Journal articles on the topic 'Digital photography'
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Kanicki, Witold, and Geoffrey Batchen. "Magical Thinking: Conversation with Geoffrey Batchen." Magic, Vol. 5, no. 1 (2020): 4–9. http://dx.doi.org/10.47659/m8.004.int.
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His long-standing interest in the history of early photography makes Geoffrey Batchen the appropriate speaker to discuss the question of photographic magic. Therefore, our conversation oscillates between magic and realism, but also other antonyms within the medium: negative and positive, analogue and digital. Taking in consideration all these oppositional notions, Batchen suggests that theoreticians “need to acknowledge and embrace photography’s abstractions and contradictions”. Different contradictions within photography’s theory and history became pivotal in our conversation. We also discussed the indexicality of digital images. According to Batchen, the negative/positive system of traditional photography can be compared with the binary code of digital images, which “is therefore based on the same oppositional logic, the same interplay of one and its other, that generated the analogue photograph.” Moreover, digitality does not eliminate the magic character of the contemporary photographs; in this context, Batchen mentions the capacity of instant transmission of snapshots from one place of Earth to another. In conclusion, Batchen reveals some details of his upcoming book Negative/Positive: A History of Photography. Keywords: magic, indexicality, negative, digital, Barthes
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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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AGUIAR, JONAS JOSÉ MENDES, JEAN CARLOS SANTOS, and MARIA VIRGINIA URSO-GUIMARÃES. "On the use of photography in science and taxonomy: how images can provide a basis for their own authentication." Bionomina 12, no. 1 (March 24, 2017): 44–47. http://dx.doi.org/10.11646/bionomina.12.1.4.
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Photography has, since its inception, significantly contributed as a tool to many areas of scientific research and consequently, has been able to achieve a high level of prestige in the scientific field. In recent years, there has been an increasing debate within the scientific community regarding the need for the deposition of type specimens when describing new species. Recently, Marshall & Evenhuis (2015) described a new species of Diptera, based exclusively on a few photographs. Even if one withholds judgement about whether the photographs used present sufficient characteristics for the description and identification of this new species, data missing from the holotype photograph could be of great importance for other analyses and future comparisons. The authors have omitted the digital photographic format used for the photographs in their work, and at no point has a deposition of the RAW type (a digital format sometimes called digital negatives, this file preserves most of the information from the captured picture) for verification of its authenticity been mentioned. The absence of this file for verification of the authenticity of the photograph makes its scientific credibility questionable and untrustworthy. We consider this taxonomical practice based exclusively on the use of photographs to be simplistic and harmful. Although the Code does not mention Rules about the use of photography formats we strongly suggest that, for the elaboration of academic articles, not only in taxonomic ones, using characteristics based on digital photography, the authors should be willing to make the RAW file of the photograph available for comparison in order to avoid doubts regarding the authenticity of the photograph presented.
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Abu Hassan, Nazrul Azha, Adzrool Idzwan Ismail, Siti Salmi Jamali, and Jati Widagdo. "Digital Documentation through Underwater Photography Method." Environment-Behaviour Proceedings Journal 8, SI16 (November 26, 2023): 243–50. http://dx.doi.org/10.21834/e-bpj.v8isi16.5248.
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This study focuses on the educational value of photographs and investigates discursive methods for employing underwater photography in environmental education. This research will examine the effectiveness of the relationship between photography and the environment using a qualitative methodology. The results indicate that data collection and photographic documentation might be very valuable, and understanding the fundamentals and techniques will greatly enhance the use of underwater photography. To sum up, research has shown that underwater photography can generate a distinctive dynamic and concept that can be used in a Public Service Announcement (PSA) to educate the public about the condition of the coral reef.
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Baird, Jean. "Photography without Pictures." Arts 13, no. 1 (January 18, 2024): 17. http://dx.doi.org/10.3390/arts13010017.
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Magic, as an emanation of past presence in a picture, emerges as a theme in postmodern theories of photography. It is linked to various forms of actual and symbolic absence; an absence which creates a space that keeps us looking, ostensibly for something that is lost. Photography may not always have been digital, but it has always been magical. Photography Without Pictures explores the critical dialogue and disciplinary uncertainty around the terminology of an expanded photographic that derived from debates surrounding the proliferation of digital media and the previous, ontological question of the nature of photography as a technology and a pictorial medium. It is prompted by Andrew Dewdney’s conviction that in order to deal with the contemporary condition of the networked screen image, we need to “Forget Photography” (2021). Dewdney considers the paradox that while photography is now ubiquitous, it is also peculiarly and magically undead, a simulation at the behest of mutable electronic data. The article examines three instances of critical response to contemporary photography, including the interpretation and response to several photographic artworks and one simulated photograph, to distinguish characteristics of pictoriality, authorship and temporality in photographic pictures. In asking what it means to be a real photographer, we discover that the singular observer/artist has become a crowd in respect of the image sharing culture of post-internet art. Throughout his polemical argument to Forget Photography, Dewdney prefers to use the term image and imagery to refer to both the photographic and the networked image. The terms picture and image tend to be interchangeable in language and inhabit each other in practice, yet there are historical differences and continuities that make the distinction remarkable in considering questions of ontology and media continuity. Pictorial, temporal and illusory ‘magic’ are the themes through which these photographic uncertainties unfold.
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Rothwell, Ian. "Jpegs: Thomas Ruff and the horror of digital photography." Philosophy of Photography 12, no. 1 (October 1, 2021): 93–109. http://dx.doi.org/10.1386/pop_00049_1.
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This article analyses the aesthetics of digital compression as revealed in Thomas Ruff’s Jpegs series of photographs (2004–07). These images exhibit a poor standard of digital picture resolution fixed as large-scale, high-quality, lustrous C-type photographic prints. With reference to Vilém Flusser’s writing on photography, I argue that Ruff’s work discloses a ‘horror of digital photography’: a system of automated representation, which inverts our relationship to the photographic image.
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Barr, G. D. "Low cost digital endoscopic photography." Journal of Laryngology & Otology 123, no. 4 (October 17, 2008): 453–56. http://dx.doi.org/10.1017/s0022215108003812.
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AbstractIntroduction:Endoscopic digital photography usually involves expensive and often cumbersome equipment.Aim:This study aimed to construct a low cost adaptor with which to connect a budget-priced digital camera to a nasal endoscope, in order to enable inexpensive, good quality otology photography.Method:A method of making an adaptor from a simple plastic bottle top is described, and the photographic technique is outlined.Results:The adaptor fitted well with commonly used endoscopes, and excellent results were obtained.Conclusion:High quality digital endoscopic photographs can be obtained using a low cost compact digital camera fitted with a simple adaptor made from a plastic bottle top. Such a method would make digital photography via a rigid endoscope easily affordable worldwide.
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Gavrilov, Dragan, and Kosovka Obradovic-Djuricic. "Photography in dentistry." Serbian Dental Journal 53, no. 4 (2006): 253–60. http://dx.doi.org/10.2298/sgs0604253g.
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Photography offers precious support in all areas of medicine and dentistry. Usage of photography in dentistry is an integral part of numerous diagnostic and therapeutic procedures and an important document of progression and outcome of subscribed therapy. Various types of cameras are available for intraoral and extraoral photography. Market offers different kinds of photographic equipment to dental practitioners such as cameras with films (Single Lens Reflex) SLR, digital SLR (DSLR) and compact digital cameras. However, majority of analyses emphasize advantages and relevancy of digital cameras, especially in taking macro photographs in dentistry. Introduction of digital cameras in dental practice is an important step toward the future. The aim of this study was to point out the importance of photography in dentistry, demonstrate basic technology of contemporary cameras and to analyze advantages and disadvantages of available cameras.
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Ruzgienė, Birutė. "REQUIREMENTS FOR AERIAL PHOTOGRAPHY." Geodesy and cartography 30, no. 3 (August 3, 2012): 75–79. http://dx.doi.org/10.3846/13921541.2004.9636646.
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The photogrammetric mapping process at the first stage requires planning of aerial photography. Aerial photographs quality depends on the successfull photographic mission specified by requirements that meet not only Lithuanian needs, but also the requirements of the European Union. For such a purpose the detailed specifications for aerial photographic mission for mapping urban territories at a large scale are investigated. The aerial photography parameters and requirements for flight planning, photographic strips, overlaps, aerial camera and film are outlined. The scale of photography, flying height and method for photogrammetric mapping is foreseen as well as tolerances of photographs tilt and swings round (yaw) are presented. Digital camera based on CCD sensors and on-board GPS is greatly appreciated in present-day technologies undertaking aerial mission.
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Simanjuntak, Mardohar Batu Bornok. "The Concept of Emergence in Non-Temporal Photography: A Non-Dualistic Approach." MELINTAS 39, no. 3 (March 22, 2024): 263–81. http://dx.doi.org/10.26593/mel.v39i3.7823.
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The problem of temporality in photography has invoked a continuous debate concerning the artistic nature of this medium. Previously taken as a different way of seeing, the time signature in a photograph became debatable along with the development of digital photography. Photography’s status as the undisputed evidence of the truth is then no longer relevant. This changes the flow of discourse to a more philosophical one. However, the debate does not provide adequate defence concerning the role of photography in the digital era. The Platonic dualistic approach, especially the Cartesian one, is responsible for this regress. Immanuel Kant introduces transcendental causality to re-examine the Cartesian legacy. This Kantian approach needs to be developed further. Stephen Hawking’s cosmological model of Quantum Field Theory (QFT) working in anti-de Sitter space (ADs) offers a better explanation on this Kantian transcendentalism. The research shows that the non-temporality of photographic images is irrelevant with the development of the medium because Hawking’s approach fits the transcendental interaction proposed by Kant. This article concludes that photography is independent from temporal demands, and that the advancement of photography lies in its potential to pursue non-duality interactions.
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Górska, Irena. "Dramaturgia fotografii. Między teorią a osobistym doświadczeniem (przypadek Rolanda Barthes’a)." Przestrzenie Teorii, no. 36 (December 15, 2021): 91–105. http://dx.doi.org/10.14746/pt.2021.36.5.
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The article discusses Roland Barthes’ experience of photography and presents its distinctive dramaturgy, which emerges from the reflections of the author of The Light of Image. It is played out between attempts at a theoretical grasp of the essence of photography and a personal, intimate experience of being photographed, but also of being a spectator looking at various photographs. Barthes places this experience in two basic perspectives. The first is connected with the process of taking photographs and the second with the experience of the spectator. This also includes the experience of photography with one’s own image, which according to the author, is always an experience of oneself as someone else, and the experience of searching for “the truth of photography”, especially important in the context of the photographs of his deceased mother. It is significant in Barthes’s concept that he is talking about traditional photography which had a completely different character and performed different functions to digital images do today. Moreover, as the author notes, Barthes’s theoretical findings would be untenable in relation to digital photography.
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Wilson, Dawn M. "Invisible Images and Indeterminacy: Why We Need a Multi-stage Account of Photography." Journal of Aesthetics and Art Criticism 79, no. 2 (April 19, 2021): 161–74. http://dx.doi.org/10.1093/jaac/kpab005.
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Abstract Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography.
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Tsench, Yu S., and N. I. Zakharova. "Trends in development of agricultural aerial photography technology." Agricultural Machinery and Technologies 17, no. 3 (September 19, 2023): 16–26. http://dx.doi.org/10.22314/2073-7599-2023-17-3-16-26.
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Aerial photography is becoming an integral part of remote sensing in digital agriculture. The first aerial photographs were taken in the mid-19th century. (Research purpose) The paper aims to retrospectively analyze the evolution of aerial photography equipment for capturing agricultural lands, beginning with the creation of the first aerial photograph up to the present day. (Materials and methods) A historical-analytical approach was employed to examine the existing literature. Within this study, the development of agricultural aerial photography equipment was categorized into four distinct time periods: 1885-1908, 1909-1945, 1946-1979, and from 1980 to the present day. (Results and discussion) In the initial phase of experimental aerial photographic equipment development, significant advancements were achieved, encompassing the emergence of the first photograph, the creation of portable cameras and their adaptation for use with hot air balloons and kites, rockets, and birds. Technological growth in the first half of the 20th century contributed to elevating aerial photography to a versatile tool applied for a wide range of intelligence operations, including agricultural tasks. The evolution of space technologies in the second half of the 20th century resulted in the rapid development of both aerial photography equipment and their carriers. This progress facilitated the use of color aerial photography for the examination of the Earth's surface. The advancements of digital technologies at the end of the 20th century and the beginning of the 21st century facilitated the use of high-resolution digital aerial cameras mounted on various carrier platforms, ranging from unmanned aircraft to artificial Earth satellites. (Conclusions) A retrospective analysis reveals that the development and creation of equipment for aerial photography of agricultural lands unfolded in a sporadic fashion. This progression was closely intertwined with global political, social, and economic situation, as well as the state of technological advancement in related areas. Over the coming decade, the sustained application of aerial photography in agriculture is poised to enhance the efficiency of unmanned aircraft, reduce the production costs associated with aerial photography, and facilitate the widespread adoption of digital remote sensing technology within the agricultural sector.
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Akhtari, Nazli. "Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet." Camera Obscura: Feminism, Culture, and Media Studies 37, no. 3 (December 1, 2022): 1–29. http://dx.doi.org/10.1215/02705346-10013590.
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Abstract This article reveals how engagements with the photographic archives of premodern Iran and the Persian carpet break open transtemporal, affective, and queer interplays in diaspora. Examining a digital remix of a photograph of a Qajar princess, ‘Ismat al-Dowlah, from the archives of nineteenth-century Iran, the article argues that the digital (mis)use of archives exposes what forms such as the Persian carpet and photography erase: each medium's close ties with power, labor, gender, and sexuality. It develops a relational approach to understandings of photography that highlights the performative registers for a diasporic gaze while also troubling the imperial investment in understanding photography's history and its practices as a new technology that developed in the nineteenth century. This work considers how unlearning the history of Qajar photography entails deemphasizing the Qajar's king Naser Al Din Shah's fascination with photography's technological newness and instead exposes what desires his fascination was tethered to. This piece brings into conversation techno-historical overlaps between carpet weaving, the Jacquard machine, and computational arts, opening up critical questions about gender vis-à-vis production, labor, and computation within both carpets and computers as media interface.
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T, Keerthana, Sindhu Ramesh, and Dheepshi M. "Comparative Evaluation of Hue Value Chroma using Cross Polarised Photography." International Journal of Science and Healthcare Research 8, no. 4 (December 13, 2023): 189–94. http://dx.doi.org/10.52403/ijshr.20230427.
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Introduction: Digital photographs offer a wide range of colour options. They aid in increasing communication between a dentist and a technician by making the morphology, colour, and texture of the teeth easier to visualise. A polarising filter reduces reflections and glare while boosting colour saturation in an image. The aim of the study was to analyse images with and without polarised photography. Methodology: A total of 125 images of shade guidelines were collected for this study, 5 each shade tab for 5 shades (A1 to A4). We looked at the following shade guidance systems: VITA Classical (VITA Zahnfabrik) (control), IPS e. max Ceram (Ivoclar Vivadent) were photographed with a Canon EOS 60D digital camera and a 100-mm Canon Macro Lens. Ambient light, exposure (1/125, f16), ISO (100), flash (ETTL), distance, focusing (1:1), and backdrop were all standardized in the photographs. The Adobe RGB colour system was utilised since it covers nearly half of the Lab colour space. Results: Mean and standard deviation values of images with and without cross polarised photography were compared. Hue, value, chroma of the images were assessed showing no statistical difference among the images with and without cross polarised photography. Conclusion: Compared to visual and digital photographic approaches for choosing shades, the application of polarising filters had negligible effect on shade choice. When routinely practised, shade matching can improve a clinician's ability to choose the appropriate shade. Thus, knowledge and training may help someone become better at shade matching. Keywords: Hue, value, chroma, cross polarised photography, Camera, Ring flash, Micro lens.
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Gonzales-Day, Ken. "Analytical Photography: Portraiture, from the Index to the Epidermis." Leonardo 35, no. 1 (February 2002): 23–30. http://dx.doi.org/10.1162/002409402753689272.
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The current abundance of scholarship concerning the technological development of photography has coexisted with a proportionate absence of recent critical analysis of photographic images. Given photography's long-standing embrace of technological advances, even predating the portable camera or roll film, this article revisits some early uses of scientific photography in order to clarify the impact of digital technology on contempo-rary photographic practice. The author uses scientific photogra-phy and photographic archives as the groundwork for photo-graphic experiments into what might be called analytical photography. The essay con-cludes with a reconsideration of the photographic portrait.
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Park, Rae-Woong, Joon-Hoe Eom, Ho-Yong Byun, Peom Park, Kyi-Beom Lee, and Hee-Jae Joo. "Automation of Gross Photography Using a Remote-Controlled Digital Camera System." Archives of Pathology & Laboratory Medicine 127, no. 6 (June 1, 2003): 726–31. http://dx.doi.org/10.5858/2003-127-726-aogpua.
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Abstract Context.—Conventional gross photography requires a series of tedious and time-consuming steps, including taking, developing, labeling, sorting, filing, and tracking numerous photographs. Objective.—To describe how to automate the gross photographic process by way of controlling a digital camera remotely. Design.—After defining the requirements of automation regarding gross photography, a remote control board, foot switch, barcode system, and image retrieval system were devised. Setting.—The surgical pathology laboratory of a university medical center with a commercially available megapixel digital camera. Results.—The digital camera zoom and shutter were controlled remotely by a foot switch. A large portion of the gross photographic process, including specimen number labeling, image downloading, labeling, sorting, filing, and tracking, were automated. In addition, the elimination of several manual specimen-processing steps, along with not having to wait for the developing and mounting of conventional 35-mm film, reduced the entire time span required in conventional gross photography from 2 to 5 days, to a few minutes. It was also possible to review the gross images at the time of microscopic sign-out. Conclusions.—The automation of gross photography using a remote-controlled digital camera changes the conventional gross workflow markedly. We found use of a remote-controlled gross photography system to be practical, convenient, and efficient.
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Acar, Sibel. "Photography as a means of architectural (re)presentation and (re)production." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 24–33. http://dx.doi.org/10.18844/prosoc.v5i6.3692.
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Architecture and photography have closely interacted with each other since the invention of the photography. Through the 20th century, architectural photographs were utilised for documentation, preservation, historiography, presentation and as a tool of design. Until the turn of the 21st century, the dissemination of architectural photographs was limited by the accessibility of printed media. Today, owing to the digital communication technologies, architectural photographs are being disseminated and circulating rapidly in an unprecedented way. Therefore, not only architectural photographs produced by professionals but also a high number of photographs which were taken by users or visitors of a building started to disseminate. Accordingly, not only the audience but also consumption and production processes of architecture have changed. This study focuses on photography’s affiliation as a tool of architectural (re)presentation and (re)production.Keywords: Architecture, photography, architectural photography, design.
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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.
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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games
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Sun, Zhen. "The role of digital personal photography: a theoretical exploration with Deleuze-Guattari approach." Lumina 14, no. 1 (April 30, 2020): 97–110. http://dx.doi.org/10.34019/1981-4070.2020.v14.30259.
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The innovations of digital photography are transforming people’s experiences of producing, manipulating, sharing, and using their personal photographic images. The essentialist and representational dualistic viewpoints of photography that were initially developed in the era of the Daguerreotype appear no longer tenable in the contemporary photography era. This study focuses on the ever-changing role of personal photographic images in the three typical photography events, i.e., the selfie production, the real-time beautified video sharing on the social media, and the production of deepfake AI face-swaps. The study is inspired by the Deleuze-Guattari’s conceptual framework that is mainly composed of the concepts of minor literature, assemblage, becoming, and de/re-territorialization, and defines personal photographic images as both an assemblage and a constitutive part of larger assemblages, i.e., personal photograph production and usage events. The tetravalent model of assemblages is used as a major analysis toolkit to achieve the research purpose. A thorough analysis and discussion shows the material and expressive components that compose different sizes of assemblages and the emergent capacities. It also discloses how digital photography apps play as a line of flight to de/re-territorialize the presumed representational association between individuals and their photographic images. The images have become one of the multiplicities or becoming of individuals, either interacting with individuals, acting on individuals, or extending individuals’ disembodied experiences. This study seeks to develop alternative theoretical lenses on the role of digital personal photography in everyday life and the rhizomatic experiences that it generates.
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Kmetyk-Podubinska, Khrystyna. "PHOTOGRAPHIC WORK AS AN OBJECT OF LEGAL PROTECTION." Visnyk of the Lviv University. Series Law 74, no. 74 (June 30, 2022): 50–57. http://dx.doi.org/10.30970/vla.2022.74.050.
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The article analyzes a photographic work as an object of legal protection. The author researches the peculiarities of legal protection of photographs, characterizes their legal nature, analyzes the peculiarities of the exercise of copyright in photographs. It is established that a photographic work can exist in various forms, but as of today photography is created and exists mainly in digital form, which determines the peculiarities of the exercise and protection of rights to it. It is highlighted that the national copyright law does not contain a definition of a photographic work, a photograph as well as a work made by means similar to a photograph, which is a shortcoming of legal regulation. It is proved that the object of legal protection is a photographic work, not a photograph, which may have all the features of the object of copyright. In addition, it is substantiated that the legal regime of a photographic work is also not defined in the legislation of Ukraine, which is a shortcoming of legal regulation. It is established that the Law of Ukraine «On Copyright and Related Rights» practically does not pay attention to the characteristics of a photographic work, only mentioning it among the objects of copyright. Moreover, it is proved that the features of a photographic work as an object of copyright are its creative character (as a result of creative activity), original character (expressed in a creative way of expressing the author’s idea – framing, lighting, focus, camera settings, etc.) and objective form of expression as a result of transferring the work from the author’s consciousness in the form of a creative idea to an independent material object, mainly in digital form). It is established that the creative and original nature of photography are often identified as features of the object of copyright. In turn, it is justified that a photograph and other works of art depicting an individual may be publicly shown, reproduced, distributed only with the consent of this person, and in case of his death – with the consent of persons specified by the law. It is proved that such an institution as the freedom of panorama, which characterizes the ability to photograph architectural objects that are in public places, is practically not regulated at the level of law. Consequently, it is established that the right to photograph the relevant architectural object as an object of copyright belongs to the personal non-property rights of the architect, but this approach of the legislator seems questionable, as the photography is a way to capture and reproduce the object of architectural activity as an object of copyright, which is a way to use property rights as a copyright. The imperfection of the application of the so-called «take down notice» procedure, provided for in Art. 52-1 of the Law of Ukraine «On Copyright and Related Rights», is stated, as this out-of-court procedure for protection of copyright in the digital environment does not apply to photographic works, which is a shortcoming of legal regulation.
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Houkin, Kiyohiro, and Satoshi Kuroda. "Digital recording in microsurgery." Journal of Neurosurgery 92, no. 1 (January 2000): 176–80. http://dx.doi.org/10.3171/jns.2000.92.1.0176.
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✓ The authors examine the quality of intraoperative photography in which digital recording technology, including a microdigital camera and digital video paired with an operating microscope, is used during neurosurgery. A microdigital camera developed for this purpose (1.4 million pixels) was attached to an operating microscope and used during surgery. The same surgical views with precisely the same optical conditions were taken through the microscope by using both a conventional 35-mm camera and the microdigital camera, and the quality of the final output was compared. In addition, the quality of the digital camera photographs was compared with the still photograph clipped from the digital video recording.The quality of the photographs taken with a microdigital camera was superior to the quality of those obtained with the conventional 35-mm camera. The success rate of recording (what you see is what you get) was almost 100%. The quality of the still photographs clipped from the digital video was nearly equal to those taken with the digital camera. The microdigital camera system is superior to the conventional 35-mm camera in neurosurgery in terms of its success rate and the quality of the photography. It is also a space-saving system for storing the huge amount of data generated in the recording of surgical procedures, and the cost/performance ratio is superior to that of the conventional method. Digital technology including digital cameras and videos is very useful for clear recording of microsurgical procedures.
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Shik, Ida A. "Jerry Uelsmann and Contemporary Digital Photography: Jungian Images of ‘Photoshop’s Godfather’." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 326–43. http://dx.doi.org/10.21638/spbu15.2023.207.
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In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uelsmann art continued the traditions of American modernist photography and started a new, post-modernist period in the development of photographic art in the United States characterized by the use of photography as a tool of self-knowledge and philosophical expression. Jerry Uelsmann applied such important for the historical Surrealist photography conceptions as convulsive beauty, the principle of “encounter of images”, surreality. He used experimental techniques (negative print, solarization, photomontage) and aimed to demonstrate the limitless creative possibilities of photography as well as the Surrealists. Uelsmann appealed to archetypal images which provided his works by intellectual simplicity and external showiness that contributed to the popularity of his photomontages and their strong influence on the development of contemporary manipulative photography. Uelsmann set a kind of “standard” for photo-Surrealism of the late 20th–21st centuries: these are technically perfect photomontages that require a high level of professional skills and time expenditure. Many of Jerry Uelsmann’s motives and ideas found parallels in contemporary digital photography. Among their common features it’s possible to single out concentration on the inner world of the person, interest in archetypes and symbols, the desire to poeticize nature, and the introduction of elements of mass culture into hybrid images.
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Jakab, Tibor. "A tények megjelenítése a fotográfia médiuma segítségével – megrendezett és manipulált képek." Symbolon 22, no. 2 (2021): 79–87. http://dx.doi.org/10.46522/s.2021.02.07.
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"In the history of photography, we come across many staged and manipulated photographs. Most of these are press photos that would be intended to show as accurately as possible the recording of an event, for those who could not be there and only learn about everything that happened based on the image. The most important requirement of press ethics forums for press photos is to be as objective as possible in presenting the event. The photographer may not use any intentional image modification or manipulation to take the image. After it became clear that many of the images, we were dealing with are staged or manipulated photos, despite a lot of controversies, the reputation of the images was slightly tarnished, making the image incidental to questions about the documentary value. The photograph has become a symbol, the symbols have their own truth, believes Hans-Michael Koetzle. These cases prove that even in the case of many iconic works or photographs, the image becomes so symbolic that it adds to the background, background history and behind-the-scenes of the making of the images. They are unable to deduct anything in retrospect from the value of the work. I consider it important to examine the changes brought about by the digital revolution, both in the field of photography and in the way a press photographer works. The fundamental difference between analogue and digital images stems from the fact that although it is possible to manipulate analogue photos, we rarely encounter this, while in the case of digital images, image manipulation is the default."
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Maričević, Marko, Petra Ptiček, and Ivana Žganjar. "Recognition Model of Counterfeiting Digital Records of Biometric Photographic Image." Tehnički glasnik 16, no. 1 (February 4, 2022): 67–73. http://dx.doi.org/10.31803//tg-20210714171523.
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Biometric portrait as one of the most important means of identifying requirements through strict definition of dimensional relationships, preservation of realistic information about all technical characteristics of the photographic image, so that all biometric values can be digitized and used in recognition. The great variety and accessibility of applications for digital processing of digital record of a photographic image has enabled a visually convincing display of a forged photograph that leaves a different impression on the viewer and transmits a different, that is, a forged message. Due to the need to prove the authenticity of the digital record of the photographic image, methods have been developed for the analysis of the record that can detect deviations from the real record even when there are no visual signs of processing the photographic image. Not all analysis techniques can detect certain methods of photo manipulation, so multiple digital photography detection and analysis techniques need to be applied. In order to prove its authenticity, the scientific paper deals with methods for analysis and detection of forgery of digital photography with respect to the digital record and the structure of JPEG format.
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Farjo, Bessam. "Digital Photography." International Society of Hair Restoration Surgery 9, no. 3 (May 1999): 85–87. http://dx.doi.org/10.33589/9.3.85.
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Windsor, J. S., G. W. Rodway, P. M. Middleton, and S. McCarthy. "Digital photography." Postgraduate Medical Journal 82, no. 972 (October 1, 2006): 688–92. http://dx.doi.org/10.1136/pgmj.2006.044990.
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Boyce, Niall. "Digital photography." Lancet 381, no. 9870 (March 2013): 895. http://dx.doi.org/10.1016/s0140-6736(13)60659-5.
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Barone, James E., Kyril Choumarov, and James B. Tucker. "Digital photography." Current Surgery 58, no. 5 (September 2001): 507–9. http://dx.doi.org/10.1016/s0149-7944(01)00497-4.
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Gregory, Peter. "Digital photography." Optics & Laser Technology 38, no. 4-6 (June 2006): 306–14. http://dx.doi.org/10.1016/j.optlastec.2005.06.017.
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Clark, James R. "DIGITAL PHOTOGRAPHY." Journal of Esthetic and Restorative Dentistry 16, no. 3 (May 2004): 147–48. http://dx.doi.org/10.1111/j.1708-8240.2004.tb00025.x.
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Beldea, Alex. "Digital Intifada: Photography as Protest in Palestine." Protest, Vol. 4, no. 2 (2019): 56–61. http://dx.doi.org/10.47659/m7.056.art.
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A myriad of images inundates us daily with sequences from a more or less proximate reality, leaving us with the task of negotiating our responses to these representations that empathically seek our attention. The images that we encounter arrive in various forms on various platforms: advertising photographs, surveillance images, selfies, pictures of war or citizen photographs… In the midst of this new and dynamic representational landscape, independent activist groups and photographers documenting injustices around the world have become more prevalent, taking advantage of accessible means of photographic capture and of the possibility for immediate sharing of images with the world. Palestine is one of the places where injustices happen on a daily basis, leaving Palestinians with few and unequal means to respond with a counter narrative. This new online reality with its social media platforms has its own limitations but it is now an important part of their resistance, with photography being used as a form of protest. Citizen and independent photographers, such as Janna Tamimi and the Activestills group, are using these online channels to attest to injustice and oppression themselves, regardless of the presence of the photojournalist as a witness. The professional stance of photojournalists and their objective observations are assumptions that have been fading out, motivating non-professionals from Palestine, and other places, to disseminate imagery with the hope to be seen and to be heard. Keywords: Citizen Photography, new media, Palestine, protest, social media
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Trehan, Samir, Schneider Rancy, Parker Johnsen, Howard Hillstrom, Steve Lee, and Scott Wolfe. "At Home Photography-Based Method for Measuring Wrist Range of Motion." Journal of Wrist Surgery 06, no. 04 (March 14, 2017): 280–84. http://dx.doi.org/10.1055/s-0037-1599830.
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Purpose To determine the reliability of wrist range of motion (WROM) measurements based on digital photographs taken by patients at home compared with traditional measurements done in the office with a goniometer. Methods Sixty-nine postoperative patients were enrolled in this study at least 3 months postoperatively. Active and passive wrist flexion/extension and radial/ulnar deviation were recorded by one of the two attending surgeons with a 1-degree resolution goniometer at the last postoperative office visit. Patients were provided an illustrated instruction sheet detailing how to take digital photographic images at home in six wrist positions (active and passive flexion/extension, and radial/ulnar deviation). Wrist position was measured from digital images by both the attending surgeons in a randomized, blinded fashion on two separate occasions greater than 2 weeks apart using the same goniometer. Reliability analysis was performed using the intraclass correlation coefficient to assess agreement between clinical and photography-based goniometry, as well as intra- and interobserver agreement. Results Out of 69 enrolled patients, 30 (43%) patients sent digital images. Of the 180 digital photographs, only 9 (5%) were missing or deemed inadequate for WROM measurements. Agreement between clinical and photography-based measurements was “almost perfect” for passive wrist flexion/extension and “substantial” for active wrist flexion/extension and radial/ulnar deviation. Inter- and intraobserver agreement for the attending surgeons was “almost perfect” for all measurements. Discussion This study validates a photography-based goniometry protocol allowing accurate and reliable WROM measurements without direct physician contact. Passive WROM was more accurately measured from photographs than active WROM. This study builds on previous photography-based goniometry literature by validating a protocol in which patients or their families take and submit their own photographs. Clinical Relevance Patient-performed photography-based goniometry represents an alternative to traditional clinical goniometry that could enable longer-term follow-up, overcome travel-related impediments to office visits, improve convenience, and reduce costs for patients.
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Zuhdan Aziz. "Dramatization of Visual Communication Messages In Macro Photographic Genre." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (April 7, 2020): 154–73. http://dx.doi.org/10.33153/iicacs.v3i1.30.
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Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).
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Benjamin, Bruce. "Digital Photography of the Larynx." Annals of Otology, Rhinology & Laryngology 111, no. 7 (July 2002): 603–8. http://dx.doi.org/10.1177/000348940211100707.
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Digital photographic technology has ushered in a new era in medical documentation. The author's method of still digital photography for direct and indirect laryngeal photodocumentation using a single-lens-reflex camera and rigid rod-lens telescopes is described, and the results are presented. The advantages and disadvantages of different systems using still or video photography are discussed, and the importance of storing the archival image securely is emphasized. It is concluded that digital photography is convenient and versatile and gives good-quality images. It is the way of the future.
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Fackler, Katharina. "Of Stereoscopes and Instagram: Materiality, Affect, and the Senses from Analog to Digital Photography." Open Cultural Studies 3, no. 1 (January 1, 2019): 519–30. http://dx.doi.org/10.1515/culture-2019-0045.
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Abstract This article addresses popular claims that photography has been “dematerialized” in the digital era. It engages a wide range of critical writings about photography from the early 19th to the 21st century to demonstrate that different versions of these claims have always formed an important part of photography criticism. However, rather than doing justice to photographs’ materiality or their complex entanglements with what has been considered material and immaterial, human and nonhuman, they have tended to somewhat limit our understanding of the medium’s material, sensory, and affective valences. This article argues that a sustained engagement between visual culture studies, sensory studies, and the new materialisms can help us understand more fully both analog and digital photography’s contingent position within the material world, varying sensory ideologies, and different subjectivities.
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Bin Siri, Hishamuddin, Mohd Zahuri Khairani, and Hakimi Halim. "DIGITAL PHOTOGRAPHY AND THE FUTURE OF PHOTOGRAPHY CULTURE." International Journal of Applied and Creative Arts 5, no. 1 (July 1, 2022): 13–22. http://dx.doi.org/10.33736/ijaca.4664.2022.
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This paper aims to review the current situation on how Photography has completely changed the way we see and engage with the world. The shift from analogue to digital Photography significantly impacted how an analogue photographer perceives the photo process. In the age of these diverse prosumers, the distinction between artists, media professionals, and amateurs may still denote varying degrees of craftsmanship. However, it no longer indicates the inherent technical or aesthetic quality of the results or the likely size of an audience. The impacts give the impression that the aesthetics and attention of Photography provided revolution change in the society of arts and Photography. From this perspective, Photography has first been chemical, then optical and now computational. The changing identities of Photography herein are not simply ontological transformations but also errant modes of perceiving the medium.
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Kirchman, Susan. "Digital Image: Digital Photography." Leonardo. Supplemental Issue 3 (1990): 31. http://dx.doi.org/10.2307/1557891.
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Khramtsov, Andrey I., Ruslan A. Nasyrov, and Galina F. Khramtsova. "Training of pathologists in the digital macroscopic photography." Pediatrician (St. Petersburg) 11, no. 4 (December 8, 2020): 85–90. http://dx.doi.org/10.17816/ped11485-90.
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The pathology practice environment varies per healthcare setting. However, anatomic pathology is a visual applied science discipline and incorporation of high-quality images into a surgical pathology report is essential. Each specimen received for morphological examination is unique and variation in the description can exist between prosectors and they experience. Thatiswhy gross descriptions supported with digital photographs can eliminate the insufficiency of macroscopic examination. To form and strengthen pathologists competencies in digital macroscopic photography a problem-based learning approach is used for training. A problem-based learning ensures the strength of the acquired knowledge since it is obtained in an independent activity. The article discusses what type of problems a pathologist should solve when taking a macroscopic photograph of a surgical specimen. An analysis of literature on modern equipment for digital macroscopic photography was performed. Recommendations for step-by-step photographing, and schematic mapping for surgical specimen triaging are provided. An option is proposed for actively developing professional competencies including creation of digital photo archives of surgical gross specimens, as well as study sections and discussions by professionals at forums such as society meetings. It was concluded that pathologists competency in digital macroscopic photography is necessary to maintain a high standard of medical care.
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Ferenc, Tomasz. "Praca, robotnicy, archiwa, fotografia — utrwalanie stereotypów i walka o emancypację." Kultura i Społeczeństwo 59, no. 3 (August 11, 2015): 203–21. http://dx.doi.org/10.35757/kis.2015.59.3.10.
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Work, workers, and workers’ living conditions quickly became a field of interest for photographers. Already by the middle of the 19th century there were photographs showing working people. Nevertheless, the contexts in which such photographs were taken varied considerably. The first part of this article presents, in the historical perspective, the different causes and strategies involved in making these types of documents, up to the moment when photographs began to appear that had been made by workers themselves. The movement to photograph workers, which developed in the first decades of the 20th century, is recalled in the second part of the article (using the examples of the Weimar Republic and Soviet Russia). The third part is devoted to photographic projects whose purpose was to increase the productivity of, and control over, workers. Photography is presented as a scientific tool for measuring movement and as an illustration of the most effective manners of organizing work. At the end, the Digital Repository of Worker Photography is described, as an example of work on a collection of photos and the creation of a platform permitting further work, but also as a legal and methodological problem.
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Lu, Yifeng, Sihua Liu, and Yunting Bai. "Analysis of Digital Photography Technology in the Era of Big Data." Mobile Information Systems 2022 (June 15, 2022): 1–8. http://dx.doi.org/10.1155/2022/3880755.
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The term “Digital Photography” has been a relatively new research topic in the field of computer-mediated technology. Although Digital Photography emerged thirty years ago, continuous developments and upgradations are being recorded frequently. Advanced technologies like Digital Technology transformed all the technology into digital mode. The field of photography underwent several developments in terms of camera quality, image quality, image clarity, image transfer, image storage, and other sensitive surfaces. Most of the studies confirmed that digital photography permitted the photographer to record videos at high resolutions. All the developments in the field of Digital Photography have largely contributed to the concept of modern photography and enabled the photographers to produce high-quality images. It also helped photographers enhance their photography skills and accomplish their tasks. All the transformations in the field of Digital Technology happened at a pace, and it was extremely difficult. Therefore, the current paper sheds light on the developmental stages of digital photography. It also highlights the significance of digital photography technology in the era of big data.
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Andergassen, Lisa. "Digging Up the Narrative: Forensic Practices between Objectivity and Interpretation." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 48–51. http://dx.doi.org/10.47659/m1.048.art.
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Photography traditionally generates a truth-claim, while at the same time undermining it by holding the potential of being altered or staged. Since the rise of digital techniques, we are facing different (and easier) ways to manipulate pictures, leading to the notion of the digital photograph as generally mutable and therefore not trustworthy. But as there have been more and easier ways to “manipulate” photographs, so has there been an increase in the ways to detect them. Which today puts digital forensics in the position of re-establishing “reality” as a referential point by tracing every step of the process of alteration, turning the dubitative image into one that is doubt-free once its metadata has been analysed. But is this the whole story? By addressing digital forensic practices that have been used within the investigation of the Abu Ghraib torture scandal, I am showing that the hidden narrative of photographic production can be dug up by using forensic methods, but not without creating a new narrative.
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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Leibova, N. A., and M. B. Leibov. "Digital Anthropological photography." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 4(59) (December 15, 2022): 132–46. http://dx.doi.org/10.20874/2071-0437-2022-59-4-11.
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Despite the fact that in recent years the anthropologist's arsenal has significantly expanded due to the intro-duction of digital 3D scanning, computed tomography, microtomography, etc. into the practice of anthropological research, for most researchers photography remains an important part of the scientific process. Moreover, the resulting images are increasingly subject to higher requirements, since they often appear in scientific circulation much faster than before, bypassing editors and professional retouchers of publishers thanks to various kinds of Internet resources, such as presentations, on-line Internet conferences, reports, etc. In this new digital reality, the researcher acts as both an expert, a director, and an operator of a photo session and is solely responsible for the quality of the result and for its compliance with the goals of the shooting. The high intelligence of modern digital cameras creates a false impression in the beginner’s mind that camera can always be given freedom in making decisions regarding the shooting parameters. However, as shown in the article, there are a number of shooting situations when targeted manual management of shooting parameters is necessary to obtain a positive result. The following information will help the photographer do this. The purpose of our article is to help the researcher anthropologist qualitatively solve his problems using a digital camera. We will try to give an idea of those basic concepts, features of technology and techniques that determine the work of a photographer within the digital space. To this end, the article discusses the main technical and methodological techniques of anthropological photography within the digital space. A brief definition of the basic concepts of the “digital world” and the most important technical characteristics of modern digital cameras are given. The main part of the article is devoted to photography of paleoanthropological materials. Particular attention is paid to the shooting of the skull and odon-tological materials. Specific recommendations are given on the management of shooting parameters and on the organization of the shooting process, the use of which will allow the researcher to obtain high-quality digital pho-tographs of the studied anthropological objects that meet both the requirements of modern printing and the re-quirements of representation on Internet resources.
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Ahmad, I. "Digital dental photography. Part 3: principles of digital photography." British Dental Journal 206, no. 10 (May 2009): 517–23. http://dx.doi.org/10.1038/sj.bdj.2009.416.
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Fathoni, Ahmad Faisal Choiril Anam, and Dermawan Syamsuddin. "Perbandingan Metode Depth of Field pada Lensa Kamera Fotografi dengan Efek Lensa pada Software Animasi." Humaniora 4, no. 1 (April 30, 2013): 177. http://dx.doi.org/10.21512/humaniora.v4i1.3427.
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The knowledge of photography becomes fundamental importance in the understanding of digital cinematography. The work of a good photography is a blend of knowledge and photographic ability (skill) correctly. By learning photography properly, it allows an animator or digital art workers to apply some standard cinematography as well. By knowing the comparison between photography with "photographic" in 3D animation, animators will be easier to create a digital aesthetic standard with the help of the software. This paper discusses the comparison of the use of photographic camera lenses and camera parameters found in animation software 3D Studio Max. The final form is the camera pictures and parameters of used lens with the results of rendering images with the software-related parameter.
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Kratz, Corinne A. "Afterword Uncertain trajectories and refigured social worlds: the image entourage and other practices of digital and social media photography." Africa 89, no. 2 (May 2019): 323–28. http://dx.doi.org/10.1017/s0001972019000032.
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Drawn from East, West, Central and Southern Africa, the case studies in this special issue build on several decades of important work on photography in Africa. That work has examined colonial photography and postcards, studio work from colonial times to the present, activist photography, photojournalism, and artists who work with photographic images. It has addressed issues of representation, portraiture, aesthetics, self-fashioning, identities, power and status, modernities and materiality, the roles of photographs in governance and everyday politics, and the many histories and modes of social practice around making, showing, viewing, exchanging, manipulating, reproducing, circulating and archiving photographic images. Yet these articles push such issues and topics in exciting directions by addressing new photographic circumstances emerging throughout the world, initiated through new media's technological shifts and possibilities. In Africa, this has fuelled a range of transformations over the last fifteen years or so, transformations that are still unfolding. As the articles show, digital images, mobile phone cameras and social media (also accessed via phone) constitute the potent triad that has set off these transformations.
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Lehmuskallio, Asko, Jukka Hӓkkinen, and Janne Seppӓnen. "Photorealistic computer-generated images are difficult to distinguish from digital photographs: a case study with professional photographers and photo-editors." Visual Communication 18, no. 4 (March 4, 2018): 427–51. http://dx.doi.org/10.1177/1470357218759809.
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There are strict guidelines on photoediting in newsrooms and serious professional repercussions for any failure to adhere to them, while computer-generated imagery is increasingly used in other areas of visual communication. This article presents empirical research on the ability of professional photographers and editors to distinguish photographs from photorealistic computer-generated images by looking at them on a screen. The results show clearly that those studied ( N = 20) are unable to distinguish one from another, suggesting that it is increasingly difficult to make this distinction, particularly since most viewers are not as experienced in photography as those studied. Interestingly, the participants continue to share a conventional understanding of photography that is not in line with current developments in digital photography and digital image rendering. Based on their findings, the authors suggest there is a need for developing a particular visual literacy that understands the computational in digital photography and grounds the use of digital photography among particular communities of practice. When seeing photographs on screens, journals, exhibitions, or newspapers, viewers might actually be looking at computer-generated simulations, and vice versa.
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Čeferin, Hana. "Who’s Afraid of Photography?" Magic, Vol. 5, no. 1 (2020): 94–98. http://dx.doi.org/10.47659/m8.094.art.
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In contemporary horror, the photographic image is often used as the object of horror or even represents the main antagonist of the story. We can trace the origin of such depictions to the very invention of the technique of photography in the 19th century, which was also the heyday of spiritualist theories about photography making the soul of the deceased visible to the human eye using chemical compounds. A notorious example is the case of photographer William Mumler who offered well-off relatives of recently deceased people in the States to make portraits with the ghosts of their loved ones. There are also reports of some peoples that allegedly also consider the soul to be closely bound to photography and in consequence abhor photography, as the film is supposedly capable of capturing and depriving the photographed person of their soul. Films like The Ring, The Others, Peeping Tom, and The Invisible Man demonstrate how frequently uncanny photography appears in the horror film genre and open questions about the reasons of such depictions. While the theory of horror claims that horror uses specific iconography of fear to reflect the common fears of the time (e.g. an invasion of giant insects and carnivorous plants in the 50s as a consequence of American fear of a communist invasion), the article explores the issue of photography as the main antagonist in the horror genre of the 21st century and whether this means that it appears as the universal fear of digital identity, surveillance, and identity theft.
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Moncada, G., F. Silva, P. Angel, OB Oliveira, MC Fresno, P. Cisternas, E. Fernandez, J. Estay, and J. Martin. "Evaluation of Dental Restorations: A Comparative Study Between Clinical and Digital Photographic Assessments." Operative Dentistry 39, no. 2 (March 1, 2014): e45-e56. http://dx.doi.org/10.2341/12-339-c.
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SUMMARY The aim of this study was to compare the efficacy of a direct clinical evaluation method with an indirect digital photographic method in assessing the quality of dental restorations. Seven parameters (color, occlusal marginal adaptation, anatomy form, roughness, occlusal marginal stain, luster, and secondary caries) were assessed in 89 Class I and Class II restorations from 36 adults using the modified US Public Health Service/Ryge criteria. Standardized photographs of the same restorations were digitally processed by Adobe Photoshop software, separated into the following four groups and assessed by two calibrated examiners: Group A: The original photograph displayed at 100%, without modifications (IMG100); Group B: Formed by images enlarged at 150% (IMG150); Group C: Formed by digital photographs displayed at 100% (mIMG100), with digital modifications (levels adjustment, shadow and highlight correction, color balance, unsharp Mask); and Group D: Formed by enlarged photographs displayed at 150% with modifications (mIMG150), with the same adjustments made to Group C. Photographs were assessed on a calibrated screen (Macbook) by two calibrated clinicians, and the results were statistically analyzed using Wilcoxon tests (SSPS 11.5) at 95% CI. Results: The photographic method produced higher reliability levels than the direct clinical method in all parameters. The evaluation of digital images is more consistent with clinical assessment when restorations present some moderate defect (Bravo) and less consistent when restorations are clinically classified as either satisfactory (Alpha) or in cases of severe defects (Charlie). Conclusion: The digital photographic method is a useful tool for assessing the quality of dental restorations, providing information that goes unnoticed with the visual-tactile clinical examination method. Additionally, when analyzing restorations using the Ryge modified criteria, the digital photographic method reveals a significant increase of defects compared to those clinically observed with the naked eye. Photography by itself, without the need for enlargement or correction, provides more information than clinical examination and can lead to unnecessary overtreatment.