Dissertations / Theses: 'Digital photography'

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De, Lorenzo Nicholas. "Photography Post-Photography: Materiality of the Photograph." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16303.

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This exegesis examines the theoretical framework and artistic context of my studio practice. The primary focus of the work is on the materiality of the photograph. Through alchemical experimentations and abstractions, the work contemplates the question what is photography? in the complex context of a post-photographic world. While not attempting to answer such an elusive question, this paper seeks to investigate some of the relevant ideas and evaluate how they manifest in contemporary practice. I will use this exegesis as a means of recording an exploration of the mediums recent history, as the context and general area of thought from which my own practice has emerged. As such, Chapter One looks into the discourse around the notion of ‘post-photography’, where it has come from, what it involves and why it could be considered significant. Chapter Two looks at how these ideas are manifested in contemporary photography, with a particular focus on the materiality of photographs, as well as on the roll of abstraction and experimentation in photography. Chapter Three then introduces my own practice in relation to these ideas. While my work and this paper broadly revolve around the position of photography in its current context, the intent of this exegesis is to further inform and ground my studio practice. By establishing and exploring this theoretical context, I hope to identify my work's position in –and possible contribution to–the field.

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Meyer, Eric T. "Socio-technical perspectives on digital photography scientific digital photography use by marine mammal researchers /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3278467.

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Thesis (Ph.D.)--Indiana University, School of Information Science, 2007.
Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4119. Adviser: Howard Rosenbaum. Title from dissertation home page (viewed May 19, 2008).

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

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

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Hicks, Susan J. "Digital archiving and reproduction of black and white photography /." Online version of thesis, 1996. http://hdl.handle.net/1850/11919.

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Ferradans, Ramonde Sira. "Color image processing problems in digital photography." Doctoral thesis, Universitat Pompeu Fabra, 2011. http://hdl.handle.net/10803/51297.

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In this thesis, we discuss three image processing topics: High Dynamic Range (HDR) image creation in scenes with motion, Tone Mapping (TM), and Demosaicking. The first part of this thesis focuses on the creation of HDR images using gradient fusion techniques, and proposes a method that deals with motion and avoids bleeding and ghost artifacts. In the second part, we tackle the TM problem, whose goal is to produce a low dynamic range picture from an HDR image that reproduces the sensation of an observer in the scene. We review the perceptual principles that we find important for TM purposes and present a new method that compares well to the state of the art. Finally, we propose a new method to reconstruct the three color channels of a picture taken with a Bayer filter. This problem is called Demosaicking and will be presented in the third part of this thesis.
En esta tesis tratamos tres temas de procesamiento de imagen: creación de imágenes de alto rango dinámico o HDR, Tone Mapping (TM) y Demosaicking. En la primera parte proponemos un método para la creación de imágenes HDR con movimiento que permite generar resultados sin artefactos de tipo bleeding y ghosting. En la segunda parte de la tesis tratamos el problema de TM cuyo objetivo es comprimir el rango dinámico de una imagen HDR para ser mostrada en una pantalla o impresa, simulando lo mejor posible la percepción de un sujeto en la escena. Presentaremos los principios sicofísicos que consideramos relevantes para TM y propondremos un método nuevo que mejora los resultados del estado del arte. Finalmente, en la tercera parte presentamos un método de Demosaicking o reconstrucción de los tres canales de color de una imagen tomada con un filtro de Bayer.

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Yang, Tian. "Large Format Photography in the Digital Era." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391670.

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Large format photography refers to the photographic practice that utilizes a large light sensitive surface to capture photographs. As of 2018, large format photography is still a subset of analog photography. The digital revolution brings us into the digital era. Manufacturers and businesses in the photography industry is forced to adapt the transition from analog to digital in order to survive and succeed in the new market. Meanwhile, photography theorists find themselves facing a new set of issues because the photographs have become immediate and immaterial. While camera manufacturers have in effect accelerated the analog-to-digital transition with their proactive business strategies and relentless marketing campaigns, higher education has become the last bastion for the analog where large format camera classes teach students the tradition of photography and how to see the world contemplatively.

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Sun, Yi. "Depth Estimation Methodology for Modern Digital Photography." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1563527854489549.

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

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Suen, Tsz-yin Simon. "Curvature domain stitching of digital photographs." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38800901.

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

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Orientador: Ernesto Giovanni Boccara
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T06:14:51Z (GMT). No. of bitstreams: 1 Polignano_Sergio_M.pdf: 19138121 bytes, checksum: a2a1fa7467459819c2d2f07679e2acbd (MD5) Previous issue date: 2006
Resumo: Este trabalho propõe uma abordagem conceitual, dos diversos conteúdos da imagem fotográfica, a sua leitura e decodificação, que vai da sensibilidade aos significados. Apresenta uma proposta de análise que busca justificar e demonstrar a condição da poética (Arte) da fotografia. Nesse sentido, mostra o que de incomum pode deter o olhar que eterniza e o olhar que ressuscita, dando um real valor às imagens fotográficas, sejam elas quais forem e mostrem o que de mais importante possam mostrar, mantendo as informações ao longo do tempo. Desse modo, busca contribuir para uma melhor compreensão da época em que as fotografias foram feitas, dos cenários que as mesmas registram, de seus contextos, assim como das implicações e relações que tenham com as formas de expressão diferenciadas, que chamamos: Arte
Abstract: This work proposes an conceptual approach to the various contents of photographic image, its interpretation, and decoding, which goes from sensibility to signification; it brings a proposal for an analysis that can effectively justify and demonstrate the condition of poetry (art) of photography, showing which of its uncommon aspects can capture the point of view that makes it eternal and the point of view that resuscitates it, bringing the real value to photographic images, being them whatever they are, showing whatever most important subject they can hold, maintaining their image content throughout time, and serving for a better understanding of the time in which photographs were taken, their scenarios, contexts, implications, and relationships that they have with the different forms of expression that we cal!: Art
Mestrado
Mestre em Artes

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Zelten, J. Peter. "Digital photography and the dynamics of technology innovation." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/29174.

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Thesis (S.M.)--Massachusetts Institute of Technology, System Design & Management Program, 2002.
Includes bibliographical references (leaf 96).
Companies heavily and successfully invested in traditional technologies (defenders) often find it difficult to make the transitions to new disruptive technologies, in spite of technological competence and clear opportunity to do so. The core competencies that enabled the firm to excel under the old paradigms become core rigidities when faced with the need to address technological discontinuities. Products like digital still cameras, DSCs, represent the convergence of multiple rapidly changing technologies in electronics, optics, computers, networks, and software. The emergence and adoption of digital still photography both accompanies and defines a new paradigm in the sharing of images as it attempts to both emulate and replace the previous modalities while creating new market-expanding opportunities. The emergence of digital still photography has been predicted and promised for several decades. Indeed, it has already managed to replace silver halide altogether in certain market segments previously relied upon by conventional photography firms, and is at present extending beyond the early adopter stage in the broader consumer market. It is a current example of innovation and technological discontinuity, and one that has enough history to permit analysis. It poses a real potential disruptive threat to the incumbent players, some of which have succumbed while others apparently succeeded. This thesis studies the relationships between the development of the composite technologies in digital photography, the environment in which they operate, the emergence of dominant designs, market diffusion, and the strategies for success employed by leading participants. In the process of studying patterns of entry and exit firms and a detailed look at their products, evidence of a dominant design and support in this industry for the Abernathy and Utterback model of industrial innovation is uncovered. Also revealed is a second wave of innovation in the DSC industry that is firmly established and suggests the onset of a Christiansen-style disruptive dynamic. By studying this specific technological discontinuity in the context of the broader patterns, lessons in adapting to technological change in general are learned.
by J. Peter Zelten.
S.M.

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Walton, Shireen Marion. "Camera Iranica : popular digital photography in/of Iran." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:7f6516bf-64c6-4551-b58c-08e42915183f.

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

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Cooper, Julie A. "Changing the Traditional High School Photography Curriculum: Integrating Traditional and Digital Technologies." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/68.

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This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photography component, and a concepts component where students will experiment with different photographic techniques of manipulation as well as tackle photographic history, criticism, and visual literacy.

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Franklin, Patricia Bruce. "Surface Stories." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2208.

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Suen, Tsz-yin Simon, and 孫子彥. "Curvature domain stitching of digital photographs." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38800901.

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Singnoo, Jakkarin. "A simplified HDR image processing pipeline for digital photography." Thesis, University of East Anglia, 2012. https://ueaeprints.uea.ac.uk/41945/.

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High Dynamic Range (HDR) imaging has revolutionized the digital imaging. It allows capture, storage, manipulation, and display of full dynamic range of the captured scene. As a result, it has spawned whole new possibilities for digital photography, from photorealistic to hyper-real. With all these advantages, the technique is expected to replace the conventional 8-bit Low Dynamic Range (LDR) imaging in the future. However, HDR results in an even more complex imaging pipeline including new techniques for capturing, encoding, and displaying images. The goal of this thesis is to bridge the gap between conventional imaging pipeline to the HDR’s in as simple a way as possible. We make three contributions. First we show that a simple extension of gamma encoding suffices as a representation to store HDR images. Second, gamma as a control for image contrast can be ‘optimally’ tuned on a per image basis. Lastly, we show a general tone curve, with detail preservation, suffices to tone map an image (there is only a limited need for the expensive spatially varying tone mappers). All three of our contributions are evaluated psychophysically. Together they support our general thesis that an HDR workflow, similar to that already used in photography, might be used. This said, we believe the adoption of HDR into photography is, perhaps, less difficult than it is sometimes posed to be.

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Fawns, Timothy James. "Blended memory : distributed remembering and forgetting through digital photography." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22989.

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This thesis explores practices and experiences of using photography to support remembering. While the increasing use of photography is well documented, we have limited theoretical understanding of how we approach the taking, organising, and sharing of personal images in relation to memory, and of the opportunities and risks that are created through technological change. Two studies were conducted in which a total of 21 participants were interviewed in front of a sample of their photographs. Study 1 explored photography and remembering around a single, specific event: a wedding. Study 2 explored longer-term patterns of photographic and remembering activity across a range of contexts and events. The analysis showed that the ways that participants engaged with other people and technologies were significant in determining the kinds of photographs that were produced, and the engagement with those photos. Photographic practices were also heavily influenced by the situations in which they were performed and the beliefs and preferences of individuals. The existence of photographs could lead to thinking about particular aspects of the past, but the taking of photographs also altered the experience of what was being photographed. This could be seen as disruptive, depending on the participant’s beliefs about whether photography was a legitimate part of experience. When taking photos, participants pursued a mix of aesthetics, objectivity, and personal meaning, and perceptions of these qualities could influence the way that photographs were used in cueing recall. However, while most participants had produced large collections of photographs, there had been limited engagement with these and taking or having photographs could be more important than looking at them. The thesis concludes that there is value in redefining memory as a kind of activity that emerges through the performance of remembering and that is dependent on the tools used to support it and the situations in which it is performed. From this perspective, photography and autobiographical remembering are parts of the same wider activity, an inseparable blend of internal and external processes. As such, attempts to support our memories should consider both the features of technology and the experience of using it, as well as the ways that we work with tools and people when remembering.

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Whipple, Julie F. "Darkroom to digital a transition of photography from the wet lab to the computer /." The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-07032008-163604/.

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My professional paper is designed as a teaching tool to help other instructors to be able to teach the basics of digital photography to their students. It includes a brief history of the development of photography, information about the digital camera, how to take better pictures, and how to begin working with photos using Photoshop. Instructions and lesson plans are designed to teach all levels of students learning abilities.

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Wittwer, Christian. "Fundamentals of digital imaging /." Online version of thesis, 1995. http://hdl.handle.net/1850/12257.

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Weir, Catherine M. "The digital index : creating immediacy through the integration of digital photography and captured data." Thesis, Glasgow School of Art, 2018. http://radar.gsa.ac.uk/6398/.

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Captured from life, the photograph was long regarded as an image with an indexical link to its referent, a quality which set it apart from other forms of pictorial representation (Krauss, 1977). With the arrival of digital photography, however, many theorists divested the digital photograph of this link; arguing the photograph, no longer physically imprinted on chemical film, but stored as numbers, became an image open to manipulation and no longer reliant on anything in the world for its existence. The referent, as William J. Mitchell put it, had become “unstuck” (1994, p.31). Nearly thirty years since those arguments were first made, we can see that the mere fact of becoming digital did not exhaust the belief in the photograph as an image taken from the world (Rubinstein and Sluis, 2008). Today’s digital photographic images, however, are no longer the straightforward remediations (Bolter and Grusin, 2000) of chemical-based photography which prompted those debates. Instead they represent a convergence of digitally-produced photographs and computer programs; and viewed on screen become what Ingrid Hölzl (2010) has described as “moving stills”. It is against this backdrop, this research project explores the concept, and different definitions, of indexicality; and how the index might be reframed in a digital context. After beginning with the concept of metadata as mechanism to guarantee the digital photograph’s origins in a particular time and place; my practice-led research moved to consider how our experience of the digital photograph changes when it is merged with real-time or recorded data which describes a phenomenon. Specifically, to question if the integration of this data could constitute an indexical link to the world, and amplify the photographic artwork’s sense of immediacy (Bolter and Grusin, 2000). Drawing on both photographic and computational arts practices, I developed a series of custom software works merging my digital photographs with an additional element of data – ranging from the direction of the wind in a Scottish glen, to the recorded beat of my own heart – visually expressed through changes in colour, composition, and movement. The thesis documents and discusses these works from the perspectives of both artist and viewer, with the latter’s position drawn from a series of qualitative interviews conducted during the artworks’ exhibition. Drawing on these dialogues, my contribution proposes the merging of digital photographs, data, and bespoke program code constitutes an expanded digital photographic practice; and a form of gesture on the part of the artist to a secondary referent which sits outside, or cannot be depicted within, the frame of the photograph. References Bolter, J.D. and Grusin, R. (2000) Remediation: Understanding New Media. Cambridge, MT: MIT Press. Hölzl, I. (2010) ‘Moving Stills: Images that are no longer immobile.’ Photographies 3 (1), pp. 99 – 108. Krauss, R. (1977) ‘Notes on the Index: Seventies Art in America. October 3, pp. 68 – 81. Mitchell, W. J. (1994) The Reconfigured Eye: Visual Truth in the Post-Photographic Era. Cambridge, MT: The MIT Press. Rubinstein, D. and Sluis, K. (2008) ‘A Life More Photographic’. Photographies 1 (1), pp. 9 – 28.

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Woodrow, Jonathan. "The social psychology of digital photography : a process philosophy approach." Thesis, Loughborough University, 2004. https://dspace.lboro.ac.uk/2134/7724.

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This thesis addresses the nature of the image and its relationship to human perception and memory. Traditionally psychology approaches the relationship between the image and the human in a representationalist register, in which the world represents itself through images to the subjective observer. The thesis questions these assumptions about the representational relationship between the world, the mind and the image through a study of people using digital photographic technologies. It argues that digital images exist as a complex network of technology and activity that manage their incessant movement, production, consumption, convertibility, connectedness and fragility. The digital image exposes the complex nature of the image as more than a simple representation. If this is the case, then human involvement with images as networks occurs in terms of our inclusion in the network rather than as a subjective observer positioned outside of the world. Henri Bergson proposes that we see the image in terms of a distinction between time and space rather than as an intermediary between a subject and the object. The implications of this for the way in which we think about the interaction between people and technology and the nature of perception and memory are explored through some data examples from three settings. These are; amateur photographers using digital technology; families looking through their stocks of digital images and remembering past events together and finally, displays of family member's histories and identities on the internet.

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Partin-Harding, Melissa C. "Innovative Teaching Strategies: Teaching Art Photography In The Digital World." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308282675.

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Hahn, Taylor. "Developing perfection understanding and redefining photography in a digital age /." Winston-Salem, NC : Wake Forest University, 2009. http://dspace.zsr.wfu.edu/jspui/handle/10339/42563.

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Landry, Brian Michael. "Storytelling for digital photographs supporting the practice, understanding the benefit /." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/31805.

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Thesis (Ph.D)--Computing, Georgia Institute of Technology, 2010.
Committee Chair: Guzdial, Mark; Committee Member: Abowd, Gregory; Committee Member: Mynatt, Elizabeth; Committee Member: Smith, Michael; Committee Member: Thomas, John. Part of the SMARTech Electronic Thesis and Dissertation Collection.

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Martinez, i. Colom Roger. "Digital camera : an interactive tutorial /." Online version of thesis, 1993. http://hdl.handle.net/1850/11740.

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Carstens, Andries Theunis. "Digitising photographic negatives and prints for preservation." Thesis, Cape Peninsula University of Technology, 2013. http://hdl.handle.net/20.500.11838/1355.

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A DISSERTATION PRESENTED TO THE FACULTY OF INFORMATICS AND DESIGN OF THE CAPE PENINSULA UNIVERSITY OF TECHNOLOGY IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MAGISTER TECHNOLOGIAE PHOTOGRAPHY CAPE PENINSULA UNIVERSITY OF TECHNOLOGY 2013
This study deals with the pitfalls and standards associated with the digitisation of photographic artefacts in formal collections. The popularity of the digital medium caused a rapid increase in the demand for converting images into digital files. The need for equipment capable of executing the task successfully, the pressure on collection managers to display their collections to the world and the demand for knowledge needed by managers and operators created pressure to perform optimally and often in great haste. As a result of the rush to create digital image files to be displayed and to be preserved, the decisions that are being made may be questionable. The best choice of file formats for longevity, setting and maintaining standards to guarantee quality digital files and consultation with experts in the field of digitisation as well as attention to best practices are important aspects which must be considered. In order to determine the state of affairs in countries with an advanced knowledge and experience in the field of digitisation, a comprehensive literature study was done. It was found that enough information exists to enable collection managers in South Africa to make well informed decisions to ensure a high quality of digital collection. By means of questionnaires, a survey was undertaken amongst selected Western Cape image preservation institutions to determine the level of knowledge of the managers who are required to make informed decisions. The questionnaire was designed to give insight into choices being made regarding the technical quality, workflow and best practice aspects of digitisation. Comparing the outcome of the questionnaires with best practices and recommended standards in countries with an advanced level of experience it was found that not enough of this experience and knowledge is used by local collection managers although readily available. In some cases standards are disregarded completely. The study also investigated by means of questionnaires the perception of the digital preservation of image files by fulltime photographic students and volunteer members of the Photographic Society of South Africa. It was found that uncertainty exist within both groups with regard to file longevity and access to files in five to ten year's time. Digitisation standards are set and maintained by the use of specially designed targets which enable digitising managers to maintain control over the quality of the digital content as well as monitoring of equipment performance. The use of these targets to set standards were investigated and found to be an accurate and easy method of maintaining control over the standard and quality of digital files. Suppliers of digitising equipment very often market their equipment as being of a high quality and being able to fulfil the required digitisation tasks. Testing selected digitising equipment by means of specially designed targets proved however that potential buyers of equipment in the high cost range should be very cautious about suppliers' claims without proof of performance. Using targets to verify performance should be a routine check before any purchase. The study concludes with recommendations of implementing standards and it points to potential future research.

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Musoke, David. "Digital image processing with the Motorola 56001 digital signal processor." Scholarly Commons, 1992. https://scholarlycommons.pacific.edu/uop_etds/2236.

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This report describes the design and testing of the Image56 system, an IBM-AT based system which consists of an analog video board and a digital board. The former contains all analog and video support circuitry to perform real-time image processing functions. The latter is responsible for performing non real-time, complex image processing tasks using a Motorola DSP56001 digital signal processor. It is supported by eight image data buffers and 512K words of DSP memory (see Appendix A for schematic diagram).

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Greenwood, Keith. "Pictures and pixels digital photographic archives at newspapers, photographic agencies and libraries /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4326.

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Thesis (Ph. D.) University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 1, 2007) Includes bibliographical references.

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Kriel, Charles. "Noise, artefact and the uncanny in large scale digital photographic practice." Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/2302/.

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This dissertation explores the question: why, when encountering the products of many new technologies delivering information via a new media, do I often experience a feeling of disquiet or estrangement? I use the example of laser-photographic printing to explore the issue through a program of practice-based research. The outcome of this line of enquiry includes an original contribution via three series of large-format digital photographic works: Presenting "The Amazing Kriels", Home At Last, and Pure. In this thesis, which supports the main body of the research, that is, the practice-based research, I will briefly review the case for artefact as noise within photographic printing, articulate a significant difference between the artefact levels of traditional analogue and Lambda prints, present original dialogical evidence for estrangement in the latter, and identify it via readings of Sigmund Freud's "The Uncanny" and McLuhan's "The Gadget Lover", as a function of the uncanny. I will propose an original rewriting of McLuhan's ideas of "hot" and "cool" media, as well as the cycles of irritation/mediation repression within McLuhan's media theory as a direction for future research, and relate them to a shift from large-scale analogue photographic printing to Lambda printing.

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Johnson, Peder. "Dua-beam digital speckle photography : strain field measurements in aerospace applications." Licentiate thesis, Luleå tekniska universitet, 1998. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-26085.

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Murphy, Brian Michael. "The Future of American Memory: Media Preservation, Photography, and Digital Archives." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398876304.

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Agarwala, Aseem. "Authoring effective depictions of reality by combining multiple samples of the plenoptic function /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/6957.

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Giloi, Susan Louise. "Effective application of digital printing techniques for fine artists in the South African context." Thesis, Port Elizabeth Technikon, 1999. http://hdl.handle.net/10948/15.

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Snider, Leah. "To Fill the Void With Color." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/767.

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To Fill the Void With Color is a conceptual photographic installation of a parent raising an autistic child in the early 1990s. Despite major scientific advances in autism of the time, there still remains a sociological void in parent's experiences. Although one work cannot speak for an entire two decades of personal experience, one work can start to fill the void with words, with color, and with love.

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Datodi, Mark. "Digital imaging: Creating new realities." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1253.

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More and more it is becoming increasingly difficult to discern photo reality from digital reality. Digital imagery is revolutionising photography and challenging preconceived notions of this art form. Over the years, photography has been viewed metaphorically as a window on the world and on the past. No longer however, is the creation of photographic imagery reliant upon its intrinsic relationship with reality. Using computer technology original photographic material can be altered, manipulated and seamlessly combined with other fictional imagery without obvious detection and with relative ease. The proliferation of digital imaging is producing two apparent crises for photography. The first is the perceived threat to photography, involving the fear that traditional photographic processes, methods and product will be superseded by manipulated digital images passing themselves off as real photographs. Added to these growing concerns for photography's longevity, is the prospect that viewers will no longer believe m photography as a deliverer of objective truth and that the medium itself will lose its power as a 'privileged conveyer of information'(Batchen, 1994,p.47). The second crisis pertains to ethical concerns that these digital simulations raise: copyright, moral rights and artistic integrity.

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Huang, Yi-hui. "An Interpretivist Study of Knowledge Provided by Seamless Digital-Synthesized Photographs." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1214941623.

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Santa, Clara Miguel Eduardo. "The application of digital photographic technologies to lighting research." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609406.

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Toister, Yanai. "Photography from the Turin Shroud to the Turing Machine." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14911.

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Photography has always been a migratory system of representation. Today, it is integrated into numerous systems, in a profusion of specialties, sub-disciplines and disciplines. Within many of these domains, the exponentially growing powers of information processing enable the manufacturing of images that are seemingly photographic, yet partly (or fully) synthetic. How do we define these images? Are traditional disciplinary accounts relevant? Photography’s cultural value is most often measured in terms of its products, the various kinds of pictures that it generates. Instead, photography can be interrogated by studying the dynamic relationships between its components: the electromagnetic, optical, mechanical, chemical and recently mathematical elements and procedures that combine as a process that produces images. This dissertation utilizes two metaphors for defining photography: the Turin Shroud and the Universal Turing Machine. The former is presented as a set of propositions that facilitate new understandings about the history and theory of photography. The latter is introduced as a conceptual model that expands the theory and philosophy of photography into new realms, most notably those of new media and media philosophy. In support of this novel exposition, and to more adequately portray the trajectory of photography’s reincarnation as a form of computation, various terms from Vilém Flusser’s philosophy are reinterpreted and further developed. Through these it is suggested that photography is a family of programs wherein both ‘analogue’ and ‘digital’ characteristics always coexist. These are not to be seen as mutually exclusive qualities but as complementary discursive modalities. Further, because photography has always had mathematical qualities and potentialities, the recent technological turmoil does not designate the ‘end’ of the medium, but rather its coming of age. Importantly, now that the medium of photography has become media, photographic images should no longer be understood as bearers of ontological qualities but only as epistemic containers.

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Nielsen, Lise. "Body and Soul." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1349.

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Millinor, William A. "Digital Vegetation Delineation on Scanned Orthorectified Aerial Photography of Petersburg National Battlefield." NCSU, 2000. http://www.lib.ncsu.edu/theses/available/etd-20001123-131211.

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I developed a new methodology to produce an orthorectified mosaic and a vegetation database of Petersburg National Battlefield using mostly digital methods. Both the mosaic and the database meet National Map Accuracy Standards and proved considerably faster than traditional aerial photograph interpretation methods. I classified vegetation polygons to the formation level using the Nature Conservancy?s National Vegetation Classification System. Urban areas were classified using Mitchell?s Classification Scheme for Urban Forest Mapping with Small-Scale Aerial Photographs. This method reduced the production time by 2/3, compared to traditional methods. It also reduced the chance of user error because re-tracing of the linework is not required.

My method started with scanning 75 aerial color IR photos, provided by Petersburg National Battlefield, at 600 dpi. Erdas Imagine was used to rectify the images using United States Geological Service (USGS) Digital Elevation Models (DEM) and black and white USGS Digital Orthophoto Quarter Quadrangles (DOQQ) as reference. The images were then mosaiced to create a seamless color infrared orthorectified basemap of the park. The vegetation polygons were drawn onscreen using ArcMap from Environmental Systems Research Institute, Inc. (ESRI) with the color, orthorectified mosaic as a background image. Stereo pairs of the aerial photos were referenced as needed for clarification of the vegetation. I used a minimum mapping unit (mmu) of 0.2 hectares, which exceeds guidelines defined by the United States Geological Survey ? National Park Service Vegetation Mapping Program. This methodology is easily learned quickly and has already been applied to several other studies.

The production of an orthorectified mosaic, created during the process, from the aerial photographs greatly increases the value of the photographs at little additional cost to the user. The orthorectified basemap can then be used as a backdrop for existing data layers or it can be used to create new GIS data layers. I used a minimum mapping unit (mmu) of 0.2 hectare, which exceeds guidelines defined by the United States Geological Survey-National Park Service Vegetation Mapping Program

Traditionally, vegetation polygons are delineated on acetate for each photograph. The linework on the acetates is then transferred to a basemap using a zoom transfer scope or other transfer instrument. The linework is traced again to digitize it for use in a GIS program. This process is time consuming, and the linework is drawn three times. The redundant tracing increases the chance of user error. My new methodology requires that polygons be delineated only once. I wanted to avoid using the zoom transfer scope and to avoid the redundant linework.

A total of 228 polygons were delineated over 20 separate vegetation and land cover classes with an overall thematic accuracy of 87.42% and a Kappa of .8545. Positional accuracy was very good with a RMSE of 1.62 meters in the x direction and 2.81 meters in the y direction. The Kappa and RMSE values compare favorably with accuracies obtained using traditional vegetation mapping methods.

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de, Lavaine Scarlette. "The age of consent: digital photography and privacy in general healthcare practice." Thesis, de Lavaine, Scarlette (2016) The age of consent: digital photography and privacy in general healthcare practice. Honours thesis, Murdoch University, 2016. https://researchrepository.murdoch.edu.au/id/eprint/35142/.

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Digital photography can be invaluable in visually oriented medical practice. Providing a visual record, digital photographs aid diagnosis, monitor change and quantify response to therapy. Incorporating digital photography into general practice is growing easier. Widespread ownership of smartphones with inbuilt cameras has stimulated this practice. Smartphone cameras are simple and familiar to use, capture high resolution images that enhance the medical record, expedite advice and, ultimately, can improve patient care. The development and use of the smartphone is part of a broad wave of accelerated technological change. That change, the information revolution of the last 30 years, has enabled the collection and dissemination of that information on a scale previously unimaginable. It has also changed how Australians treat personal privacy. Personal information can be instantaneously shared, with or without consent, with friends and strangers. Expectations of privacy in younger generations may have dropped, but for many Australians, protection of privacy has become more urgent. In response, Australia has tried to unify its legal and regulatory approaches to privacy protection through recent amendments to the Privacy Act 1988 (Cth). The Australian Privacy Principles were introduced to clarify and govern how personal information, such as healthcare information, can be collected, used and disclosed. The central role of the doctor in the collection and use of healthcare information required specific guidance for the profession. This was achieved through the professional Code of Conduct regulated by the Australian Medical Board. Despite these legislative and regulatory changes there appears to be a divergence between practitioners’ conduct and their legal and professional obligations when using clinical photography in their healthcare practice. Are doctors aware of the requirements of consent, use and disclosure, and storage security, as they apply to clinical photography? The relevant literature suggested they are not. To explore how technology has impacted privacy this paper examines how the Privacy Act 1988 (Cth) affects digital photography used in the clinical management of skin conditions. The paper will describe how well-delineated boundaries of clinical information sharing are blurred in practice, if not in law. It seeks to address the reasons for the apparent knowledge deficit of privacy obligations amongst practitioners. Doctors looking to understand their privacy obligations will find it difficult; inconsistencies between laws and regulations making the regime challenging to traverse. This paper proposes possible solutions to raising awareness, promoting safer practices and can help mitigate privacy risks. Compliant use of digital photography is a value clinical tool which can facilitate patient care, while not endangering patient privacy.

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

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

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Nightingale, Sophie Jane. "The impact of digital change on memory and cognition." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/104800/.

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In the digital age, there has been a phenomenal rise in the number of photos people capture, share, and manipulate—a trend that shows no sign of slowing. Furthermore, research shows that photos—authentic and manipulated—are powerful; they can change people’s memories for distant and recent experiences, beliefs about past actions, intentions for future actions, and judgements. Yet there is currently limited research exploring the effects of digital photography on memory, cognition, and behaviour. Part One of this thesis comprises of a program of research that examines people’s ability to discriminate between authentic and manipulated images. Advances in digital technology mean that the creation of visually compelling photographic fakes is growing at an incredible speed. Despite the prevalence of manipulated photos in our everyday lives, there is a lack of research directly investigating the applied question of people’s ability to detect photo forgeries. The research in Chapter 3 addresses this question. Across two experiments, people showed an extremely limited ability to detect and locate manipulations of real-world scenes. Chapters 4 and 5 explore ways that might help people to detect image forgeries. Specifically, the research investigates the extent to which people can identify inconsistencies in shadows and reflections. The results suggest that people are reasonably insensitive to shadow and reflection information and indicate that such image properties might not help people to distinguish between authentic images and manipulated ones. Part Two of this thesis examines how the act of taking photos can affect people’s memory. Digital technology has revolutionised the ease with which people capture photos and accordingly there has been a remarkable rise in the number of photos that people take. The results of five experiments and a mini meta-analysis suggest that taking photos has only a small, or plausibly no, effect on people’s memories.

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Spencer, Timothy. "Digital imaging of the retina." Thesis, University of Aberdeen, 1992. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=124209.

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In this study, fluorescein angiograms of the ocular fundus have been digitised to enable them to be processed and analysed by computer. A fully automated technique for counting microaneurysms (MA) in these images was developed with a view to producing an objective, accurate and highly repeatable way of quantifying these lesions. Prior to any other image processing, a number of pre-processing stages were applied in order to compensate for non-uniformaties and to remove the background fluorescence component present in all the images. Matched filters modelled on two-dimensional Gaussian distributions were employed to detect MA in the 'shade-corrected' images. A binary image representation of the vascular network was constructed. This 'vessel mask', used in conjunction with the original match-filtered images, enabled MA to be detected by grey-level thresholding the filtered images. The resulting binary objects could then be counted by the computer as MA. The automated technique was assessed by comparing the computer's results for six fluorescein angiograms with MA counts obtained by ophthalmologists analysing both analogue and digital images. The performance of both man and machine were judged with respect to 'gold standards' compiled from prints of the original negatives. The best results were obtained by the clinicians analysing the analogue prints, although they differed greatly in their ability to detect microaneurysms. The computer performed better than the clinicians when they were counting MA in the digital images and produced highly repeatable results. To improve the performance of the automated technique, images were captured at approximately four times the previous spatial resolution and a smaller area of each image was analysed. Additionally, more complex image-processing techniques were employed to increase the accuracy of the computer analysis. Although the performance of the automated technique was improved, the computer results only matched those of the clinicians' analogue analyses for two of the images.

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Morlot, Evelyne. "Nostalgic consumption behaviours among young generations in photography : A comparative approach of Instagram and analogue photography." Thesis, Umeå universitet, Företagsekonomi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-76235.

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With the emergence of digital cameras on phones, photography has become a popular routine. For some people, it is close to a form of ritual, every moment of the present is preciously archived and possibly shared to relatives on social media. This consumption of photography contrasts radically with the one practiced 20 years ago. Analogue photography was more occasional, because it is more time-consuming and also more costly. However, we observe today a resurgence of analogue photography and more particularly among young generations. This phenomenon goes hand in hand with the popularity of transforming contemporary pictures into old-looking ones with services like Instagram. Therefore, there is a regain of popularity for old devices and old aesthetic among young generations which indicates the existence of nostalgic behaviours among these consumers. The present study aims to explore these two phenomena in order to identify patterns of consumption about nostalgic behaviour among young generations. In order to achieve this, a comparative design is adopted to evaluate the differences and similarities between analogue photography and Instagram practice. This study generates knowledge about the changes in consumption since the digitalization of photography. Indeed, Instagram and analogue photography are rooted in the need to provide alternatives to digital photography which has made photography pervasive and less personal. Instagram and analogue consumers express different attitudes to achieve this desire to create meaning. Thus, the findings reveal that Instagram consumers give value to their everyday life experience by using nostalgic effects. This is interpreted by the fact that old-looking pictures are perceived as more narrative so they have more power to tell stories. Conversely, analogue users renew old practices in order to give more meaning to their photographic experience. It allows them to be more involved in a process of creation which does not exist anymore in digital photography.

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Fernandes, Lénia Janete Oliveira. "Characterization and identification of printed objects." Master's thesis, FCT - UNL, 2008. http://hdl.handle.net/10362/1763.

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A study about the physical appearance of pre-photographic, photomechanical, photographic and digital positive reflective prints was made, relating the obtained images with the history, materials and technology used to create them. The studied samples are from the Image Permanence Institute (IPI) study collection. The digital images were obtained using a digital SLR on a copystand and a compound light microscope, with different lighting angles (0º, 45ºand 90º) and magnifications from overall views on the copystand down to a 20x objective lens on the microscope. Most of these images were originally created by IPI for www.digitalsamplebook.org, a web tool for teaching print identification, and will be used on the www.graphicsatlas.org website, along with textual information on identification, technology and history information about these reproduction processes.

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Shao, Wenbin. "Automatic annotation of digital photos." Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080403.120857/index.html.

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Beamish, Alison Leslie. "The use of repeat colour digital photography to monitor high Arctic tundra vegetation." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45395.

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High Arctic ecosystems are experiencing some of the earliest and most extreme changes in climate as a result of global climate change. Temperature increases twice the hemispheric average are initiating changes to terrestrial systems including shifts in timing of phenology, aboveground biomass and community composition of Arctic vegetation. Satellite imagery from the last 30 years has shown a greening across tundra ecosystems with increases in peak productivity and growing season length. A few plot scale field studies support these large-scale trends but overall validation at the plot scale is still lacking. Current manual and automated methods for monitoring vegetation at the community and plot scale is both time consuming and employs expensive, sensitive multispectral instrumentation that can be cumbersome to use in Arctic field sites. In this thesis I examine the utility of colour digital photography in monitoring tundra vegetation across four different vegetation communities, inside and outside of passive warming chambers. Colour and infrared photos were taken on one day peak season in 2010. Relationships between a greenness index derived from colour photographs and biomass data were compared to relationships with NDVI derived from infrared photographs. Results suggest that colour photographs can be used as a proxy for productivity and aboveground biomass in multiple tundra vegetation communities. These data were then used to infer phenological signals at multiple spatial scales from a set of colour photographs taken on six days during the 2012 growing season. Results show higher greenness values due to treatment at the plot scale but not at the individual scale suggesting greater green biomass in warmed plots. At the individual scale site differences emerged for two study species (Salix arctica, Dryas integrifolia) suggesting a difference in vegetation vigor due to differences in soil moisture and perhaps competition. The phenological signal was strongest at the species scale due to reduced interference from bare soil, litter and standing water. Overall, these results show the potential for this methodology for measuring vegetation in the Arctic. Its simplicity, affordability and efficiency has great potential for use in a vegetation monitoring network in the Arctic.

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Libério, Carolina Guerra. "As mudanças no ato fotográfico com o advento da fotografia digital: um estudo da experiência do dispositivo." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4288.

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Made available in DSpace on 2016-04-26T18:10:52Z (GMT). No. of bitstreams: 1 Carolina Guerra Liberio.pdf: 1815326 bytes, checksum: 539ae9e252ce5e117c3bc8d0a7aba701 (MD5) Previous issue date: 2011-05-23
Fundação de Amparo à Pesquisa do Estado do Maranhão
The present study discusses, from the perspective of the photographic dispositif, the changes in the photographic act since the development and popularization of digital photography. The research rescues the historical development of photography during the 20th century as a way to understand the changes in the photographic praxis until nowadays. The conventions and prefigurations of the photographic act were discussed, as also were the relations between those conventions and the actual practice of digital photography. The method utilized in this study was based in the concept of geneology as used by Michel Foucault (2002), in which it is affirmed the need to historically research the fields of force that compose the dispositif. The concept of dispositif is utilized to discuss the characteristics of the photographic equipment, based not only on the works of Foucault, but also on Agamben s (2008). As a technological basis for many processes of image production, photography has a fundamental role in midst the means of social communication. The changes from the analogical to the digital process in photography bring implications that affect not only amateur day-to-day uses, but also the role of photography in the means of mass communication. A example of this is the loss of trust in the longly self alleged objectivity claim of the photographic image, specially present in the context of photojournalism, that has changed the way society perceives the photographic image: more and more, photography is treated as a discourse, and less as a testemony. The hypothesis of this study is that the digital technology in connection to the photographic dispositif alters the role of the photographic image in society and that this change is inserted in a wider social-cultral context of modifications in the ways messages are produced and distributed in the digital age
O presente texto aborda, a partir de um estudo do dispositivo fotográfico, as mudanças no ato fotográfico a partir do surgimento e popularização da fotografia digital. A pesquisa partiu de um resgate histórico do desenvolvimento da fotografia ao longo do século XX, como forma de compreender as mudanças na práxis fotográfica. Discutiu-se que convenções e prefigurações estiveram presentes no ato de fotografar ao longo do século XX, e que relação elas tem com as atuais praticas da fotografia digital. A metodologia da pesquisa foi da ordem da genealogia, conforme definida por Michel Foucault (2002), em que se afirma a necessidade de pesquisar historicamente as linhas de força que compõe o campo dos dispositivos. O conceito de dispositivo é utilizado para discutir as características do equipamento fotográfico, com base não somente na obra de Foucault, mas também na de Agamben (2008). Como base técnica de diversos processos de produção de imagens, a fotografia ocupa um lugar fundamental dentro dos meios de comunicação. A mudança do processo analógico para o digital traz implicações que afetam não somente usuários amadores, mas também os grandes veículos de mídia. Um dos exemplos é a perda da tão alegada objetividade ou verdade fotográfica, especialmente no contexto do fotojornalismo, que tem modificado de forma geral a percepção da fotografia em sociedade: cada vez mais, trata-se a foto como um discurso, e não como índice ou testemunho. O estudo parte da hipótese de que a tecnologia digital em conexão com o dispositivo fotográfico altera o estatuto da imagem fotográfica em sociedade e se insere em um contexto sócio-cultural mais amplo de mudanças nas formas de produção e distribuição de mensagens, a partir das recentes tecnologias binárias

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Masters, Chase M. "An Analysis of the Shift from Black and White to Color Photography in Higher Education Introductory Photography Courses." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1225313825.

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Dissertations / Theses on the topic 'Digital photography'

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