Relevant bibliographies by topics / Art and photography

Academic literature on the topic 'Art and photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Art and photography"

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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing
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Hillman, John. "How Does Photography Appear to Appear?" Magic, Vol. 5, no. 1 (2020): 72–79. http://dx.doi.org/10.47659/m8.072.art.

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Photography shares little with the logic of simulation and simulacrum, instead it facilitates a dimension within which people and objects we photograph emerge from an impossible frame. Its intrigue resides in the palpable sense of impossibility that photographs render visible to us. This sleight of hand obfuscates the question of how appearance appears. In Finders Keepers, Dutch photographer Laura Chen works with imagery sourced from undeveloped films purchased from eBay and car-boot sales. When Chen develops the films, the real of someone else’s reality is transformed into art. Left undeveloped, these images occupy nowhere in particular, but Chen makes appearances fill in a void and poses a question which is not one of “why” but of “where” are images? Furthermore, in seeking out meanings, the magic of photography is understood through the misdirection of illusion and appearance. What is more useful is to ask how photography appears to appear? Keywords: photography and illusion, magic of photography, reality and simulation, appearance of photography, Laura Chen
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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.

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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”
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Molloy, Caroline. "The Studio Photograph as a Conceptual Framework." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 38–47. http://dx.doi.org/10.47659/m5.038.art.

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In her essay, Caroline’s draws from her PhD thesis that looks the visual habitus of transcultural photography. She concentrates her writing on the genre of studio photography, specifically early English studio photography and argues that the conceptual framework established in early photographic studio practices still has its legacy in contemporary digital photographic studio practices. To illustrate this argument, she draws from a contemporary case-study in her local, digital photographic studio in North London and discusses a selection of photographs in relation to early photographic studio practices. She suggests that rather than a radical break caused by digital technologies, digital photography has opened up imaginative ways in which to make studio portraits that blur boundaries between the real and symbolic. Keywords: anthropology, digital form of photography, photography, studio photography
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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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Vellanki, Vivek. "Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research." Cultural Studies ↔ Critical Methodologies 22, no. 2 (December 28, 2021): 132–42. http://dx.doi.org/10.1177/15327086211045976.

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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.
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Kloster Poulsen, Steffen. "Når eksplosioner er kunst." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 100–115. http://dx.doi.org/10.7146/periskop.v2024i31.146623.

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This article argues for an expanded effort to search for, and actively utilize, concepts and methods from the sociolinguistic periphery of the otherwise anglocentric academic lit- erature on photography in order to achieve a more level playing field between vernacular concepts and purportedly universal ones. Taking the history of public debate on photo- graphy in Japan as a departure point, this article aims to map out a new area of explora- tion for photographic research in the academic field of art history. Japan has been home to a vivid public and intellectual debate on photography since the birth of photography and, although its output of photographers and photobooks has been globally acclaimed and exported to museums and galleries internationally, especially in the past thirty years, lit- tle emphasis in academic research and elsewhere has been put on Japanese photographic critique, theory and debate outside the archipelago. As an example of unexplored theory, this article analyzes two published lectures by Japanese photographer Hatakeyama Naoya in which he reflects on photography's value as art, its place in the art world and the processes by which photographers become labelled as artists. Using a metaphor from analogue photography, he deems photographers “latent artists” who by a development process can become artists. Following Hatakeyama’s line of thought, this article argues furthermore that the metaphor can be extended to photographs themselves.
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Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (April 30, 2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.

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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terhadap keunggulan reduplikasi, proses instan, dan otomatisasi fotografi membuat fotografi kehilangan tempatnya di dunia seni. Akan tetapi, persoalan seni adalah persoalan rasa. Fotografi tetaplah sebuah seni dengan melihat adanya relasi intensional yang tercipta antara objek dan seorang fotografer dalam sebuah foto. Relasi intensional ini tercermin dalam proses, imajinasi, dan kreativitas fotografer di dalam menghasilkan sebuah foto. Lukisan dan fotografi adalah seni menurut rasanya masing-masing. Photography is an Art: A Disaproval towards Roger Scruton's Analysis on the Legitimacy of Art Value of a Photograph. This paper aims to disprove Roger Scruton's argument about the validity of the artistic value of a photograph. Scruton argues that photography is not a work of art. Photography is simply a mechanical action in producing a picture, not a representation but merely a causal event, not an imaginary image, but only a copy. Photography presupposes the ease of art creation. Scruton's statement is further reinforced by the phenomenon of technological development that has forgotten the aesthetic side and only entirely devoted to the action of the machine. The excessive emphasis on the benefits of reduplication, instant processing, and photographic automation makes photography lose its place in the art world. However, the issue of art is a matter of taste. Photography remains an art by seeing the intense relationships created between an object and a photographer in a photograph. This intense relationship is reflected in the process, imagination, and creativity of the photographer in producing a photograph. Painting and photography are arts according to their own taste.
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Aksenova, N. V., N. V. Denisova, and N. O. Magnes. "COUNTERFACTUAL SOVIET PHOTOGRAPHY THROUGH THE LENS OF AMERICAN AND BRITISH ART CRITICS: EVALUATIVE DIMENSIONS OF ART DISCOURSE." Voprosy Kognitivnoy Lingvistiki, no. 1 (2023): 40–51. http://dx.doi.org/10.20916/1812-3228-2022-1-40-51.

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The paper studies the axiological interpretation of Soviet photographs in British and American art reviews by examining the basic concepts STATE, ARTIST, and WORK OF ART. The analysis draws on the methods of cognitive discourse analysis, narratology, pragmatics, and semantics. Accepting R. Barthes’ view of the photograph as “a message without a code”, we hold that the main goal of art discourse is to construct an intermediary code to facilitate communication between the Operator and the Spectator, especially in the presence of a time/culture gap between the two. Through aesthetic distancing, art reviewers shift the axiological focus from the ethical implications of Soviet photographs towards their aesthetic value, encouraging a transcultural and transtemporal dialogue between the reader/viewer and the photographer. The analysis has enabled us to expand the framework of photographic roles (Operator, Spectrum and Spectator) suggested by Barthes and later complemented with the role of the Demonstrator, which is central to this study. The role of the Emptor, added here to the Barthian set of core roles, emerges as the ultimate role of the Soviet state vis-à-vis photography.
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Kleimenova, S. N., and O. I. Yablokova. "Photography as an object of copyright." Uzhhorod National University Herald. Series: Law 1, no. 78 (August 28, 2023): 177–80. http://dx.doi.org/10.24144/2307-3322.2023.78.1.28.

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Copyright, the norms of which regulate relations that arise in connection with the creation and use of works of science and art. Copyright is an important component of the universal system of human rights, copyright is one of the essential guarantors of intellectual creativity, self-affirmation and dignity of every person. From whatever side copyright is analyzed, its purpose is to protect the interests of the creator of works and the interests of society. A photo can be created not only by a professional photographer, but also by any other individual. This is where the opportunity enshrined in the law to realize their creative abilities of each member of society is manifested.This article deals with issues related to a special object of copyright - photography. With the adoption of the new Law of Ukraine «On Copyright and Related Rights», the approach to understanding photography has changed. This is connected with the legal definition of the concept of a work and its features. Signs of originality and objective form are highlighted. Moreover, the legislator clearly defines which photographs should be attributed to objects of copyright, and which photographs are not subject to legal protection. This approach will greatly facilitate the resolution of issues related to the establishment of which photographs are subject to copyright. The Law of Ukraine «On Copyright and Related Rights» clearly states that photographic works are subject to legal protection. Based on the legislative definition of a work as an object of copyright, we can conclude that only original photographs are subject to legal protection. Moreover, paragraph 8 of Art. 8 of the Law of Ukraine «On Copyright and Related Rights» clearly defines that photographs that do not have a sign of originality are not photographic works. An analysis of some foreign judgments regarding the legal nature of photography makes it possible to conclude that a photograph is considered as an object of copyright if there are signs inherent in the work. he study conducted in this article confirms the correctness of the legislative understanding of photography as an object of copyright.
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Dissertations / Theses on the topic "Art and photography"

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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.

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Napier, Ellen Bethany. "Thomas Struth's Museum Photographs and the Textual Experience of Photography." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.

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Jolly, Martyn. "Fake photographs : making truths in photography." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4046.

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Cooper, Elena Sophia Christina. "Art, photography, copyright : a history of photographic copyright, 1850-1911." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283882.

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Hacking, Juliet Louise. "Photography personified : art and identity in British photography 1857-1869." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266787.

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Yu, Kit-yee Flora, and 余潔儀. "Postmodernism and photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950152.

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Gigler, Elisabeth. "Indigenous Australian art photography an intercultural perspective." Aachen Shaker, 2007. http://d-nb.info/990542270/04.

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Saraogi, Avantika. "Art and Dance: Sediments, Segments, and Movement." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.

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Art and Dance: Sediments, Segments, and Movement (A&D) is a series of photographs that studies dance movement, with the added element of flour to exaggerate and exhibit motion. A&D captures the different styles of dance out of their usual context, so that the actual movement becomes the central focus. This paper on the other hand provides the academic foundation for the artwork. It traces the history of dance photography as a genre. It not only sheds light on the photographic techniques that were used, but also how dance photography has evolved as an art form in its own right. The paper also presents my inspiration for the project and explains how those sources have influenced my images.
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Munsie, Richard. "Intimation of life : photographic portraiture in art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/719.

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Photographic artists have a continuing desire to express intimately aspects of their social world through the genre of portraiture. However, in attempting to make known the lives of those around them, portraitists encounter a range of complexities inherent in the representation of the human subject in a two-dimensional visual field. Portraits were initially an indicator of social class until the introduction of photography, when more and more people became involved in their production and ownership. It was at its inception that the photographic portrait assumed conventions consistent with those of the painted portrait in Western art and its social use. These conventions have persisted and, along with the accumulation of conventions specific to the medium, have come to define photographic portraiture as a genre. It is either from within the limitations of the genre, or through the challenging of its authority, that artists seek to portray issues relevant to contemporary life. This endeavour is affected by certain concerns associated with a person's photographic representation. These include issues pertaining to notions of likeness, identity, subjectivity, and realism. A photographic image of someone has traditionally been perceived to convey a realistic impression of that person's identity, however, concepts of identity and realism have come under increasing scrutiny, contesting the authority of the photographic representation. The portrait's verisimilitude is also undermined by limitations in photographic processes and technology, and the manipulation and control exercised by the photographer who can frame, filter, crop, and enlarge the image at will. In considering the inadequacies of the medium, the fragmentation of identity and subjectivity, and threats concerning the demise of the genre, a further concern to contemporary portraiture is the status of the psychological interaction between photographer and subject. For many participants this exchange is an important aspect of the portrait transaction in which rituals of pose and performance are enacted, and feeling states or emotional truths are sought out. Kozloff (1994, p. 4) considers stilt portraits to be scanty objects in which the intricacies of human experience are inadequately represented, yet they remain as a site for the documentation of experiences that are to become memories. The increasing influence of digital media in photography presents an opportunity for the re-evaluation of these concerns, and new creative and expressive possibilities.
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Shirley, Anne. "What a photograph and cannot do exegesis submitted in partial fulfilment of requirements for the degree Master of Art and Design, to Auckland University of Technology, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/455.

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Books on the topic "Art and photography"

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de, Roquette Ysabel, ed. Art/Photographie numérique =: Art/Digital photography : l'image réinventée. Aix-en-Provence, France: Cyprès, 1995.

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Charlo, B. Fine art photography. [Browning, Mont: U.S. Dept. of the Interior, Indian Arts and Crafts Board, Museum of the Plains Indian and Crafts Center, 1991.

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Soutter, Lucy. Why Art Photography? Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630.

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Charlo, B. Fine art photography. [Browning, Mont: U.S. Dept. of the Interior, Indian Arts and Crafts Board, Museum of the Plains Indian and Crafts Center, 1991.

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David, Campany, ed. Art and photography. London: Phaidon, 2003.

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Briot, Alain. Marketing fine art photography. Santa Barbara, CA: Rocky Nook, 2011.

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Ltd, Sotheby's Australia Pty. Aboriginal art, Australian photography & digital art. Melbourne: Sotheby's, 2004.

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Blaker, Alfred A. Photography: Art and technique. 2nd ed. Boston: Focal Press, 1988.

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Costello, Diarmuid, and Margaret Iversen, eds. Photography after Conceptual Art. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444391503.

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Newbury, Darren. Photography, art and media. Birmingham: Building Sights, 1994.

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Book chapters on the topic "Art and photography"

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Soutter, Lucy. "Beyond photography." In Why Art Photography?, 135–58. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-7.

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Łaba, Izabella. "Photography." In Art in the Life of Mathematicians, 138–63. Providence, Rhode Island: American Mathematical Society, 2015. http://dx.doi.org/10.1090/mbk/091/08.

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Dekker, Annet, and Marco De Mutiis. "In-game photography." In Documentation as Art, 50–59. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003130963-6.

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Reynolds, Kimberley. "Chapter 9. Politics, art, and pedagogy in Edith Tudor-Hart’s photographs of children." In Children’s Literature, Culture, and Cognition, 210–29. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.09rey.

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Edith Tudor-Hart, a photographer working in Britain from the 1930s to the 1950s, became exceptionally good at photographing children. Her final series of images, published in a classroom text called Moving and Growing (1952), were created through a collaborative method she developed by combining her teaching experience and her training as an artist with her political conviction that photography is a democratic medium. The results are dynamic photographs that capture children moving, risking and creating. Shortly after Moving and Growing was published, Tudor-Hart abandoned photography and destroyed her catalogue of negatives fearing she was about to be prosecuted as a spy. As a consequence, her work was largely forgotten, but her images and working methods deserve to be recalled and studied. In our highly visual age, Edith Tudor-Hart’s powerful images have much to say about the relationship between photography and images of childhood.
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Halden, Grace. "Photography and Digital Art." In The Routledge Companion to Cyberpunk Culture, 216–27. London; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351139885-27.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "‘The Art of Photography’." In Victorian Material Culture, 486–89. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-158.

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Soutter, Lucy. "Introduction." In Why Art Photography?, 1–16. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-1.

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Soutter, Lucy. "Hybrid genres." In Why Art Photography?, 17–36. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-2.

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Soutter, Lucy. "Objectivity and seriousness." In Why Art Photography?, 37–61. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-3.

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Soutter, Lucy. "Fictive documents." In Why Art Photography?, 62–82. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-4.

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Conference papers on the topic "Art and photography"

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Niu, Xue. "Discussion on Pictorial Photography and Pure Photography in the Development of Photographic Art." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.131.

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Cocieru, Mariana. "Values of Romanian ethnological photographic art: Joseph Berman." In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.20.

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In this article, the author refers to one of the elite representatives of Romanian photographic art, Joseph Berman, a distinguished personality in the field of visual documentation, who contributed enormously to the development of ethnological field research. From a theoretical and practical perspective, a visual image immortalizes a moment in space and time, facilitating the recourse to the information it holds whenever needed. The photography can communicate to you several types of information, on the one hand, about the personality of the one who made this immortalization, revealing details about the preferences and skill of the master photographer, and on the other hand, it expresses realities, historical, social, ethnographic details of eternal temporal moments and habitats, motivating us to become critical consumers of visual images. For these reasons, the rhetoric of the image (Roland Barthes) becomes emblematic for ethnological research. Researchers in the field of Romanian ethnological photography delimit the period of flourishing (development) of visual documentation from the first half of the 20th century into two segments, the first up to Joseph Berman and the second – after him. With its affirmation in the photographic field, ethnological documentation took on color, becoming „alive”, loaded with deep meaning. The famous sociologist Dimitrie Gusti, appreciating his talent, called him: „co-author of the image of the Romanian village and peasant” and, rightly, did not accept a monographic campaign through the villages of Romania without Berman’s skill and talent, considering any other type of ethnological research compromised from the start.
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kim, Daewoo, and Joungwoo Joo. "Study on the changes of photography through the post photography era." In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.101.01.

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Toister, Yanai. "Photography: Artist Penny and Machine." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.7.

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"See Photography as a Visual Art Storing." In 5th International Seminar of Research Month 2020. Galaxy Science, 2021. http://dx.doi.org/10.11594/nstp.2021.0917.

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Zhou, Shu, and Jie’en Guo. "Exploration on the Teaching of Public Art Photography Course in Digital Photography Age." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.173.

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Safronova, Anna. "FEATURES OF THE VISUAL LANGUAGE OF DOCUMENTARY PHOTOGRAPHY IN UKRAINIAN PHOTO BOOKS DEDICATED TO REVOLUTIONARY EVENTS IN UKRAINE." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.09.

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The purpose of the article is to analyze the features of the visual language of documentary photography and the actual ways of its presentation in the media space on the example of Ukrainian photo books dedicated to revolutionary events in Ukraine. The main problems of modern photojournalism connected with the development of digital technologies are presented, the value of a photo book as an independent project of a photographer is argued, since commercial photojournalism is largely determined by the narratives of its customer. The issues of the transformation of the language of photography both in modern journalism and in the photo project are considered, the main methods of creating the content of a photo story or photo series in photo books are substantiated. Traditional reportage documentary photography, intended for use primarily for commercial purposes in illustrated magazines, is also an important means of creating independent documentary projects or photo books. Such an approach is especially valuable if it reproduces important historical events, as in the Ukrainian photo books under consideration. Ukrainian photo books are distinguished by a variety of techniques for creating content and post-processing methods that appeal to the aesthetics of postmodernism. The use of filmy contrast black and white photography, grainy or blurry images, disruption of the composition, introduce a unique and original form of expressiveness into the photo book. Due to the documentary photography, direct nature of non-staged shootings and the original style of representation, Ukrainian photo books, which are both a document of history and a reflection of the subjective vision of the author, continue to arouse interest and resonate with the viewer.
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Meado, Andrea L., William L. Stefanov, Melissa D. Higgins, and Lisa A. Vanderbloemen. "EARTH SCIENCE ENGAGEMENT THROUGH ART AND ASTRONAUT PHOTOGRAPHY." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-318633.

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Liu, Yongxiao. "Research on the Cultural Characteristics of Photography Art." In Proceedings of the 2018 2nd International Conference on Economic Development and Education Management (ICEDEM 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icedem-18.2018.12.

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Lauzzana, Raymond. "An Art History Installation Of Electronic Still Photography." In 1988 Los Angeles Symposium--O-E/LASE '88, edited by Ronald J. Clouthier, Gary K. Starkweather, Andrew G. Tescher, and Thomas L. Vogelsong. SPIE, 1988. http://dx.doi.org/10.1117/12.944694.

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Reports on the topic "Art and photography"

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Marcot, Bruce, M. Jorgenson, Thomas Douglas, and Patricia Nelsen. Photographic aerial transects of Fort Wainwright, Alaska. Engineer Research and Development Center (U.S.), August 2022. http://dx.doi.org/10.21079/11681/45283.

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This report presents the results of low-altitude photographic transects conducted over the training areas of US Army Garrison Fort Wainwright, in the boreal biome of central Alaska, to document baseline land-cover conditions. Flights were conducted via a Cessna™ 180 on two flight paths over portions of the Tanana Flats, Yukon, and Donnelly Training Areas and covered 486 mi (782 km) while documenting GPS waypoints. Nadir photographs were made with two GoPro™ cameras operating at 5 sec time-lapse intervals and with a handheld digital camera for oblique imagery. This yielded 6,063 GoPro photos and 706 oblique photos. Each image was intersected with a land-cover-classification map, collectively representing 38 of the 44 cover categories.
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Kleber, Emily J., Greg M. McDonald, W. Adolph Yonkee, and Elizabegth Balgord Balgord. Interim Geologic Map of the Plain City Southwest 7.5' Quadrangle, Weber and Box Elder Counties, Utah. Utah Geological Survey, July 2024. http://dx.doi.org/10.34191/ofr-765.

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The Plain City Southwest (SW) and Ogden Bay 7.5′ quadrangles are in Weber, Box Elder, and Davis Counties. The quadrangles include parts of the communities of Hooper, Warren, and Reese, the Harold Crane Waterfowl Management Area, several waterfowl wetlands, as well as the southwestern corner of Willard Bay Reservoir. The North Fork and South Fork of the Weber River f low south into the Ogden Bay Wildlife Management Area at the edge of Great Salt Lake. The northwestern part of the Ogden Bay quadrangle and the southwestern part of the Plain City SW quadrangle contain most of Little Mountain, a small bedrock mountain with about 500 feet of relief. The western side of Little Mountain as well as the northern part of the Plain City SW quadrangle are part of Willard Bay of Great Salt Lake. Small meandering channels flow into the bays from local drainages. Numerous evaporation ponds related to industrial minerals production cover the central western and northwestern part of the Plain City SW quadrangle, obscuring geologic deposits. This mapping project will provide the basis for identifying and delimiting potential geologic hazards in future Utah Geological Survey (UGS) geologic hazard maps, part of the UGS Geologic Hazards Mapping Initiative (Castleton and McKean, 2012). Mapping for the project was done on stereographic pairs of aerial photographs from the following sources: black-and-white aerial photographs from the U.S. Department of Agriculture (USDA) Agricultural Stabilization and Conservation Service (1958, 1965, 1971a, 1971b). Mosaics of some USDA photographs were accessed using the Weber County web services (USDA Agricultural Stabilization and Conservation Service, 1937, 1962, 1980, 1985). Additional aerial photography sets from the National Agricultural Imaging Program (NAIP) were used (Utah Geospatial Resource Center [UGRC], mid-1990s, 2006, 2009, 2011, 2016a, 2018a, 2021a) as well as high-resolution (15cm) Hexagon imagery (Utah Geospatial Resource Center, 2021b). Most Quaternary unit contacts, including human disturbed areas, were mapped using two lidar elevation datasets (Utah Geospatial Resource Center [UGRC], 2016b, 2018b). The geologic map was made by transferring the geology from the aerial photographs to a geographic information system (GIS) database using the programs ESRI ArcPro and Global Mapper v. 18 for a target scale of 1:24,000. Cross section A-A′ was created in Adobe Illustrator. Field-based investigations included shallow subsurface investigations in targeted areas with a soil auger. Materials from 1 to 3 meters were observed, documented, and sampled, which aided in preparing descriptions of most Quaternary units.
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Kleber, Emily J., Greg M. McDonald, W. Adolph Yonkee, and Elizabegth Balgord. Interim Geologic Map of the Ogden Bay 7.5' Quadrangle, Weber and Davis Counties, Utah. Utah Geological Survey, July 2024. http://dx.doi.org/10.34191/ofr-766.

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The Plain City Southwest (SW) and Ogden Bay 7.5′ quadrangles are in Weber, Box Elder, and Davis Counties. The quadrangles include parts of the communities of Hooper, Warren, and Reese, the Harold Crane Waterfowl Management Area, several waterfowl wetlands, as well as the southwestern corner of Willard Bay Reservoir. The North Fork and South Fork of the Weber River f low south into the Ogden Bay Wildlife Management Area at the edge of Great Salt Lake. The northwestern part of the Ogden Bay quadrangle and the southwestern part of the Plain City SW quadrangle contain most of Little Mountain, a small bedrock mountain with about 500 feet of relief. The western side of Little Mountain as well as the northern part of the Plain City SW quadrangle are part of Willard Bay of Great Salt Lake. Small meandering channels flow into the bays from local drainages. Numerous evaporation ponds related to industrial minerals production cover the central western and northwestern part of the Plain City SW quadrangle, obscuring geologic deposits. This mapping project will provide the basis for identifying and delimiting potential geologic hazards in future Utah Geological Survey (UGS) geologic hazard maps, part of the UGS Geologic Hazards Mapping Initiative (Castleton and McKean, 2012). Mapping for the project was done on stereographic pairs of aerial photographs from the following sources: black-and-white aerial photographs from the U.S. Department of Agriculture (USDA) Agricultural Stabilization and Conservation Service (1958, 1965, 1971a, 1971b). Mosaics of some USDA photographs were accessed using the Weber County web services (USDA Agricultural Stabilization and Conservation Service, 1937, 1962, 1980, 1985). Additional aerial photography sets from the National Agricultural Imaging Program (NAIP) were used (Utah Geospatial Resource Center [UGRC], mid-1990s, 2006, 2009, 2011, 2016a, 2018a, 2021a) as well as high-resolution (15cm) Hexagon imagery (Utah Geospatial Resource Center, 2021b). Most Quaternary unit contacts, including human disturbed areas, were mapped using two lidar elevation datasets (Utah Geospatial Resource Center [UGRC], 2016b, 2018b). The geologic map was made by transferring the geology from the aerial photographs to a geographic information system (GIS) database using the programs ESRI ArcPro and Global Mapper v. 18 for a target scale of 1:24,000. Cross section A-A′ was created in Adobe Illustrator. Field-based investigations included shallow subsurface investigations in targeted areas with a soil auger. Materials from 1 to 3 meters were observed, documented, and sampled, which aided in preparing descriptions of most Quaternary units.
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Onikzeh, Parinaz, Afshin Heidari, Aida Kazemi, Parisa Najjariasl, Kamran Dalvandi, Hamidreza Sadeghsalehi, and Hadi Zamanian. 3D photography versus digital planimetry in wound measurement : a systematic review protocol. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, October 2021. http://dx.doi.org/10.37766/inplasy2021.10.0069.

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Review question / Objective: The aim of this study is to find whether there is concordance between two methods of wound area measurement: 3D photography and digital planimetry. Condition being studied: One of the most important factors in all types of wound management is wound measurement and two new digital techniques are : digital planimetry and 3D-photography. Eligibility criteria: the articles will be included only if the study cases would be measured by both methods of wound measurement including 3D photography and digital planimetry. patients with wound in any area of their body like diabetic ulcers, venous ulcers or burning. not models or animals.not bite or scar or bruising. without any restriction in age or gender.
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Enscore, Susan, Dawn Morrison, Adam Smith, and Sunny Adams. Fort Huachuca ranges : a history and analysis. Engineer Research and Development Center (U.S.), December 2021. http://dx.doi.org/10.21079/11681/42720.

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Fort Huachuca Environmental and Natural Resources Division (ENRD) sent funds to ERDC-CERL to develop a historic context that assists Fort Huachuca personnel in identifying the likely history and provenance of numerous historic range features located across Fort Huachuca's training lands. The historic context will be used by cultural resources personnel to evaluate and manage the resources appropriately. Various historic training range features (e.g., structures, fragments, and items left over from previous activities) are located across the ranges of Fort Huachuca, representing its long and storied history. To help identify and catalog these features, ERDC-CERL conducted a field survey of the training ranges in 2016 in or-der to photograph the historic range features. Forty-one historic range features were identified. Researchers conducted archival research, literature reviews, and image analysis of historic and current maps and photographs to identify the 41 historic range features and place them within a chronological context of Fort Huachuca's training ranges. The report concludes with guidance on how to identify and associate sites and features within the overall historic training range chronology and evaluate them appropriately for significance and National Register of Historic Places (NRHP) eligibility.
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Greaves, C., and J. B. R. Eamer. Focus stacking for cataloguing, presentation, and identification of microfossils in marine sediments. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331355.

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Microfossils represent an important part of studying past depositional environments and determining ages for the strata they are found within. The key to ascribing paleoenvironmental interpretations to the sediments in which a microfossil is found is accurate identification of the microfossil. A number of techniques can be used to identify microfossils, including ones that use key features, morphologies, and characteristics from imagery acquired using a scanning electron microscope. A low-cost, efficient alternative method is digital photography of optical microscope images. This technical note presents a method for acquiring photos of microfossils and two methods for compiling them into high-resolution images using focus stacking. The process is described in four main steps: image acquisition, exportation, focus stacking, and annotation.
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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Shamblin, Robert, Kevin Whelan, Mario Londono, and Judd Patterson. South Florida/Caribbean Network early detection protocol for exotic plants: Corridors of invasiveness. National Park Service, July 2022. http://dx.doi.org/10.36967/nrr-2293364.

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Exotic plant populations can be potentially catastrophic to the natural communities of South Florida. Aggressive exotics such as Brazillian Pepper (Schinus terebinthifolius) and Melaleuca (Melaleuca quinquinervia) have displaced native habitats and formed monocultures of exotic stands (Dalrymple et al. 2003). Nearby plant nurseries, especially the ones outside the boundaries of Biscayne National Park (BISC) and Everglades National Park (EVER), are a continuous source of new exotic species that may become established within South Florida’s national parks. Early detection and rapid response to these new species of exotic plants is important to maintaining the integrity of the parks’ natural habitats and is a cost-effective approach to management. The South Florida/Caribbean Network (SFCN) developed the South Florida/Caribbean Network Early Detection Protocol for Exotic Plants to target early detection of these potential invaders. Three national parks of South Florida are monitored for invasive, exotic plants using this protocol: Big Cypress National Preserve (BICY), Biscayne National Park (BISC), and Everglades National Park (EVER). These national parks include some 2,411,000 acres (3,767.2 square miles [mi2]) that encompass a variety of habitat types. To monitor the entire area for new species would not be feasible; therefore the basic approach of this protocol is to scan major “corridors of invasiveness,” e.g., paved and unpaved roads, trails, trail heads, off road vehicle (ORV) trails, boat ramps, canals, and campgrounds, for exotic plant species new to the national parks of South Florida. Sampling is optimized using a two- to three-person crew: a trained botanist, a certified herbicide applicator, and optionally a SFCN (or IPMT [Invasive Plant Management Team]) staff member or park staff to take photographs and help with data collection. If infestations are small, they are treated immediately by the herbicide applicator. If large, they are reported to park staff and the Invasive Plant Management Team. The sampling domain is partitioned into five regions, with one region sampled per year. Regions include the terrestrial habitats of Biscayne National Park, the eastern region of Everglades National Park, the western region of Everglades National Park, the northern region of Big Cypress National Preserve, and the southern region of Big Cypress National Preserve. Monitoring of roads, trails, and canals occurs while traveling into and through the parks (i.e., travel at 2–10 mph) using motorized vehicles, airboats, and/or hiking. Campgrounds, boat launches, trailheads, and similar areas, involve complete searches. When an exotic plant is observed, a GPS location is obtained, and coordinates are taken of the plant. Photographs are not taken for every exotic plant encountered, but photographs will be taken for new and unusual species (for example a coastal exotic found in inland habitats). Information recorded at each location includes the species name, size of infestation, abundance, cover class, any treatment/control action taken, and relevant notes. During the surveys, a GPS “track” is also recorded to document the areas surveyed and a field of view is estimated. Field notes, pictures, and GPS data are compiled, entered, and analyzed in a Microsoft Access database. Resource briefs (and optional data summary reports) and associated shapefiles and data are then produced and sent to contacts within the corresponding national parks.
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