Zeitschriftenartikel zum Thema „Photographic techniques“
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Feldmann, Rodney M. „Photographic procedures“. Paleontological Society Special Publications 4 (1989): 336–41. http://dx.doi.org/10.1017/s2475262200005311.
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Preparation of appropriate photographs is absolutely essential in conveying paleontological information. The effort expended in adequate cleaning and preparation of specimens is not only reflected in exposing the detail of material so that it can be properly described but also in permitting the morphologic information to be transmitted to others through photography. Therefore the purpose of this chapter is to describe the general procedures involved in preparing high quality, publishable photographs because special techniques related to photography of microfossils will be treated elsewhere, the emphasis within this chapter will be upon photography of macrofossils, specimens large enough to be photographed using a normal spectrum of photographic lenses and extension tubes. Because nearly all paleontological material is illustrated as black and white photographs, no reference will be made to the preparation of color illustrations.
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Damarjati und Yuka Dian Narendra. „Photography Exploration Training using Still Life Techniques for Karmel Tangerang Vocational School Students“. Indonesian Journal of Advanced Research 3, Nr. 1 (30.01.2024): 95–104. http://dx.doi.org/10.55927/ijar.v3i1.7851.
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Photography techniques that are supported by equipment that makes it easier for users make this medium increasingly popular with people from all walks of life. Photography has become part of various life activities. Not only selfies, photography has been used in all human activities. Millions of images are produced every day and published on social media pages. This phenomenon aligns that photography has become the property of all society, not just photographers. So the quality of the resulting photos is not just a photograph but can have its own value both in terms of aesthetics and function. For this reason, through training at Karmel Vocational School, it is hoped that it can help hone students' skills so that they can produce photos with the correct techniques so as to produce marketable photographic works with attractive quality. Training with a direct learning method using camera equipment, lighting, object layout, both the background and the objects to be photographed. With this direct learning, it is hoped that students will be able to experiment and explore directly the photo objects they will be photographing. Problems discovered during shooting can be discussed directly to produce maximum photos and provide new knowledge about the techniques of photographing objects/still life.
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Klingle, Matthew. „River Glass“. Boom 5, Nr. 2 (2015): 42–51. http://dx.doi.org/10.1525/boom.2015.5.2.42.
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This essay by historian Matthew Klingle compares the work of Carleton Watkins, a pioneer in early photography, and Michael Kolster, a contemporary photographer. Like his predecessor, Kolster uses the wet-plate photographic process to create ambrotypes: handmade images made on glass. Watkins’s images, made in the late-nineteenth century, helped to sell scenic, monumental California and the West to the nation. In contrast, Kolster’s photographs of the Los Angeles River, a degraded and often ignored urban waterway, suggest how older photographic techniques might be employed to create new aesthetics of place freed from the confines of purity and beauty.
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Swan, Dean G., und Larry C. Burrill. „Plant Photography Techniques“. Weed Technology 4, Nr. 3 (September 1990): 666–70. http://dx.doi.org/10.1017/s0890037x00026191.
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Accurate identification is the first step in weed control. Weed photography is important because a good picture, plus a descriptive botanical key, more accurately identifies plants. Also, quality pictures provide an important learning tool for students, agribusiness personnel, and producers. This paper includes recommendations for selecting photographic equipment and film as well as practical techniques for controlling backgrounds, light, plant movement, and depth of field in photographing plants.
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Wolska, Anna. „HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT“. Muzealnictwo 61 (26.08.2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.
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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Magurean, Irina Dora, Andrei Picos, Lucia Timis, Alina Picos und Dinu I. Dumitrascu. „The Evolution of Photographic Arts Is Linked to Progress in Chemistry: A Review of Two Centuries of Symbiosis“. Journal of Research in Philosophy and History 3, Nr. 2 (11.11.2020): p153. http://dx.doi.org/10.22158/jrph.v3n2p153.
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Photography is a major component of present art. It has applications in arts, in sciences and mainly health sciences, in social interaction. The evolution of photography since its advent 200 years ago relied and was dependent on the knowledge of chemistry. This is a review of the chemical techniques used in the recording and reproduction of photographs and of its applications. In the last two centuries, numerous chemical substances: inorganic, organic and polymeric, influenced the aspect and quality of the photographic techniques and of photographs. Teaching photography requires knowledge of chemistry, while chemistry education needs knowledge of esthetics as offered by photography.
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Putra, Sandy Dwi, und Kankan Kasmana. „Interior Photograph Experiment of The House Tour Hotel Bandung“. ARTic 3, Nr. 1 (15.12.2020): 259–76. http://dx.doi.org/10.34010/artic.v3i2.3696.
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The rapid advancement of information and communication technology influences the growth of creative industries such as firms in the fields of architecture, real estate and interior. The firm uses the advantages of information and communication technology, namely the internet and social media to conduct marketing. The use of social media as a marketing strategy of real estate and interior firms today is increasingly used as a promotional medium. The use of photos especially for interior promotion requires good photography techniques, has the power to stir consumer perception of interior services. This research aims to conduct photography experiments on the interior of The House Tour Hotel, designed by an architecture firm called Be Good Design Architect, this experiment was conducted to find out the techniques of photography in photographing the interior. The method used is photography experimentation using photography techniques based on literature and photographic methods from interviews with professional photographer Mario Wibowo. The result of this experiment is interior photo taken from the bedroom room of The House Tour Hotel.
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Pevec, Iza, und Lukas Birk. „Keeping a Story Alive: Interview with Lukas Birk“. Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.
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The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program SewonArtSpace in Yogyakarta, Indonesia. The project Afghan Box Camera, which he developed with the ethnographer Sean Folley, focuses on the photographic praxis in Afghanistan, mainly on the type of a simple instant camera, which was traditionally used there but its use is now in decline. They investigated the origins, techniques and the many personal stories of the photographers using or having used this type of camera and also made instructional videos on how to build or use one. Attention to the overlooked photographic practices, history and contexts marks also his current project The Myanmar Photo Archive, a growing collection of Myanmar photographs that were created during and after the colonial period – the work of local photographers from that period has namely remained unknown until today. Keywords: local history, Myanmar photography, photographic backdrop, western view
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Maričević, Marko, Petra Ptiček und Ivana Žganjar. „Recognition Model of Counterfeiting Digital Records of Biometric Photographic Image“. Tehnički glasnik 16, Nr. 1 (04.02.2022): 67–73. http://dx.doi.org/10.31803//tg-20210714171523.
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Biometric portrait as one of the most important means of identifying requirements through strict definition of dimensional relationships, preservation of realistic information about all technical characteristics of the photographic image, so that all biometric values can be digitized and used in recognition. The great variety and accessibility of applications for digital processing of digital record of a photographic image has enabled a visually convincing display of a forged photograph that leaves a different impression on the viewer and transmits a different, that is, a forged message. Due to the need to prove the authenticity of the digital record of the photographic image, methods have been developed for the analysis of the record that can detect deviations from the real record even when there are no visual signs of processing the photographic image. Not all analysis techniques can detect certain methods of photo manipulation, so multiple digital photography detection and analysis techniques need to be applied. In order to prove its authenticity, the scientific paper deals with methods for analysis and detection of forgery of digital photography with respect to the digital record and the structure of JPEG format.
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Apriyadi, Wiwid Widya, Arti Wulandari und Oscar Samaratungga. „Yogyakarta Dalam Fotografi Impresionisme“. spectā : Journal of Photography, Arts, and Media 5, Nr. 1 (17.03.2022): 51–60. http://dx.doi.org/10.24821/specta.v5i1.5007.
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Yogyakarta in The Impressionism Photography. The creation of photographic works with the title “Yogyakarta in Impressionism Photography” aims to present the scenery of Yogyakarta area using photographic techniques that look like an impressionist painting. The main objects in these photographic works are historical and natural tourist attractions in Yogyakarta area. The intensity of experience and feeling conveyed in this creation of photographic work are the feeling of boredom of the routines that are carried out in photographing, especially taking landscape photography. The method implemented for the photo creation was to have exploration and experimentation in photographing landscapes. Exploration and experimentation are conducted by moving the camera around the object or moving the camera during the image recording process. The result of the creation of this artwork is that photographic works resemble the impressionist paintings. ABSTRAKPenciptaan karya fotografi dengan judul "Yogyakarta dalam Fotografi Impresionisme" bertujuan untuk menampilkan objek pemandangan Yogyakarta yang dikemas dengan teknik fotografi dengan visualisasi berbentuk seperti lukisan impresionisme. Objek utama dalam penciptaan karya fotografi ini adalah tempat wisata bersejarah dan wisata alam di kawasan Yogyakarta. Intensitas pengalaman dan perasaan yang dituangkan dalam penciptaan karya fotografi ini adalah rasa jenuh terhadap rutinitas yang dilakukan dalam memotret, terutama memotret fotografi panorama. Rasa jenuh ini mendorong untuk melakukan eksplorasi dan eksperimentasi dalam memotret panorama. Eksplorasi dan eksperimentasi dilakukan dengan cara melakukan pemotretan memutari objek dan menggerakkan kamera pada saat proses perekaman gambar.Hasil dari penciptaan karya seni ini adalah karya fotografi dengan kesan lukisan impresionisme.
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Healy, Sean S., und Carl N. Stephan. „The Critical Photographic Variables Contributing to Skull-Face Superimposition Methods to Assist Forensic Identification of Skeletons: A Review“. Journal of Imaging 10, Nr. 1 (07.01.2024): 17. http://dx.doi.org/10.3390/jimaging10010017.
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When an unidentified skeleton is discovered, a video superimposition (VS) of the skull and a facial photograph may be undertaken to assist identification. In the first instance, the method is fundamentally a photographic one, requiring the overlay of two 2D photographic images at transparency for comparison. Presently, mathematical and anatomical techniques used to compare skull/face anatomy dominate superimposition discussions, however, little attention has been paid to the equally fundamental photographic prerequisites that underpin these methods. This predisposes error, as the optical parameters of the two comparison photographs are (presently) rarely matched prior to, or for, comparison. In this paper, we: (1) review the basic but critical photographic prerequisites that apply to VS; (2) propose a replacement for the current anatomy-centric searches for the correct ‘skull pose’ with a photographic-centric camera vantage point search; and (3) demarcate superimposition as a clear two-stage phased procedure that depends first on photographic parameter matching, as a prerequisite to undertaking any anatomical comparison(s).
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Fadia, Aqila. „ANALISIS KOMPOSISI FOTOGRAFI PADA FOTO FASHION EDITORIAL ‘SWARNADWIPA’ KARYA NICOLINE PATRICIA MALINA“. JURNAL Dasarrupa: Desain dan Seni Rupa 4, Nr. 2 (26.12.2022): 6–18. http://dx.doi.org/10.52005/dasarrupa.v4i2.130.
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One of the activities to express yourself is through photography. Photography is not just an activity to take pictures or take pictures. However, expertise is also needed to be able to apply the basic techniques and composition of photography properly so that the resulting photos are more interesting. One Indonesian female photographer whose works are very interesting is Nicoline Patricia Malina. Nicoline is very famous for her Fashion Photography work. Nicoline's Fashion Photography works are usually used for editorial purposes. One of them is entitled 'Swarnadwipa'. In this photographic work, Nicoline uses a photographic composition of leading lines, symmetry, fill the frame, and the rule of third in portrait and landscape photo formats. Nicoline also uses a combination of gold tones which is a concept from the 'Swarnadwipa' photo series, and there are several other colors such as brown, black, gray and silver. Apart from that, Nicoline also used the Borobudur Temple building as a background for the 'Swarnadwipa' photo. This analysis uses a descriptive qualitative method, which aims to find out what photographic compositions are used in the 'Swarnadwipa' editorial fashion photo as well as to find out what the relationship between the photographic composition and the concept of 'Swarnadwipa'.
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Likhacheva, Alexandra S. „Landscapes of Galicia as Viewed through the Camera: Visualization of Belligerent Spaces of the First World War“. Izvestia of the Ural federal university. Series 2. Humanities and Arts 26, Nr. 1 (2024): 36–57. http://dx.doi.org/10.15826/izv2.2024.26.1.003.
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This article analyses practices of capturing the experience of the First World War on the Eastern Front and the construction of militarized life worlds by combatants of the Russian Army and photojournalists. The author aims to determine the significance of the belligerent landscapes of Galicia in the formation of participants’ specific behavioural strategies and practices in the first industrial war. Methodologically, the author relies on the synthesis of approaches of spatial research and visual anthropology, conceptual provisions of landscape studies, and cultural geography. To analyse the photographic situation on the Eastern Front of the First World War, the peculiarities of the further existence of visual images in group and collective communication, identify techniques for constructing the image of the Galician environment in 1914–1915, the author refers to photographic sources of the Russian State Archive of Film and Photographic Documents. A key thesis of the study is the assumption that through the practice of photographing militarized landscapes, mental maps of alien space were constructed, and the imaginary appropriation of the territory annexed by the law of war took place. As a result, the author concludes that the landscapes of Galicia in photographs are a phenomenological construct, and not a direct reflection of reality or objective evidence. The photographic situation itself acts as an interpretation because photographers follow the imperatives of their own (prewar) life experience, the ideas formed by the prevailing discourses, consider the technical limitations of the era and shocking experiences in the spaces of death. The author also reveals the therapeutic function of war visualization and the role of the camera as a protective barrier for the photographer. The analysis determines the dynamic relationship of strategies for capturing military experience with the course of hostilities, as well as the need to study photographic albums dedicated to the life of individual units of the Russian Army or representing a series of images in a particular locality of Galicia as a whole and consistent photographic travelogue. The modern interpretation of military photographs makes it possible to reveal a layer of environmental consequences of the First World War in Eastern Europe which is latent for the photographer.
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Brasil-de-Mattos, Rodrigo, und Tiago Ricciardi-Correa-Lopes. „The Memory Within Photography: how to Observe Photographic Images in the “Post” Context“. Journal of Creative Industries and Cultural Studies 7 (2021): 58–74. http://dx.doi.org/10.56140/jocis-v7-3.
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The photographic making has become, in recent decades, a tangle of practices, techniques, and modes of circulation, which makes it a challenge to define what is a photograph today, after all. In this text, we propose a reflection on how to observe contemporary photographic images in networked environments through the concepts of Interface Photography and the Web of Imaginariness. We suggest an approach that emphasizes not only the surfaces of the images but also considers the surroundings that integrate with them, helping to unearth other memory images that are part of their constitution. Furthermore, it’s also reflected on the role of the medium – the Instagram image sharing platform – as a device that conditions and promotes the agency of memorial and aesthetic relationships between circulating networked photographic images.
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Szulc, Radosław, und Katarzyna Musielak. „Product photography in product attractiveness perception and e-commerce customer purchase decisions“. Scientific Papers of Silesian University of Technology. Organization and Management Series 2023, Nr. 166 (2023): 783–96. http://dx.doi.org/10.29119/1641-3466.2022.166.49.
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Purpose: This paper discusses the importance of product photography in influencing both consumer behaviour and the process of competitiveness among retailers in the e-commerce sector. The aim of the paper is to present the significance of product photography as regards its influence on purchase decisions, further illustrated by the author's own empirical results. Design/methodology/approach: The authors verified the assumption that employing different techniques to produce a product photograph (e.g. lighting, setting) influences purchase decisions in terms of the change in attitude towards an offer under the influence of the photograph taken, the degree of this change and the likelihood of an increase in the conversion rate. The principal research concept is to use three factors that determine, in effect, the significance of product photography presented in different settings. Various combinations of these factors enhance the informational and persuasive function of photography, which rationalises consumer choice in e-commerce. The study was carried out using an online survey method. The authors used purposive sampling. Findings: The main conclusion drawn from the study is that, in the opinion of the respondents, the way in which a product is photographed is of importance when making purchase decisions. The consumer pays attention to the way the product is presented in e-commerce offers and reacts differently depending on the lighting techniques used. The results also indicate that the price of the product plays an important role as a decisive factor in the purchase of the evaluated products by consumers. The findings further indicate that the price of the product is also of great importance to consumers as a factor determining the purchase of the evaluated products. Disclosing additional information about the price of a given product presented during the survey resulted in a change in the respondents’ perception of an offer, regardless of the combination of factors. According to the research assumption made, lighting played a key role in the perception of photographs by potential customers. In the opinion of the respondents, the illumination method had a noticeable effect on accentuating the product details seen in the photographs. Originality/value: This paper discusses the issue of product photography used in different ways in various e-stores' offers. The impact of selected photographic techniques influencing both consumer behaviour and the process of competitiveness among retailers in the e-commerce sector is shown. It was indirectly confirmed that the price and background used when photographing a product significantly influence the perception of the attractiveness of the purchase under consideration, even in a situation when the presentation of the product is optimal, as it provides full, visualised information about it under the circumstances most conducive for a purchase made remotely. Keywords: product photography, e-commerce purchase decisions, cyber market. Category of the paper: Research paper.
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Wicky, Érika. „L’imaginaire pictural de la matière photographique (1850–1860) : la cuisine de l’art, du peintre au photographe“. RACAR : Revue d'art canadienne 40, Nr. 1 (27.08.2015): 85–94. http://dx.doi.org/10.7202/1032758ar.
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The writings on photography published in the 1850s reveal the emergence of a pictorial imaginary of photographic matter that grew in the margins of the amazement at a medium completely dominated by nature and the precise developments of the photographic technique. In some of these texts, photographers were likened to painters because of the application, in both techniques, of multiple layers of varied and more or less opaque substances. Inasmuch as it concerned the process of fabrication more than the image itself, the understanding of the work performed by photographers, of their action on matter, directly affected their social status. To reflect on the material imaginary of photography is then to interrogate the modalities of the joint emergence of the profession and of the figure of the photographer-artist at the very moment of the industrialization of photography.
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Fox, Paul. „An unprecedented wartime practice: Kodaking the Egyptian Sudan“. Media, War & Conflict 11, Nr. 3 (13.07.2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Abu Hassan, Nazrul Azha, Adzrool Idzwan Ismail, Siti Salmi Jamali und Jati Widagdo. „Digital Documentation through Underwater Photography Method“. Environment-Behaviour Proceedings Journal 8, SI16 (26.11.2023): 243–50. http://dx.doi.org/10.21834/e-bpj.v8isi16.5248.
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This study focuses on the educational value of photographs and investigates discursive methods for employing underwater photography in environmental education. This research will examine the effectiveness of the relationship between photography and the environment using a qualitative methodology. The results indicate that data collection and photographic documentation might be very valuable, and understanding the fundamentals and techniques will greatly enhance the use of underwater photography. To sum up, research has shown that underwater photography can generate a distinctive dynamic and concept that can be used in a Public Service Announcement (PSA) to educate the public about the condition of the coral reef.
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N Hegde, Mithra, und Urvashi B Sodvadiya. „Photography in dentistry: A perspective“. Journal of Otolaryngology-ENT Research 12, Nr. 5 (2020): 161–65. http://dx.doi.org/10.15406/joentr.2020.12.00476.
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Photography is an “informative tool” to evaluate the diagnosis, make the proper treatment plan, document cases, communicate with the dental technician and other specialties for a multidisciplinary approach. These all can be achieved by only a good photograph with illumination, sharpness, and proper color contrast. This article emphasizes on photography and technical aspects which are required to understand photography in the field of dentistry. By using accessories like photographic mirror, contrastors and retractors, we can record the details of a targeted area. The advances in techniques of photography gives good results provided one understands the complexity of the camera-system.
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Morris-Reich, Amos. „Science and “Race” In Solomon Yudovin’s Photographic Documentation of Russian Jewry, 1912–1914“. Images 6, Nr. 1 (2012): 52–78. http://dx.doi.org/10.1163/18718000-12340004.
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Abstract From the perspective of Central European developments in scientific photography, this article studies the photographs taken by Solomon Yudovin as part of S. An-sky’s ethnographic expedition to the Pale of Settlement between 1912 and 1914. The first part of the article argues that the scientific goals of the expedition demanded the introduction of photography less out of an inherent interest in the medium than out of the desire to employ advanced scientific techniques. The second part identifies various strains of scientific photography in Yudovin’s photographic practice. It shows that his photographs encompass both of what later came to be contrasted as racial photography and social documentation. Employing a comparative approach, and touching particularly on questions of Jewish visibility at the time and after the Holocaust, the third part of the article points to the specificity of photography as an indexical medium in this history.
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Vogelsang, Helena. „A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan“. Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.
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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography
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Westcott, Warren. „Picture Writing and Photographic Techniques for the Writing Process“. English Journal 86, Nr. 7 (01.11.1997): 49–54. http://dx.doi.org/10.58680/ej19973455.
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Shows how photography and photographic processes can be used as a metaphor for describing writing and writing processes and, thus, can be a useful teaching tool. Discusses subject, focus, arrangement, and style. Describes how a writing teacher can use all this as a means of illustrating various aspects of the writing process.
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Singh, Amrita. „Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival“. Studies in Comics 11, Nr. 2 (01.11.2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.
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In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic vision is used to represent the experience of migration in the narrative as well as connect past and contemporary histories of migration world over. The photograph emerged as an important medium through which memory came to be visualized in the twentieth century, and is an important historical artefact capable of telling the story of its times. Tan also expects the reader to employ an intermedial and intertextual critical literacy to engage with the narrative. The visual poetics of the text direct the reader’s affective and empathetic engagement with the situation being presented and with the character whose experience they encode. The article focuses on three kinds of photographic representation in the narrative: the iterations of the protagonist’s family photograph, the narrative itself shaped as a photo album and the immigrant’s identification photograph.
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Widhiyanti, Ni Wayan Widhi, und I. Made Saryana. „Aji Susanto Anom's Black and White Photographic Works: A Study of Visual Psychology“. Journal of Aesthetics, Creativity and Art Management 3, Nr. 1 (01.04.2024): 69–75. http://dx.doi.org/10.59997/jacam.v3i1.3704.
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This study aims to map the aesthetics and emotional content implied in black and white photographic works by Aji Susanto Anom, a leading photographer from Indonesia. This research uses a visual arts approach and literature study to analyze various aspects which include techniques, compositions, themes, and messages conveyed in the works of Aji Susanto Anom. The research method used is a qualitative analysis of a number of black and white photographic works of Aji Susanto Anom that have been carefully selected. By paying attention to every visual and narrative detail, this study will identify the unique aesthetic characteristics and emotional content implicit in each work. It will also involve an understanding of the context of these works, including cultural influences, traditional values, and Aji Susanto Anom's career journey as a photographer. The results of this study are expected to provide a deeper understanding of how aesthetics and emotional content in black and white photography can be expressed through the works of Aji Susanto Anom. The findings of this study are also expected to contribute to the development of our understanding of black and white photography as a powerful artistic medium in conveying profound and inspiring messages.
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Kukanova, Viktoriya V., Aleksandra T. Bayanova und Larisa B. Mandzhikova. „Газетные фотографии: использование приема гиперболизации (на материале публикаций в газете «Хальмг үнн» («Калмыцкая правда») в 1957–1961 гг.)“. Oriental Studies 13, Nr. 6 (30.12.2020): 1579–93. http://dx.doi.org/10.22162/2619-0990-2020-52-6-1579-1593.
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Introduction. Photography is a visual source of information, and its unique character has been recognized by numerous researchers. Newspaper photographs tend to mirror both a historical era proper and daily life of its inhabitants. Goals. The paper aims at analyzing the ‘essential messages’ of photographs published by Khalmg Ünn (‘The Kalmyk Pravda’) newspaper in 1957–1961. The periodical is an ethnic-oriented print media to have published — and still does — Kalmyk language materials. Materials and Methods. The continuous sampling method was employed to extract photographs from newspaper issues of 1957–1961. So, a total of 4,000 units were analyzed, but the study primarily focuses on pictures that were taken by local photographers in the territory of the Kalmyk ASSR. Photographs by TASS were involved to trace similar trends through comparison with regional photographic images. Conclusions. The study shows that photographic materials of Khalmg Ünn (‘The Kalmyk Pravda’) highlight different artistic trends manifested in the eclectic patterns compiled from both Socialist realism and the ‘severe style’ (the latter characterized by romantic heroification of strenuous laborers). Just in two years the newspaper images rapidly evolutionized from mere shots to photographic pictures created through the use of diverse means and methods, e.g., that of hyperbolization achieved via different camera angles and glass prism techniques. Newspaper photographers turned to common laborers to show their joys and hardships, everyday life of citizens not involved in party or any other administrative activities. The Khrushchev era gave rise to most essential changes in newspaper photography and the images examined. Further analysis of newspaper materials shall facilitate the development of both regional print media and anthropological studies at large.
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Struk, I. О., M. M. Kalinichenko und Yu S. Harabuga. „EXPERIENCE OF NORTH AMERICAN SPECIALISTS ON RESEARCHES OF PHOTOGRAPHIC PRODUCTS AS OBJECTS OF THE COPYRIGHT“. Theory and Practice of Forensic Science and Criminalistics 17 (29.11.2017): 373–81. http://dx.doi.org/10.32353/khrife.2017.48.
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In the modern epoch of digital techniques the photographic works gained considerable popularity and widespread use through the Internet. Because of easy access to the high- quality digital copies of photographs, unfair individuals in their business activities often use copyrighted photographic works without a license from the authors or copyright holders. Taking into account the actuality of this problem for the Ukrainian authors and national legal system, considering the prospect of establishing the High Specialized Court for Intellectual Property, and also in view of the urgent need of creating an adequate official technique for the research of photographic works as intellectual property objects, the experience of the United States specialists who studied the materials of court cases concerning infringement of copyright to the photographic works, has a significant practical value to the forensic experts of our country. Review study of the high profile case «Shepard Fairey v the Associated Press», known as «The Hope Poster case», as well as the conclusions of the expert commission, allows to consider main analytical techniques of research on photographic works as intellectual property objects, which have entered into the range of research means of modern North American court experts. The expert committee for this case reached the following conclusions: the photograph of B. Obama, created by photographers from the agency «Associated Press», cannot be considered as an original work; the graphic work under the title «The Hope Poster» authored by Sh. Fairey was found to be a variation of the photographic work of «The Associated Press»; in consideration of the low level of creative «transformativeness» of the image in the work of Sh. Fairey, his poster does not meet the conditions of the «Fair Use Doctrine». The findings of the experts forced the parties of court case to sign a conciliation agreement on such terms which are still not disclosed.
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Reid, Neill. „The Second Palomar Sky Survey“. Symposium - International Astronomical Union 133 (1988): 331–36. http://dx.doi.org/10.1017/s0074180900139786.
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The Carte du Ciel was the first photographic survey of the entire sky, extending to 15th magnitude in the blue “photographic” passband. The first Palomar sky survey followed in this tradition, covering the sky north of δ = −30° to a limiting magnitude of ≃ 20 in both blue and visual/red wavelength ranges, while the Whiteoak extension added the fields to declination −42° in the latter color. In the thirty years that have elapsed since the completion of the original survey there have been substantial improvements in emulsions and sesitization techniques, as well as an increase in the wavelength range accessible to photography. These techniques have been ably exploited by the UK Schmidt telescope, and a cursory comparison between any UKST IIIaJ plate and an original POSS 103a-O photograph highlights the considerably improved depth and resolution of the southern survey. We have, therefore, embarked on a second Palomar survey, POSS 2, in an effort to redress the balance. This paper outlines the progress made to date and go on to describe some of the scientific programs that are planned.
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Crawford, Edward C. „Clinical Orthodontic Photography: Part I – Intra-oral“. Australasian Orthodontic Journal 9, Nr. 1 (01.03.1985): 185–88. http://dx.doi.org/10.2478/aoj-1985-0004.
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Abstract Intra-oral photography provides depth to orthodontic case assessment and valuable visual material for patient and professional education. Photographs of excellent quality are obtained using good equipment standardized for the task and require a consistent method of setting, up and execution. The article discusses requirements for good photography and lists features ot photographic equipment important in producing excellent intra-oral pictures for orthodontic purposes. Correct selection of the camera body, lens and flash unit appropriate for this task is also discussed together with the auxilliary equipment necessary, such as cheek retractors and mirrors. Techniques involved in taking frontal and buccal (mirror-view) pictures are described.
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Barns, Janae, Estie Kruger und Marc Tennant. „Benchmarking forensic rulers and photographic techniques“. Journal of Forensic and Legal Medicine 41 (Juli 2016): 5–9. http://dx.doi.org/10.1016/j.jflm.2016.04.004.
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Andergassen, Lisa. „Digging Up the Narrative: Forensic Practices between Objectivity and Interpretation“. Membrana Journal of Photography, Vol. 1, no. 1 (2016): 48–51. http://dx.doi.org/10.47659/m1.048.art.
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Photography traditionally generates a truth-claim, while at the same time undermining it by holding the potential of being altered or staged. Since the rise of digital techniques, we are facing different (and easier) ways to manipulate pictures, leading to the notion of the digital photograph as generally mutable and therefore not trustworthy. But as there have been more and easier ways to “manipulate” photographs, so has there been an increase in the ways to detect them. Which today puts digital forensics in the position of re-establishing “reality” as a referential point by tracing every step of the process of alteration, turning the dubitative image into one that is doubt-free once its metadata has been analysed. But is this the whole story? By addressing digital forensic practices that have been used within the investigation of the Abu Ghraib torture scandal, I am showing that the hidden narrative of photographic production can be dug up by using forensic methods, but not without creating a new narrative.
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Polizzotto, Leonard. „Hard-Copy Imaging Options“. Microscopy Today 2, Nr. 5 (August 1994): 14. http://dx.doi.org/10.1017/s155192950006627x.
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Photographic film has played a central role in the recording of microscope images since the invention of photography in the 1830s. Photography rapidly creates an accurate record of the microscopic specimen and avoids the subjectivity that was inherent in written and artistic descriptions of visual observations. Both instant and conventional films offer high resolution, the ability to record a large tonal gradation, and a stable media for long-term data storage.Newer techniques, such as thermal, ink jet, and laser prints, have grown in popularity because they offer ease-of-use or lower per-image cost. Despite recent improvements, none of these techniques offer the resolution or stability of a photograph. In general, people have been forced to sacrifice quality and permanence in order to achieve the lower per-image cost and ease-of-use promised by alternative recording systems.
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Shik, I. A. „“Moscow Surrealism” by Mikhail Dashevsky“. Art & Culture Studies, Nr. 4 (Dezember 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.
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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.
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Maliutina, Nataliia. „Photographic image as a communicative resource in contemporary Russian drama“. Świat i Słowo 34, Nr. 1 (10.03.2020): 254–67. http://dx.doi.org/10.5604/01.3001.0014.3075.
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The article analyses photographic discourse in contemporary Russian dramatic texts as a specific way of perceiving and constructing the reality, as a means of communication, and as a metalanguage. The conceptualization of photographic images in the dramatic text enabled the scrutiny of specific artistic ploys and photographic techniques applied. The article reveals the nature of correlation between the visual perception of a photograph incorporated in the dramatic text, the characters’ utterances and the author’s remarks. The photographic image fosters the rejection or the “appropriation” (recognition in oneself) of the Other by the characters. It also allows for the implementation of the communicative mechanisms used to create the hyperreality of the photo universum. The performative potential of the photographic discourse of the dramatic text materializes itself in such a hyperreality.
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Romya, Asmaa. „Studying the photographic traditional techniques and its effect on producing photographic surrealism“. International Design Journal 13, Nr. 5 (01.09.2023): 41–50. http://dx.doi.org/10.21608/idj.2023.312388.
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Buriak, Larysa, und Wiktoria Kudela-Świątek. „Decoding the Images of the Polish Countryside, by Louise Arner Boyd (1887-1972)“. Krakowskie Pismo Kresowe 15 (16.12.2023): 97–126. http://dx.doi.org/10.12797/kpk.15.2023.15.07.
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This article looks at the photographic legacy of Louise Arner Boyd’s (1887-1972) expedition through the Second Polish Republic in the context of her discovery of the otherness and social diversity of the country she visited in 1934. The authors were particularly captivated by the portrayal of the Ruthenians/Ukrainians of what is now Western Ukraine, as depicted in the Boyd photography. The authors focus lies on the unprocessed photographic content from the library collections of the University of Wisconsin-Milwaukee and the book she published a few years after her journey with the cooperation of the American Geographical Society in New York. The authors told the story of Louise A. Boyd’s trip to Poland primarily to introduce the reader to the context of the creation of the photographic collection, in which authors try to discover content and meanings that have not been sought before. Their analysis of the making-off process and reception into academia for Boyd’s book entitled Polish Countryside is also crucial to understanding that it is only a part of the collection. It is a specific vision and a compromise between the photographer’s and the publisher’s expectations. The Boyd photographic collection focused on rural landscapes and the architecture of villages and farms, capturing various farming methods, road and water transport scenes, village types and traditional clothing. With meticulous descriptions and detailed lists of the photographed locations and subjects, the collection serves as valuable documentation of building styles and techniques, traditional costumes, transportation, markets and agricultural and fishing practices. Thanks to Boyd’s skilled photographer’s eye, she was able to capture visually attractive photographs that also serve as scientifically intriguing documents of a bygone era. The significance of these photos extends beyond the confines of ethnography, as we have endeavoured to emphasise in this article. Through reinterpreting Ruthenians/ Ukrainians portraits in Boyd photographs after almost a century, we aim to grasp the preserved and concealed contexts, thereby reconstructing, if not the complete image, at least its distinct components. However, the images of contemporary Western Ukraine and its inhabitants by Louise Arner Boyd that the authors analysed are currently in the photography collection mentioned above from the UWM as part of the digitalised archive of the American Geographical Society. The authors had attempted to look at them both as an example of ethnographic photography typical of the interwar period and a unique image of a world that no longer exists. In the authors’ opinion, Louise A. Boyd’s photograms, placed as raw ethnographic material in the mentioned repository of the UWM library, today have the value that she wanted to give them from the beginning when she was considering the publication of Polish Countrysides, and they are a reminder of a world whose traces have almost disappeared today.
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Şur, Tuncay, und Betül Yarar. „New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne“. VISUAL REVIEW. International Visual Culture Review 7, Nr. 1 (23.07.2020): 57–76. http://dx.doi.org/10.37467/gka-revvisual.v7.2598.
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This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence. Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.
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Şur, Tuncay, und Betül Yarar. „New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne“. International Visual Culture Review 2 (21.03.2020): 1–18. http://dx.doi.org/10.37467/gka-visualrev.v2.2248.
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This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence. Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.
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Bell, Amy. „Crime Scene Photography in England, 1895–1960“. Journal of British Studies 57, Nr. 1 (Januar 2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.
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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evocative as well. Each of four pairs of photographs discussed reflects a significant period in the historical evolution of crime scene photography as well as an observable aesthetic influence: the earliest days of police photography and pictorialism; professionalization in the 1930s, documentary photography, and film noir; postwar photographic expansion to the suburban and middle class, advertising images of the family and home; and postwar elegiac landscape photography in the 1950s and compassion shown to infanticidal mothers. Crime scene photographs also demonstrate a remarkable shift in twentieth-century forensic technologies, and they reveal a collection of ordinary domestic and pastoral scenes at the moment when an act of violence made them extraordinary.
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Salam, Junaidi. „EKSPLORASI CETAK FOTOGRAFI VANDYKE PADA MATERIAL KULIT“. Narada : Jurnal Desain dan Seni 6, Nr. 3 (19.12.2019): 387. http://dx.doi.org/10.22441/narada.2019.v6.i3.004.
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As part of the fashion material repertoire, leather has a lot of travel in the exploration and development of material functions, both technological development and the development of aesthetic basic material fashion products, so designers often use this material to increase the high economic value in the fashion industry. old print photography has indeed been abandoned a lot over the times and advances in photographic technology, but in retrospect, it has revived the passion for the search for unique aesthetic values of the old photographic processes and characteristics. This study focuses on experiments with Vandyke's photographic printing on leather material, especially in producing character and the application of photographic aesthetics into fashion material. This research is driven by a number of basic assumptions about the possibility of Vandyke printing applied to leather material, as well as efforts to produce realistic visual motifs in the style of retrospective photography techniques. While the effort that can be done is to determine the variable composition of chemicals in the Vandyke process towards the characteristics of the leather material that has been determined in a laboratory experiment.
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Montagud Alario, Sergio. „Photographic techniques for igitisation of taxidermied vertebrate collections“. Aulas Museos y Colecciones de Ciencias Naturales 9 (2022): 81–94. http://dx.doi.org/10.29077/aula.2022.9.montagud.
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Current cataloging of natural history collections usually includes illustrative documents or images that represent the objects or specimens. It is widely considered that an image can easily resolve a specific search or detail of any collection. But it can also resolve more specific subjects and be used in more precise analyses that allow the specialists obtain dates without physically go to the institution that hosts these collections. This information can provide data to resolve questions of importance in the research of the collections, such as those concerning the taxonomy of the specimen, coloration patterns, dimensions, pigments used, original inscriptions on the supports, damage to the specimen itself, general deterioration of the piece and its details, current or historical attacks by pests, greasing processes or changes in color, dust, chemical suppuration, etc. A picture can reveal much more information about the specimen than is initially thought. For this requirement, it is necessary that the photographic shot has been generated following an adequate methodology that guarantees its exactitude with the data of the original specimen. Currently, the digital photography industry offers a wide range of products and tools that provide high-resolution photos at economic price. This basic equipment can be purchased by any institution involved in the management of natural history collections. But it is necessary to know what equipment is required, how to handle it, what additional tools are important to use and how to manage and process our final pictures. All this type of information will be the subject of analysis and examination in this paper. In this paper we explain the necessary requirements and characteristics that should have our photographic equipment. The main camera specifications, the type of sensor, the most convenient focal lengths of the lenses to be used and the minimal accessories to guarantee the best results when photographing scientific collections La catalogación de las colecciones de historia natural debe incluir imágenes que representan el objeto o ejemplar en cuestión. Se considera que una imagen puede solucionar fácilmente una búsqueda determinada, una consulta necesaria o un detalle preciso a la hora de gestionar o consultar los fondos de toda colección. Pero también puede resolver cuestiones más específicas y emplearse en análisis más precisos que permitan su consulta por los especialistas adecuados sin necesidad de desplazarse físicamente al centro o institución que alberga estas colecciones. Para este cometido es necesario que la toma fotográfica se haya generado siguiendo una metodología adecuada que garantice su exactitud con los datos del ejemplar original. Es necesario saber qué equipos cumplen con nuestras necesidades, cómo manejarlos, qué herramientas adicionales es importante emplear y de qué manera gestionar y procesar nuestras fotografías. En este trabajo exponemos los requisitos y características necesarias que debería reunir un buen equipo de fotografía, desde las especificaciones de la cámara, el tipo de sensor, las focales más convenientes de las lentes a emplear y los accesorios imprescindibles para garantizar la obtención de los mejores resultados a la hora de fotografiar las colecciones científicas.
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Susanti, Kristina Novi, Diana Safinda Asran und Priaji Iman Prakoso. „MULTIPLE EXPOSURE DAN DIGITAL IMAGING SEBAGAI METODE PEMBUATAN PHOTOBOOK BAHASA ISYARAT“. Acintya Jurnal Penelitian Seni Budaya 15, Nr. 1 (25.08.2023): 94–101. http://dx.doi.org/10.33153/acy.v15i1.5111.
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This study explores photographic works that can be utilised as fine artwork and as learning media for deaf people. The research method used in creating works of art is searching for ideas, deepening and developing them. Through this method, the creation of photography works bg visualizing hand movement and expressions using two techniques, namely multiple exposure and digital imaging. The object of this photo is someone who has mastered sign language. This research then produced several photographic works combined into a photobook that can be used as a teaching and learning media for teachers and students at special schools.Keywords: photography, sign language, photobook, learning media.
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Polizzotto, Leonard. „Hard-copy imaging options“. Proceedings, annual meeting, Electron Microscopy Society of America 51 (01.08.1993): 552–53. http://dx.doi.org/10.1017/s0424820100148599.
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Photographic film has played a central role in the recording of microscope images since the invention of photography in the 1830s. Photography rapidly creates an accurate record of the microscopic specimen and avoids the subjectivity that was inherent in written and artistic descriptions of visual observations. Both instant and conventional films offer high resolution, the ability to record a large tonal gradation, and a stable media for long-term data storage. Newer techniques, such as thermal, ink jet, and laser prints, have grown in popularity because they offer ease-of-use or lower per-image cost. Despite recent improvements, none of these techniques offer the resolution or stability of a photograph. In general, people have been forced to sacrifice quality and permanence in order to achieve the lower per-image cost and ease-of-use promised by alternative recording systems.Photographic hard copy has traditionally served as both the communication and storage medium. The introduction of digital storage methods has made these functions more distinct.
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Purnamasari, Putu Rahayu, I. Nyoman Putu Budiartha und Ni Made Puspasutari Ujianti. „Perlindungan Hukum terhadap Hak Cipta Karya Fotografi yang Digunakan tanpa Izin“. Jurnal Konstruksi Hukum 1, Nr. 1 (27.08.2020): 203–8. http://dx.doi.org/10.22225/jkh.1.1.2159.203-208.
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Photo is the result of an image taken by a camera through a photographic process carried out by a photographer and protected as one of the copyright works in the Prevailing Laws, namely the Copyright Law No. 28/2014. Violations against copyright works often occur, but there are still many photographers who do not understand or even know about copyright and the legal provisions governing and protecting it and do not register their creations with the Directorate General of IPR. So the problem that can be investigated is how the legal protection of the rights of the creator of photographic works and what legal remedies can the creator take on the work of photography that is used without permission by other people. This study aims to determine the level of legal protection for the rights of photographic creators as well as to find out the legal actions taken by the creators of photographic works that are used without the permission of others. The method used is legal research that is normative through a statutory approach as well as a conceptual approach, and the sources of legal materials used are primary and secondary legal materials with literature collection techniques which are analyzed in descriptive analytical form. Based on the results of research and analysis, it can be concluded that the copyright of photographic works is to provide protection for photo art works and to provide economic rights for the creators or copyright holders and moral rights for the creators. The route outside the court and the court route are two legal routes that can be taken in making legal remedies.
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Whitman, Matthew S., Edward H. Moran und Robert T. Ourso. „Photographic Techniques for Characterizing Streambed Particle Sizes“. Transactions of the American Fisheries Society 132, Nr. 3 (Mai 2003): 605–10. http://dx.doi.org/10.1577/1548-8659(2003)132<0605:ptfcsp>2.0.co;2.
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Meyer, M. L., und C. L. Mehrotra. „Photographic evaluation techniques in photoelasticity-Part 1“. Strain 22, Nr. 2 (Mai 1986): 57–62. http://dx.doi.org/10.1111/j.1475-1305.1986.tb00593.x.
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Meyer, M. L., und L. Mehrotra. „Photographic evaluation techniques in photoelasticity-Part 2“. Strain 22, Nr. 3 (August 1986): 141–48. http://dx.doi.org/10.1111/j.1475-1305.1986.tb00609.x.
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Bohnen, J. L., und A. M. Hanchek. „630 (PS 3) PRAIRIE PLANT SEED AND SEEDLING IDENTIFICATION“. HortScience 28, Nr. 5 (Mai 1993): 541d—541. http://dx.doi.org/10.21273/hortsci.28.5.541d.
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Photographic resource materials to assist in identification of seeds and seedlings of grasses and forbs native to Minnesota prairies are being developed as part of a grant from the Legislative Commission on Minnesota Resources. Native plant materials are being used for habitat improvement, roadside vegetation, and landscape plantings throughout Minnesota. Seeds were obtained from producers or collected from prairie remnants. Seed photographs were taken with a Wild Leitz stereomicroscope and camera unit using Kodak EPY 64T film. Magnification was 6.5X, 10X, or 16X based upon seed size. Seedlings were photographed with one or two true leaves using Kodak EPY 64T film with a Nikon FM2 camera with a 55 mm micro Nikkor macro lens and an extension tube when necessary. Nondestructive sampling using photographic techniques provides a relatively quick and inexpensive means of recording information on potentially rare species. The color pictures and slides developed in this project provide an effective tool for educators, producers and land managers to easily distinguish between seeds and seedlings of valuable native plants and those of weedy species undesirable in restoration projects or cropping systems.
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Szczypiorska-Chrzanowska, Magdalena. „Dwaj ludzie z lustrem. Metafory fotografii i fotograficzne motywy w etiudach Romana Polańskiego“. Załącznik Kulturoznawczy, Nr. 10 (31.12.2023): 199–214. http://dx.doi.org/10.21697/zk.2023.10.10.
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Two Men and a Wardrobe: Photographic Motifs and Metaphors in Roman Polanski’s Short Films This paper attempts to explore the photographic metaphors (Bernd Stiegler’s categories) and motifs drawing on photographic techniques and practices in three short films directed by Roman Polanski while still a student (Two Men and a Wardrobe, Teeth Smile, Murder). Metaphors and motifs originating in the technical, practical, mythopoetic, and anthropologic aspect of photography—e.g. mirror, doubling, doppelgänger, shade, voyeurism, murder, mortification/vivification—used in Polanski’s early film narratives refer to copying vs. creating, reproducing a fragment of the world vs. developing it anew, exploring “reality” vs. illusion, “truth” vs. imagination, optics vs. metaphysics, and produce an autonomous space of meanings and possible interpretations. The theoretical framework of the analysis is provided by selected threads in the theory and philosophy of photography drawn from the works of Bernd Stiegler, Roland Barthes, Edgar Morin, Susan Sontag, John Szarkowski, and Edouard Pontremoli.
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Mahesha, H. B. „Air Dry Technique for the Preparation of Meiotic Chromosomes from the Testes of Silkworm Bombyx mori L.“ Indian Journal of Pure & Applied Biosciences 10, Nr. 2 (30.04.2022): 25–28. http://dx.doi.org/10.18782/2582-2845.8888.
Der volle Inhalt der QuelleAnnotation:
One strain of mulberry silkworm Bombyx mori L., namely NB4D2 at the age of the fifth instar, was selected as an experimental insect. During the fifth instar, testes were used to prepare meiotic chromosomes. The air dry technique for preparing meiotic chromosomes was developed and standardised. Both temporary and permanent micro slides showed clear different stages of meiosis. The different meiotic stages were observed under 1000x magnification and photographed using conventional photographic techniques.
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McConnell, James. „(320) Photographic and Post-processing Techniques for Horticultural Images“. HortScience 41, Nr. 4 (Juli 2006): 1045A—1045. http://dx.doi.org/10.21273/hortsci.41.4.1045a.
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Numerous shooting and post-production techniques can be used to improve the quality of images used in horticultural publications. Certain lenses, lens attachments, and camera accessories are useful for enabling greater success in photographing plants. Small diffusers and reflectors allow the shooting of close-ups in the field, even when the sun is directly overhead. Shift lenses can be used to photograph trees at a closer distance without the extreme distortion of wide focal length lenses. Stitching of multiple images to produce panoramic shots can produce images with increased resolution, less distortion, and without the need for a wide-angle lens. Experiences with digital asset management management and post-production workflows are also presented.