originale multidirectionnelle et interactive susceptible d'améliorer l'image de la communication et la communication de l'image dans le cadre de son histoire et de celle de la photographie
The 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

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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.

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Thesis (Ph.D)--Computing, Georgia Institute of Technology, 2010.
Committee 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.

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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.

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La pensée de Vilém Flusser (1920-1991) a donné lieu à une abondante bibliographie critique sur ses apports en matière de communication, où son pari d’une « nouvelle imagination » fait tenir ensemble l’art, la science et la technologie, sous l’égide de sa philosophie de la photographie. L’archéologie de sa pensée, proposée ici, a été construite en tenant compte de l’ancrage disciplinaire de ses travaux dans les théories de la communication et des médias : elle s’est intéressée à la notion de l’art que Flusser développe au cours de son parcours, afin de saisir le déploiement de cette dimension artistique, son statut et ses contours, aussi bien que sa portée. La notion d’art chez Flusser est indissociablement liée à l’histoire : l’expérience traumatisante de l’exil est devenue centrale dans sa pensée critique de tout totalitarisme. L’ensemble de pratiques et de savoirs qui fondent son rapport au monde et qui informent sur l’élaboration de sa pensée sont travaillés par une Kulturgeschichte, vue depuis la perspective d’une « post-histoire ». Mais il y a en particulier une pensée du jeu, ludique, où l’objectif est moins de jouer à l’intérieur des règles établies que de déjouer les règles, de « jouer pour changer le jeu ». Autrement dit, il s’agit d’une pensée radicalement dialogique et polyphonique, dont la Kommunikologie, façonnée comme métathéorie, représente l’essor de Flusser. Sa trajectoire historique et les savoirs qui lui sont associés contribuent à la construction d’une pensée cybernétique qui projette les lignes fondamentales d’une Kunstwissenschaft, dans laquelle il propose une sorte d’iconoclasme sans renoncer aux images
The 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

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Martin-Rainaud, Claude. „Dans le regard de la chambre“. Thesis, Avignon, 2015. http://www.theses.fr/2015AVIG1143/document.

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Par un trou, l’image renversée de ce qui se trouve à l’extérieur se projette à l’intérieur d’une chambre obscure. Ce phénomène, à l’oeuvre en permanence dans les espaces naturellement sombres, dans les yeux de l’homme et de la plupart des animaux, occasionnellement à l’intérieur de l’habitation, est aussi le principe à la base de la photographie et du cinéma. Ce problème d’optique a été observé et décrit pour la première fois en Europe dans les Problemata d’Aristote. Au cours des siècles, ce principe du «phénomène de la camera obscura» a été étudié et utilisé pour mesurer le temps et l’espace, effectuer des observations et des expériences astronomiques, produire des images ou des spectacles. Ces dernières décennies, les sciences ont démontré que pour prendre vie, se reproduire et évoluer, la matière s’est emparée progressivement de ce phénomène issu de la lumière. À travers la vision, il a un rôle premier dans notre perception du monde et notre conscience d’être. Cependant, rares sont les études de ses caractéristiques et de ses applications naturelles, techniques et esthétiques. Notre recherche voudrait contribuer à faire émerger une cohérence globale dans ces domaines. La méthode utilisée ici repose sur une pratique artistique de la capture photographique dans la camera obscura elle-même des images qui y apparaissent. En outre, cette pratique s’appuie sur une approche analytique fondée sur un choix de sources philosophiques, scientifiques et romanesques, poétiques et cinématographiques. Nous suivons d’abord à travers ces documents la genèse des objets techniques qui se rattachent au phénomène de la camera obscura. Puis la recherche se focalise sur certains artistes qui sont présumés avoir fait usage, ou qui ont effectivement employé des appareils «optiques» pour réaliser leurs oeuvres depuis le quinzième siècle. Nous concluons sur la démarche et l’oeuvre de certains photographes contemporains qui se consacrent à photographier le phénomène de la camera obscura, dont les travaux ouvrent à l’art de la photographie des perspectives inédites, tout en se référant à des questions picturales fondamentales
Through 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

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Meintjes, Anthony Arthur. „"From digital to darkroom"“. Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1007418.

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St, 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.

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Prentice, 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.

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Abebe, Mekides Assefa. „Perceptual content and tone adaptation for HDR display technologies“. Thesis, Poitiers, 2016. http://www.theses.fr/2016POIT2285/document.

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Les technologies de capture et d'affichage d'images ont fait un grand pas durant la dernière décennie en termes de capacités de reproduction de la couleur, de gamme de dynamique et de détails des scènes réelles. Les caméras et les écrans à large gamme de dynamique (HDR: high dynamic range) sont d'ores et déjà disponibles, offrant ainsi plus de flexibilité pour les créateurs de contenus afin de produire des scènes plus réalistes.Dans le même temps, à cause des limitations des appareils conventionnels, il existe un gap important en terme de reproduction de contenu et d'apparence colorée entre les deux technologies. Cela a accentué le besoin pour des algorithmes prenant en compte ces considérations et assurant aux créateurs de contenus une reproduction cross-média fidèle.Dans cette thèse, nous focalisons sur l'adaptation et la reproduction des contenus à gamme de dynamique standard sur des dispositifs HDR. Tout d'abord, les modèles d'apparence colorée ainsi que les opérateurs de mappage tonal inverse ont été étudiés subjectivement quant à leur fidélité couleur lors de l'expansion de contenus antérieurs. Par la suite, les attributs perceptuels de clarté, chroma et saturation ont été analysés pour des stimuli émissifs ayant des niveaux de luminance de plus hautes gammes et ce en menant une étude psychophysique basée sur la méthode de mise à l'échelle de partitions. Les résultats expérimentaux ont permis de mener à la définition d'un nouvel espace couleur HDR efficace et précis, optimisé pour les applications d'adaptation de la gamme de dynamique. Enfin, dans l'optique de récupérer les détails perdus lors de captures d'images standard et d'améliorer la qualité perçue du contenu antérieur avant d'être visualisé sur un dispositif HDR, deux approches de correction des zones surexposées ou ayant subi un écrêtage couleur ont été proposées. Les modèles et algorithmes proposés ont été évalués en comparaison avec une vérité terrain HDR, menant à la conclusion que les résultats obtenus sont plus proches des scènes réelles que les autres approches de la littérature
Camera 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

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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.

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La présence de productions photographiques issues d'appareils et de dispositifs populaires dans le domaine culturel, artistique et patrimonial se mesure aujourd'hui aux succès d'édition et d'exposition consacrées au photomaton, à la photographie trouvée et plus généralement aux amateurs, où l'on rencontre nombre de "Polaroïds" ou de "Photomatons". Il existe un goût pour ce "vintage" vernaculaire, en raison de la disparition ou bien de la profonde modification qui touche ces dispositifs avec le fameux passage au numérique. En se retournant sur l'histoire de ces machines, c'est bon seulement leurs techniques qui intéressent mais aussi et surtout le fait qu'elles ont souvent suscité l'intérêt et la curiosité des artistes, ou bien qu'elles ont révélé la sensibilité et la créativité des amateurs de diverses époques. Parallèlement, la recherche en sciences sociales a consacré l'instantané et l'amateurisme en un véritable champ de connaissances ; par ailleurs les questionnements artistiques les plus contemporains mobilisent les derniers systèmes de productions de masse, comme le téléphone portable par exemple. Entre culture, recherche et création, certaines machines se retrouvent donc au cœur des interrogations sur l'image contemporaine. Ces dispositifs et ces machines ont le plus souvent un point commun : elles sont automatiques. Elles livrent vite, sans faire appel à des compétences particulières, des images en quantité. De Photomaton à Polaroïd, tout au long du XXe siècle, ces appareils automatisés ont répandu plus qu'aucun autre une "culture photographique". Mais quelles sont les origines de ces dispositifs ? Cette étude s'attachera à remonter aux sources de la photographie automatique, des réunions de société savantes aux prémices de l'industrie photographique
This 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

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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.

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This thesis explores the contemporary genre of popular digital photography, with a specific look at photographs taken in/of Iran. It focuses on the contemporary practice of 'photoblogging' or photography-based weblogging. Photoblogs are the result of the daily posting of digital photographs concerning everyday life in Iran on personal blogs specifically dedicated to photography. The title of the thesis, Camera Iranica, refers to the subject and scope of the study, as well as to its digital-ethnographic field site. I demarcate this as a conceptual and transnational cultural field, encompassing the multitude of places and spaces, on- and offline in which Iranians across the world engage in the practice of producing and viewing popular digital photography. Iranian photoblogs are shown to operate in a manner contingent upon a particular 'visual legacy' of contested cultural identity politics since the Islamic Revolution of 1979, propagated inside Iran and in 'the West'. The thesis traces the social, economic and political implications of developments in photography and digital technologies in Iran in light of this backdrop, and explores how and why Iranians in Iran and abroad are taking up popular digital photography for visual storytelling projects, with 'Iran' as their visual subject. Based on the study's empirical findings, I extrapolate theoretical arguments concerning historical and cultural understandings of digital photographs shown and seen in online environments, and propose innovative methodological strategies for digital-visual anthropologists to continue work in these fields.

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Wolf, 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.

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Ingersoll, 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/.

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Huang, Ben. „Removing Textured Artifacts from Digital Photos Using Spatial Frequency Filtering“. PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/148.

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An abstract of the thesis of Ben Huang for the Master of Science in Electric and Computer Science presented [August 12nd, 2010]. Title: Removing textured artifacts from digital photos by using spatial frequency filtering Virtually all image processing is now done with digital images. These images, captured with digital cameras, can be readily processed with various types of editing software to serve a multitude of personal and commercial purposes. But not all images are directly captured and even of those that are directly captured many are not of sufficiently high quality. Digital images are also acquired by scanning old paper images. The result is often a digital image of poor quality. Textured artifacts on some old paper pictures were designed to help protect pictures from discoloration. However, after scanning, these textured artifacts exhibit annoying textured noise in the digital image, highly degrading the visual definition of images on electronic screens. This kind of image noise is academically called global periodic noise. It is in a spurious and repetitive pattern that exists consistently throughout the image. There does not appear to be any commercial graphic software with a tool box to directly resolve this global periodic noise. Even Photoshop, considered to be the most powerful and authoritative graphic software, does not have an effective function to reduce textured noise. This thesis addresses this problem by proposing the use of an alternative graphic filter to what is currently available. To achieve the best image quality in photographic editing, spatial frequency domain filtering is utilized instead of spatial domain filtering. In frequency domain images, the consistent periodicity of the textured noise leads to well defined spikes in the frequency transform of the noisy image. When the noise spikes are at a sufficient distance from the image spectrum, they can be removed by reducing their frequency amplitudes. The filtered spectrum may then yield a noise reduced image through inverse frequency transforming. This thesis proposes a method to reduce periodic noise in the spatial frequency domain; summarizes the difference between DFT and DCT, FFT and fast DCT in image processing applications; uses fast DCT as the frequency transform to solve the problem in order to improve both computational load and filtered image quality; and develops software that can be implemented as a plug in for large graphic software to remove textured artifacts from digital images.

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Thorn, James E. „Development of editing and transforming methods & techniques for visual communication /“. View abstract, 2000. http://library.ctstateu.edu/ccsu%5Ftheses/1609.html.

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Thesis (M.S.)--Central Connecticut State University, 2000.
Thesis advisor: John Larkin. [In partial fulfillment of the requirements for the degree of Master of Science in Technology Education.]. Includes bibliographical references.

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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.

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Le but de cette étude est la définition d'une méthodologie d'interprétation automatique d'images aériennes en vision par ordinateur. Après un état de l'art des méthodes utilisées en traitement d'images, tant au niveau pixels qu'au niveau symbolique, nous formalisons les connaissances génériques liées aux objets par un concept de point de vue et effectuons le choix des méthodes qui seront reprises dans la méthodologie. Nous définissons un nouvel algorithme de segmentation régions par seuillage utilisant une coopération contours régions, nous montrons l'intérêt d'une telle méthode à la fois sur des images prises dans les domaines visible et infrarouge. Nous développons un algorithme de groupement perceptuel qui recherche des groupements de primitives de formes approximativement rectangulaires ; ces groupements simplifient le processus de vision global dans le cas de la détection des bâtiments. Enfin, nous mettons en œuvre le système d'une architecture de tableau très générale permettant l'émission d'hypothèses ainsi que leur validation par les différents spécialistes

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Barbeito, 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.

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Smoaca, Andreea. „ID Photograph hashing : a global approach“. Thesis, Saint-Etienne, 2011. http://www.theses.fr/2011STET4034/document.

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Cette thèse traite de la question de l’authenticité des photographies d’identité, partie intégrante des documents nécessaires lors d’un contrôle d’accès. Alors que les moyens de reproduction sophistiqués sont accessibles au grand public, de nouvelles méthodes / techniques doivent empêcher toute falsification / reproduction non autorisée de la photographie d’identité. Cette thèse propose une méthode de hachage pour l’authentification de photographies d’identité, robuste à l’impression-lecture. Ce travail met ainsi l’accent sur les effets de la numérisation au niveau de hachage. L’algorithme mis au point procède à une réduction de dimension, basée sur l’analyse en composantes indépendantes (ICA). Dans la phase d’apprentissage, le sous-espace de projection est obtenu en appliquant l’ICA puis réduit selon une stratégie de sélection entropique originale. Dans l’étape d’extraction, les coefficients obtenus après projection de l’image d’identité sur le sous-espace sont quantifiés et binarisés pour obtenir la valeur de hachage. L’étude révèle les effets du bruit de balayage intervenant lors de la numérisation des photographies d’identité sur les valeurs de hachage et montre que la méthode proposée est robuste à l’attaque d’impression-lecture. L’approche suivie en se focalisant sur le hachage robuste d’une classe restreinte d’images (d’identité) se distingue des approches classiques qui adressent une image quelconque
This 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

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Pommeray, Michel. „Etude d'un vidéoprojecteur laser stéréoscopique“. Valenciennes, 1995. https://ged.uphf.fr/nuxeo/site/esupversions/9fd20f01-dce5-49a3-b087-e8faf2cfc241.

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After a review of the main three-dimensional display techniques, this report proposes a study of a laser videoprojector, which allows the two images of a stereo-pair to be seen simultaneously. The left and right images correspond to two orthogonal polarization directions of the laser beam. So, for each pixel, an intensity and a polarization angle are computed from the pixel intensities of the left and right images. At restitution, special polarizing glasses worn by the viewer decode the polarized images to provide the left and right eye views. As images are projected in waves of four lines to reduce the rotation speed of the polygonal mirror doing horizontal scanning, the laser beam is diffracted by a multifrequency acousto-optic modulator. The linearization of the diffraction efficiencies is realized by the introduction of an additional acoustic carrier. A suitable anisotropic interaction greatly reduces the multiple rediffraction effects. The polarization angle of the light beams stemming from the acousto-optic component can not be modulated independently by the electro-optic modulator. A study of the image degradation, in both spatial and frequency domains, is presented, in case the intensities are averaged over two successive lines of a screen for each image. Next a second method, indemnifing the absence of ghost images and minimizing the mean square error, is analysed, then compared to the previous one with the help of a set of numerical results and simulations
Près 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

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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.

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Nous assistons depuis une dizaine d'annees a l'arrivee de la technologie numerique dans un champ de pratiques et d'usages institues par la phtographie traditionnelle. L'arrivee d'une nouvelle technologie n'est pas un phenomene passif ; celle-ci s'accompagne d'une profonde modification des relations qui sont instaurees entre un dispositif technique, des individus et des usages. Cette recherche realisee dans une optique comprehensive et complexe, vise a mettre a jour les processus qui participent a l'emergence de la technologie numerique dans le domaine de la photographie. Pour cela nous etudions dans un premier temps la photographie a travers son histoire, d'un point de vue a la fois utilitaire et esthetique, pour saisir les relations qui se tissent entre la machine photographique , les phtographes et les usages de leurs productions. Une demarche similaire est dans un deuxieme temps exercee au sujet de la technologie numerique. Ces approches nous permettent, a travers l'analyse de travaux phtographiques et numeriques, de montrer entre structuralite et phenomenalite la remise en cause des pratiques, des identites, et de l'outillage conceptuel de maintenance des univers symboloques relatif a ces deux technologies
For 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

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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.

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Thesis submitted in fulfillment of the requirements for the degree Magister of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2013
This 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.

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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.

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Il est défendu l'idée qu'un mode de connaissance en art procède de la technique et d'une dimension éthique. Dans l'analyse des productions in situ, à la différence d'un modèle historique et esthétique en usage pour le Land art, les enjeux du travail d'installation paysagère requièrent l'étude des paramètres spécifiques qui en fondent les principes. Le projet artistique utilise le site avec circonspection. L'implication dans le lieu vise une issue technico-plastique 0 chaque situation. Le plasticien créateur exploite ici des processus techniques qui empruntent à des champs hétérogènes de l'agriculture, de l'architecture, de la photographie. La réappropriation de pratiques ordinaires produit alors des figures réglées, transfigurées par un dispositif photographique interne au processus de fabrication de l'oeuvre qui en fixe une image. En considérant inscrites dans la raison du producteur les conditions de la production, s'y trouvent incluses alors son trajet anthropologique et ses préférences. L'artistique, comme science des processus de l'art prend ainsi en compte les paramètres éthiques et sociaux. La mise en oeuvre des procédés techniques relève alors d'une procédure de légitimation des actes et du produit artistique comme visées esthetico-morale et politique. La préférence aux travaux des champs, aux matériaux locaux et le respect du milieu physique et social signale une attitude morale. Dans la mise a l'épreuve, entre tentation de soumission au milieu et ordre imposé, se construit ainsi une démarche de validation de l'expérience du site. La valeur heuristique de l'exercice révèle a terme la dimension anthropologique d'une implication du sujet dans la création comme mode d'existence et par l'évaluation éthique fait advenir une position critique. L'artiste plasticien (ici figure double) apparaît alors comme un sujet conscient, autonome et libre en ce sens qu'il s'attache à réinjecter dans l'oeuvre les conditions de son élaboration, construisant ainsi la figure de l'artiste

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Làzaro, 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.

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South African photojournalists’ perception of digital technology’s impact on the credibility of news photographs is investigated in this study. Digital technology has the capabilities to produce “manipulated” photographs that appear realistic and credible. Credibility is dependent on a variety of factors including codes of realism and codes of production, which fit conventional codes of photographic representation. Manipulation is the act of deviating from accepted codes of photographic representation that may jeopardise the credibility of news photography. This thesis proposes a new theoretical framework that encompasses existing theories of semiotics, ideology, naturalism, realism and credibility. These theories underpin the definitions and discussion on manipulation and credibility. A descriptive survey is used which attempts to discover photojournalists’ views towards credibility. This research draws on qualitative research methods using a largely qualitative questionnaire, which generates both qualitative and quantitative data. The questions are formulated around two case studies of digitally manipulated photographs. The trends and responses in the research data are connected and discussed. The findings of this study are discussed in terms of credibility, awareness of the digital changes, the reason for the changes, the role of a caption, deletion techniques and background changes. The empirical situation is analysed in relation to the theoretical discussions and this study’s theorisation of photographic representation.

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Ilic, Nevena. „Former factory fotokemika as a museum of photography“. Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/21121.

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Au cours du procédé de transmission du médium photographique, du support argentique au support numérique, un phénomène voit le jour à la fin du 20ème siècle: la plupart des fabricants de supports argentiques au fur et à mesure ferment leurs portes. En conséquence, la production de matériel photographique s‘arrête et cette tradition séculaire de la photographie argentique doit faire face à l‘abandon et à la disparition progressive. Dans l'étude de cas du fabricant Fotokemika (1947-2012), une ancienne fabrique de matériel photographique en Yougoslavie et plus tard de la République croate, mon objectif est de démontrer ce que ce processus de transmission signifie au niveau local ainsi qu‘à l‘échelle mondiale. Ce document, à travers l'étude du cas de Fotokemika, en tant qu‘exemple d'unité industrielle fermée qui fabrique du matériel pour la photographie argentique, tente de contribuer à une meilleure compréhension de la situation du processus et de la technique de la photographie argentique au 21ème siècle. L‘étude explore l'histoire de la fabrique, ses réalisations dans les domaines de la science, de la technologie, la technique, la publicité, le design et son influence sur le développement de la photographie argentique sur le territoire de la Croatie en créant des critères pour la valorisation du patrimoine de la photographie argentique. L'objectif de la recherche est d'examiner comment les musées, en tant qu‘institutions responsables pour la protection et la sauvegarde du patrimoine, surtout après leur nouvelle définition, pourraient encourager la conservation du patrimoine industriel dans un processus de réaménagement d‘un ancien bâtiment industriel en musée; ABSTRACT: In the transmission process of a photography medium, from analog to digital, a phenomenon that occurs at the end of the 20th century, most of the analog photo factories are being shut down. As a result, production of photo equipment dies and centuries-old tradition of analogue photography is disappearing into history. In the case study of Fotokemika factory (1947-2012), once a famous and respectable photo equipment factory during Yugoslavia, later the Croatian Republic, I am showing what this transmission process means on a local and global level. This paper, trough case study of Fotokemika factory, as an example of shut down industrial unite that produced equipment for processing analog photography, is trying to contribute to a better understanding of position of analog photography process and technique in 21st century. The study examines the history of the factory, the achievements in the fields of science, technology, technique, advertisement, design and its influence on developing of analog photography in the territory of Croatia creating criteria for valorization of analog photography heritage. The research aim is to examine how museums like an institution for protection and safeguarding of heritage, especially after the new definition, can give a solution in maintaining industrial heritage in a process of reusing former industrial buildings into museum; RESUMO: Ao longo do processo de transmissão do suporte fotográfico, do suporte analógico ao suporte digital, fenómeno esse que vê a luz no fim do século XX, a maior parte das fábricas de suportes analógicos vêm os seus dias contados. Como consequência disso, a produção de equipamento fotográfico analógico desaparece e a tradição secular de fotografia analógica está a acabar. No caso de estudo da fábrica Fotokemika (1947-2012), já famosa e reputada fábrica de produtos fotográficos durante a Yugoslávia, e depois durante a República Croata, o meu objetivo é o de demostrar o que esse processo de transmissão significa ao nível local e global. Este documento, pelo estudo da fábrica de Fotokemika, como exemplo de unidade industrial fechada que produzia equipamento para processar fotografia analógica, tenta contribuir para um melhor entendimento da posição do processo e da técnica de fotografia analógica no século 21. Este trabalho examina a história da fábrica, os seus resultados nos campos da ciência, tecnologia, técnica, publicidade, design e suas influências ao desenvolver fotografia analógica no território da Croácia criando critérios para a valorização da herança da fotografia analógica. O objetivo desta pesquiza é o de examinar como é que museus, sendo instituições para a proteção e salvaguarda da herança, sobretudo com a nova definição de museu, podem dar soluções para manter a herança do património industrial num processo de reutilização do edifício antigo num museu.

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Dissertationen zum Thema „Photographic techniques“

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