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Journal articles on the topic 'Film photographs'
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1
Schaefer, William. "Photographic Ecologies." October 161 (August 2017): 42–68. http://dx.doi.org/10.1162/octo_a_00303.
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In his body of photographs, Samalada (2008), the Chinese artist Adou uses extremely expired film; the resulting artifacts—marks of the animal, vegetable, and mineral matter composing film surfaces—are as visible a part of the photographs as their depictions of relations among humans, animals, plants, cultural artifacts, earth and sky in southwestern China. Adou and other photographers in China, Japan, and the West working in a time of environmental crisis understand film itself in ecological terms. The very materiality and forms of photographic images are emergent from and interact with larger ecosystems of matter, bodies, spaces, surfaces, markings, liquids, pollution, light, and the atmosphere, thereby allowing the human to be seen as one among many contingent agents within ecological processes. Photography thus becomes a crucial site for staging and rethinking fundamental questions of the relations between culture and nature—and for learning to picture the Anthropocene.
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Zambenedetti, Alberto. "Emplacing Time: Photography, Location, and the Cinematic Pilgrimage." Space and Culture 23, no. 4 (October 15, 2018): 548–60. http://dx.doi.org/10.1177/1206331218805381.
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Cinema, arguably the time-based medium most synonymous with modernity, is also an art form of place: cinema records place in time and, in the best circumstances, stores it through time. If, as Michel de Certeau remarked, “space is a practiced place,” then cinema is the memory of that practice; it is the archive of that transformation. Cinema, in other words, “emplaces time.” Moreover, because of its physical properties, film is also an archival object whose very existence is challenged by the passing of time. In recent years, the ways in which cinema emplaces time have become the subject of a dual contemplation on the part of a generation of photographers whose projects re-photograph cinema’s loci, from movie palaces to film locations. This article investigates the relationship between film the work of three “cinematic pilgrims”: British artist Michael Lightborne, whose 2012 installation Interval (After Intervals) included photographs of the locations for Peter Greenaway’s 1969 short film Intervals alongside the original film; Christopher Moloney’s ongoing project FILMography, in which the Canadian photographer travels the world bringing printed reproductions of film stills to the sites where they were originally shot and then re-photographs them in situ; and the travel blog Fangirl Quest by the Finnish Tiia Öhman and Satu Walden, a photographer and a travel expert, respectively, who re-photograph a location while displaying the related movie scene on a tablet practice (a practice they call “sceneframing”). These projects underscore cinema’s innate relationship with place, while they also highlight the changes that occurred in the time that intervened since production, revealing the instability of the filmic object as one of time as well as in time.
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Balčus, Zane. "OF STILL AND MOVING IMAGES: STYLISTICS OF HERCS FRANKS’ EARLY DOCUMENTARIES." Culture Crossroads 23 (January 10, 2024): 216–25. http://dx.doi.org/10.55877/cc.vol23.377.
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Latvian documentary filmmaker Hercs Franks (1926–2013) directed his first films in 1965, the two short documentaries were produced at the Latvian television’s production unit Telefilma-Rīga: “Salty Bread” (Sāļā maize) and “At Noon” (Pusdienā). Both films reflect an intricate practice and aesthetic element of the director – the use of still photography, which for him is both a research tool and a stylistic device present throughout his career. “Salty Bread” includes photographs as a stylistic element allowing the viewer to prolong observation of particular images, whereas in “At Noon” still photographs feature on the films’ credits, but more significant is photography’s use as a research tool for preparing the film. The intermedial studies have explored the interrelationship of different media and used intermediality as a tool for close reading of specific works, among other applications. The connection of cinema and photography represent the potential of intermedial approach through the technological, aesthetic, institutional practices. Specifically documentary cinema in its relation to photography shares additional issues of the meaning of documentality and representation of reality. Through close reading of Hercs Franks’ first films, I would argue that Franks transcends normative documentary function in the use of still photographs [Hallas 2023] and demonstrates the intermedial practice in combining photography and documentary filmmaking.
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Opp, James. "Still Photographs, Publicity, and the Making of Cecil B. DeMille's Ten Commandments (1956)." Film History: An International Journal 34, no. 4 (2022): 1–29. http://dx.doi.org/10.2979/fih.2022.a900040.
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ABSTRACT: From 1954 to 1956, tens of thousands of still photographs were taken, reviewed, printed, and circulated to promote Cecil B. DeMille's The Ten Commandments (1956). By tracing the conflicts that emerged over their management, this study centers the photographs and their distribution within an ecosystem of public relations, print media, and film production. While studio photographers produced the bulk of the photographs, their role was overshadowed by celebrity photographers, including Yousuf Karsh and Yul Brynner. Changes in the visual media landscape and Hollywood's photographic infrastructure threatened both the still photographers and the ability of studio publicists to shape the narrative.
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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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Kaplan, Flora S. "Fragile Legacy: Photographs as Documents in Recovering Political and Cultural History at the Royal Court of Benin." History in Africa 18 (1991): 205–37. http://dx.doi.org/10.2307/3172063.
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Photographs create a tantalizing sense of “being there” while history was being made. They offer a means of entry into cultures that are historically non-literate, stimulating informants' memories and linking their oral traditions to specific events and persons in the culture. Their research potential in West Africa and in Nigeria, in particular, is only now being recognized (Edwards 1990; Kaplan 1990: 317-319; Scherer 1990: 131, 135, 139, 141, 145; Sprague 1978; Viditz-Ward 1985; 1991). The focus here is on photographs connected with the royal court of Benin, and with ongoing ethnographic field work initiated in 1982.1 Special attention is given to photographs taken between 1926 and 1989 by S. O. Alonge, the first indigenous and Benin royal photographer. His work illuminates political and cultural history, and contributes to the beginnings of a history of photography in Nigeria.Evocative images have been used to illustrate books and articles about West Africa.since the early days of nineteenth-century photography. Studies of visuals, however, taken in Nigeria by indigenous photographers and reported systematic uses of photographs in research designs are still rare (Borgatti 1982; Kaplan 1980, 1991a, 1991b; Karpinski 1984; Sprague 1978). Most research extant on early uses of visuals has been on cinema (Rouch 1975a, 1975b). There has been serious interest in the condition and circumstances of Nigeria cinema and filmmakers, and a desire to create a history of African film (Mathias 1986). The impetus to codify and to create methods for the study of film and stills in anthropology points to a growing awareness of their potential as much more than entertainment and illustration. Photographs are best been as behavior and ideas captured and expressed in imagery, and studied much as we do material culture.
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Aleksey, Glushaev. "Catch a Sight of "Church": Amateur Photographs as a Window into the Life of Evangelical Christians of the USSR." TECHNOLOGOS, no. 1 (2021): 66–75. http://dx.doi.org/10.15593/perm.kipf/2021.1.06.
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It is known that the documents from the State archives concerning the history of religious life in the USSR had the primary importance and they are remained the same. However, a significant part of historical documents are kept by believers. Film and photo documents are of particular interest. The “visual turn” in the historiography of the beginning of 2000s opened up new opportunities for studying film sources and photographic documents. The attention of historians has focused on the symbolic and linguistic systems of transmission of film and photographic messages, on the visualization of ethnic, confessional identities or cultural characteristics of various population groups. Thus, turn to the film and photo documents helps better understanding the collective self-perception of Soviet believers and finding the ways to present themselves to the surrounding world. The purpose of this study is to study the informational possibilities of photographic documents on the history of Evangelical Christian-Baptists in the USSR in the 1970s. The main historical sources in the study are two photographs from the mid-1970s. They are kept in the church of evangelistic Christians-Baptists in the city of Perm. Archival documents of the State Archives of Perm Krai and confessional literature helped to reconstruct the historical context of photography. Conversations with a presbyter of the Perm community of Evangelical Christians-Baptists helped in attribution of photographs. The author believes that these photographs formed the iconographic image of the ECB church in the space of the Soviet city. The active use of these photographs in the post-Soviet period testifies the high “symbolic efficiency” (P. Bourdieu) of photographic communication from the past.
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Nichols, Maia. "Institutional Shutter: Depardon and the Basaglias." Italian Canadiana 38, no. 2 (September 5, 2024): 89–107. http://dx.doi.org/10.33137/ic.v38i2.43915.
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This essay discusses Italy’s famous deinstitutionalization movement in the 1970s through the material culture of photography. I focus on film and photographs that provide stunning evidence of the aftermath of the closure of psychiatric hospitals in Italy. The “tearing down” of asylum walls that occurred within reform movements of the 1970s, famously led by Franco and Franca Basaglia, is analyzed by mobilizing photographs in and of Italian hospitals taken by the French photographer Raymond Depardon, whose photographs prove the failure of reform through clothes, games, and objects of restraint. Depardon’s practice offers an opportunity for understanding the habitus that drove the institutional shutter in Trieste, Collegno, and Venice.
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Vasily Andreevich, Gusak, and Eremenko Evgenii Dmitrievich. "Features of the photographer’s work and a graphic designer in the creation of soviet cinema advertising." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 35–42. http://dx.doi.org/10.30725/2619-0303-2022-2-35-42.
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The article examines the historical and cultural context of propaganda, ideological, aesthetic qualities of posters and photographs in Soviet cinema advertising. An advertising image from a photograph or movie poster is considered as the main «supplier» and/or «intermediary» of the broadcast meanings. The phenomenon of two creative professions is analyzed – a graphic designer and a cinema photographer. We are talking about work that meets the advertising goals of film distribution and, at the same time, about a kind of manifestation of the content side of Soviet films through their artistic interpretation. The main part of the posters for cinemas and houses of culture was «handmade», created in one copy (along with posters replicated on copying equipment). For many decades of the twentieth century, designers and photographers functioned as intermediaries between the authors of screen content and recipients, creating a variety of interpretations of works of cinema.
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Haran, Barnaby. "‘We Cover New York’: Protest, Neighborhood, and Street Photography in the (Workers Film and) Photo League." Arts 8, no. 2 (May 10, 2019): 61. http://dx.doi.org/10.3390/arts8020061.
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This article considers photographs of New York by two American radical groups, the revolutionary Workers Film and Photo League (WFPL) (1931–1936) and the ensuing Photo League (PL) (1936–1951), a less explicitly political concern, in relation to the adjacent historiographical contexts of street photography and documentary. I contest a historiographical tendency to invoke street photography as a recuperative model from the political basis of the groups, because such accounts tend to reduce WFPL’s work to ideologically motivated propaganda and obscure continuities between the two leagues. Using extensive primary sources, in particular the PL’s magazine Photo Notes, I propose that greater commonalities exist than the literature suggests. I argue that WFPL photographs are a specific form of street photography that engages with urban protest, and accordingly I examine the formal attributes of photographs by its principle photographer Leo Seltzer. Conversely, the PL’s ‘document’ projects, which examined areas such as Chelsea, the Lower East Side, and Harlem in depth, involved collaboration with community organizations that resulted in a form of neighborhood protest. I conclude that a museological framing of ‘street photography’ as the work of an individual artist does not satisfactorily encompass the radicalism of the PL’s complex documents about city neighborhoods.
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Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (January 2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.
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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evocative as well. Each of four pairs of photographs discussed reflects a significant period in the historical evolution of crime scene photography as well as an observable aesthetic influence: the earliest days of police photography and pictorialism; professionalization in the 1930s, documentary photography, and film noir; postwar photographic expansion to the suburban and middle class, advertising images of the family and home; and postwar elegiac landscape photography in the 1950s and compassion shown to infanticidal mothers. Crime scene photographs also demonstrate a remarkable shift in twentieth-century forensic technologies, and they reveal a collection of ordinary domestic and pastoral scenes at the moment when an act of violence made them extraordinary.
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Han, Xiaoxin, and Feng Sun. "The Origin and Initial Development of Chinese Documentaries (1905-1931)." Russian and Chinese Studies 4, no. 2 (June 30, 2020): 170–75. http://dx.doi.org/10.17150/2587-7445.2020.4(2).170-175.
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This article discusses the origins and early development of Chinese documentaries. Cinematography in almost all countries began with documentaries, because from the very beginning cinema existed as a means of recording. Chinese documentaries, which appeared in 1905, are no exception either. Documentaries reveal the history of Chinese cinematography. The first film produced by the Chinese was a piece from the Beijing Opera. The development of science and technology, especially photography, created necessary preconditions for the invention of cinema. In 1839, a photography emerged. In 1840, a reduction in exposure time was invented. In 1851, a photograph with moving person and an animal was taken. In 1851, the first photograph was taken. In 1878, a camera roll was invented. In 1888, the French physiologist Dules Marey presented the French Academy of Sciences with the world’s first film camera. In 1888, the film was invented. In 1892, Mr. Marei’s assistant showed moving photographs on the screen. On 28 December 1895, the Frenchman Louis Lumière in one of the cafes of Paris officially showed his films: «The doors of the factory», «The arrival of the train» etc. It is believed that in different countries of the world that this show started the era of cinematography. In early 1896, Lumière hired more than 20 people as assistants, and sent them around the world to show his film. At this time, China, India and Japan had their first film screenings. In addition, Lumière had sent many cameramen around the world to shoot the film, including to China. Therefore, the earliest films about China were not made by the Chinese themselves, but by foreign entrepreneurs. Under the influence of «Western Shadow Theatre» the Chinese also began their attempts in film production organization. In 1905, the Chinese made their first silent film in Beijing.
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Larson, William. "Film on Film: Seven Photographs." Hopkins Review 5, no. 1 (2012): 1–8. http://dx.doi.org/10.1353/thr.2012.0018.
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Sarje, Ajno. "Photographs and Film Recordings as Valuable Documents in Sports History Research." Physical Culture and Sport. Studies and Research 57, no. 1 (March 1, 2013): 22–28. http://dx.doi.org/10.2478/pcssr-2013-0004.
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Abstract Photographs and film recordings have not been commonly used as source material in sports history research. However, every moment and every movement captured in photographs tell us things that researchers could have seen if they had been on the spot when the picture was taken. I suggest that photos and films can be read in the same way as any sign systems, such as writing or maps. The points of departure for my analysis of movement in photographs and film recordings are kinesthetic empathy and the idea that the meanings of most body movements are established to the extent that they are part of our cultural heritage and contain signs and symbols we can relate to. Furthermore, observations made from these documents can be analyzed with the help of theories from other research fields. Using the methods of dance research, such as Rudolf Laban’s movement analysis, Janet Adshead’s dance performance analysis, Marcel Mauss’s habitus concept, and John Martin’s dance analysis, styles, movement languages, and conventions of exercise and sport in photos and films can be identified. In addition, in accordance with photographic research by Roland Barthes, I will reflect on the fringe conditions of the use of photographs as research material, the kind of opportunities they offer, and the kind of limitations they set for the researcher.
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Ewing, Maurice, Kenneth Hunkins, and E. M. Thorndike. "Some Unusual Photographs in the Arctic Ocean." Marine Technology Society Journal 40, no. 2 (May 1, 2006): 30–33. http://dx.doi.org/10.4031/002533206787353448.
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Streak photographs of marine animals recorded with a shutterless camera and moving film have furnished information about life deep in the Arctic Ocean. This unexpected occurrence illustrates one of the desirable features of photographic instrumentation. The photographs were obtained with a nephelometer used at the Arctic drifting ice station, T-3, during 1966 and 1967. The animal has been identified as the marine amphipod. Parathemisto abyssorum, Boek.
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Holmstrom, Steven E. "Oral Photography." Journal of Veterinary Dentistry 8, no. 3 (September 1991): 8–10. http://dx.doi.org/10.1177/089875649100800302.
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Oral photography is an important tool in veterinary dentistry. For years it has been used in the education process. Case documentation by photography has become more valuable. It is important that these photographs be of good quality. This article reviews the hardware such as cameras and the software such as film and exposure.
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Zervigón, Andrés Mario. "The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room." October 150 (October 2014): 27–48. http://dx.doi.org/10.1162/octo_a_00199.
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The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the history of photography, or more specifically the history of its practical use. Displayed on sleek scaffolds that efficiently expanded the available exhibition surface, these prints hung in what may best be described as modernist salon style meets the printed page. A lower register seems strung near thigh level while a second row pushed toward the ceiling. The left-page/right-page and vertical/horizontal dialogues this arrangement afforded encouraged viewers to compare photographs taken from the spheres of science and industry to avant-garde prints inspired by the former. Above this series of exchanges ran a prominent sans-serif caption, a punning query that framed the entire show: “Where is photography's development headed?”
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Jernejšek, Jasna, and Martin Parr. "Photography Is the Only Art Form That We All Do: Interview with Martin Parr." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 24–29. http://dx.doi.org/10.47659/m5.024.int.
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Martin Parr (1952) is considered to be one of the most iconic and influential photographers of his generation. Parr, whom obtained a photography degree at Manchester Polytechnic (1970–1973), joined the classics of British documentary photography with a series of black and white photographs of the disappearing folk customs of Northern England. In the 80s he managed to make his breakthrough to the global photography scene (and market). At that time, impressed by American colour photography, he took on photographing on colour film himself. He made The Last Resort (1983–1985), a series of British working class while spending holidays in a coastal resort in New Brighton, which remains one of his most recognizable work to this day. After its first presentation in the Serpentine Gallery in London in 1986, the project triggered turbulence and division of opinions of both professionals and general public. Polarization of opinions became a constant in Parr’s photography career. The polemics he caused by first becoming a member (1994) and then the president of Magnum Photos (2013–2017) are well known. The critics castigated Parr for being cruel and voyeuristic, and that he claimed to only be photographing what he sees, while he benefited from making a mockery of others. His unconventional use of the medium, smooth traversing through different contexts of photography and flirting with obvious commercial interests was deemed controversial and questionable by many (until today). Keywords: Martin Parr, photobook, photographic backdrop, portrait, studio photography
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Ijuin, Takayuki. "Michelangelo Antonioni’s Blow-Up as Abstract Art Theory." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 59. http://dx.doi.org/10.25038/am.v0i19.307.
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As is well known, Blow-Up (1966) directed by Michelangelo Antonioni is based on Julio Cortázar’s short story; “Las babas del diablo” (1959). In literary terms, it is very difficult to find similarities between both works, except in their outlines. Many critics, therefore, thought Blow-Up was Antonioni’s own film with no special connection with “Las babas del diablo”. But we should focus on the common outlines of the two. Both deal with ‘vision’. The change of seeing through a viewfinder to seeing through a photographic print gives the protagonists a daydream-like experience.Cortázar was not only a writer but also an amateur photographer, and Antonioni a film director. If both auteurs reveal their interest in ‘vison’ in their works, we can say that Antonioni follows Cortázar regarding this theme and further develops it through his use of abstract paintings. Antonioni was concerned with differences between the vision of the naked eye and photographic vision, and with similarities between the photographic vision and abstract painting. So, what is Antonioni’s understanding of vision?I think there is a key to resolve this question in Blow-Up itself. One can focus on not only the change of the protagonist’s behavior in following the story’s development, but also on photographs, abstract paintings, and landscape paintings that appear in the film. Then we would find the possibility that Antonioni thinks photographs and pointillist paintings are based on the same principle; the retinal mesh-like structure. Article received: April 10, 2019; Article accepted: June 5, 2019; Published online: September 15, 2019; Original scholarly paperHow to cite this article: Ijuin, Takayuki. "Michelangelo Antonioni’s Blow-Up as Abstract Art Theory." Art and Media Studies 19 (2019): 59-68. doi: 10.25038/am.v0i19.307
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Frosh, Paul. "Seeing Photographically and the Memory of Photography." Media Theory 8, no. 1 (June 11, 2024): 53–78. http://dx.doi.org/10.70064/mt.v8i1.1068.
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“Seeing photographically” is an act of cultural memory. In an era of AI-generated images, screenshots, “disappearing” or “view once” photographs, and myriad other practices that challenge the definitional boundaries of photography, the phrase invokes past understandings of the medium’s sensory affordances, transferring them into a continually changing present. Focusing on a case study of the digital “rescue” of found film chemical photography, the article excavates cultural memory processes that relocate photographic seeing to digital arenas. The memory of “seeing photographically” does more, it claims, than preserve photography as a “zombie category” that disguises the reality of computational imagery. Rather, it helps construct and maintain a media ideology of what photography was and is, and of its continuing cultural, and especially existential, significance. Mobilizing worldviews, social values, and moral obligations associated with photography in the past, “seeing photographically” reanimates them in contemporary contexts of media ubiquity, intensified visibility, and existential anxiety, with profound ramifications.
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Morris, Catherine. "‘Unremarkable, Forgotten, Cast Adrift’: Feminist Revolutions in Irish Visual Culture." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 70–88. http://dx.doi.org/10.32803/rise.v2i2.1888.
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This creative essay examines how visual culture and Alice Milligan’s re-animation of the Tableaux as a radical form of theatre practice operated as a link between ideas of national culture and revolutionary feminism in Ireland. But the tableaux had other elective affinities too. Theatre, photography and the magic lantern were the most immediately obvious of these; but cinema and art installation are by now also recognizably among them. The moving cinematic image is in fact a series of still pictures which give the effect of movement. As silent films became more popular in Ireland in the early years of the twentieth century they were called ‘living pictures’, the name also used to describe tableaux. But even in the era of the early silent film, directors often suspended action to jolt the viewer into another interpretative realm. We see this in Griffith’s 1909 film A Corner in Wheat — where a shot of a bread queue looks like the film has stopped. Early photography was vital to Alice Milligan’s practice: she raised funds for the first magic lantern for the Gaelic League (first used in Donegal); travelled the country taking photographs of people and sites; projected glass slides as part of community tableaux shows; and Maud Gonne’s early play Dawn uses 3 of her tableaux. During the 1897 royal visit to Dublin, James Connolly, Milligan and Maud Gonne used a magic lantern to project onto Dublin’s city walls photographs of famine that they had witnessed in the west of Ireland.
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Likhacheva, Alexandra S. "Landscapes of Galicia as Viewed through the Camera: Visualization of Belligerent Spaces of the First World War." Izvestia of the Ural federal university. Series 2. Humanities and Arts 26, no. 1 (2024): 36–57. http://dx.doi.org/10.15826/izv2.2024.26.1.003.
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This article analyses practices of capturing the experience of the First World War on the Eastern Front and the construction of militarized life worlds by combatants of the Russian Army and photojournalists. The author aims to determine the significance of the belligerent landscapes of Galicia in the formation of participants’ specific behavioural strategies and practices in the first industrial war. Methodologically, the author relies on the synthesis of approaches of spatial research and visual anthropology, conceptual provisions of landscape studies, and cultural geography. To analyse the photographic situation on the Eastern Front of the First World War, the peculiarities of the further existence of visual images in group and collective communication, identify techniques for constructing the image of the Galician environment in 1914–1915, the author refers to photographic sources of the Russian State Archive of Film and Photographic Documents. A key thesis of the study is the assumption that through the practice of photographing militarized landscapes, mental maps of alien space were constructed, and the imaginary appropriation of the territory annexed by the law of war took place. As a result, the author concludes that the landscapes of Galicia in photographs are a phenomenological construct, and not a direct reflection of reality or objective evidence. The photographic situation itself acts as an interpretation because photographers follow the imperatives of their own (prewar) life experience, the ideas formed by the prevailing discourses, consider the technical limitations of the era and shocking experiences in the spaces of death. The author also reveals the therapeutic function of war visualization and the role of the camera as a protective barrier for the photographer. The analysis determines the dynamic relationship of strategies for capturing military experience with the course of hostilities, as well as the need to study photographic albums dedicated to the life of individual units of the Russian Army or representing a series of images in a particular locality of Galicia as a whole and consistent photographic travelogue. The modern interpretation of military photographs makes it possible to reveal a layer of environmental consequences of the First World War in Eastern Europe which is latent for the photographer.
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Kobe, Richard K., and Leah J. Hogarth. "Evaluation of irradiance metrics with respect to predicting sapling growth." Canadian Journal of Forest Research 37, no. 7 (July 2007): 1203–13. http://dx.doi.org/10.1139/x06-320.
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Accurate and efficient measurement of photosynthetically active radiation (PAR) is critical in ecological studies. We evaluated 25 metrics of PAR with respect to predicting growth of sugar maple ( Acer saccharum Marsh.) and white ash ( Fraxinus americana L.) saplings from understory to large gap conditions. PAR metrics were derived from gallium arsenide photodiodes, hemispherical canopy photographs (film and digital), and a LI-COR LAI-2000 plant canopy analyzer. In general, percent canopy openness, estimated with film photographs or LAI-2000, best predicted growth. Mean daily photosynthetic photon flux density (PPFD) from photodiodes ranked intermediate; direct beam radiation (from digital and film photographs) was among the poorest growth predictors. Metrics that integrate direct radiation may be relatively poor predictors of growth, because sunflecks were above PPFD levels at which photosynthesis saturates but fully contributed to the calculation of mean daily PPFD. Mean daily PPFD based on truncated sunflecks (to PPFD levels at which photosynthesis saturates) improved predictions of white ash radial growth. Film canopy photographs and the LAI-2000 had relatively low measurement error (indicated by repeatability). High contrast in film photographs, compared to digital, reduced ambiguity in manual thresholding. From a plant-centered perspective, percent canopy openness measured with either the LAI-2000 or film hemispherical photographs provided the best growth predictions.
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Nikro, Norman Saadi. "Memory within and without the photographic frame: Wadad Halwani’s The Last Picture… While Crossing." Memory Studies 12, no. 3 (June 2019): 279–93. http://dx.doi.org/10.1177/1750698019836189.
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Wadad Halwani’s short documentary film, The Last Picture…While Crossing (2009), is in the main about the late Odette Salem, whose two children were disappeared in September 1985, during the civil war in Lebanon (1975-1990). This essay discusses how Halwani adapts photographs and previously made video footage to situate Salem as a site of memory. While the film constitutes a memorial practice to tell a story of Salem and her activist milieu, it works to situate memory of her plight as an ethical modality of address and response. In doing so, the film exposes a public audience, both actual and potential, to Salem’s and Halwani’s circumstances and their arduous efforts in engaging their circumstances. The argument foregrounds memory as a circumstantial tension between the significance and resonance of photographs, in respect to circulations of photographic reproductions and exhibitions as modalities of public exposure.
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Bohnen, J. L., and A. M. Hanchek. "630 (PS 3) PRAIRIE PLANT SEED AND SEEDLING IDENTIFICATION." HortScience 28, no. 5 (May 1993): 541d—541. http://dx.doi.org/10.21273/hortsci.28.5.541d.
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Photographic resource materials to assist in identification of seeds and seedlings of grasses and forbs native to Minnesota prairies are being developed as part of a grant from the Legislative Commission on Minnesota Resources. Native plant materials are being used for habitat improvement, roadside vegetation, and landscape plantings throughout Minnesota. Seeds were obtained from producers or collected from prairie remnants. Seed photographs were taken with a Wild Leitz stereomicroscope and camera unit using Kodak EPY 64T film. Magnification was 6.5X, 10X, or 16X based upon seed size. Seedlings were photographed with one or two true leaves using Kodak EPY 64T film with a Nikon FM2 camera with a 55 mm micro Nikkor macro lens and an extension tube when necessary. Nondestructive sampling using photographic techniques provides a relatively quick and inexpensive means of recording information on potentially rare species. The color pictures and slides developed in this project provide an effective tool for educators, producers and land managers to easily distinguish between seeds and seedlings of valuable native plants and those of weedy species undesirable in restoration projects or cropping systems.
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Durden, Mark. "Light Catcher." Sophia Journal 5, no. 1 (December 1, 2020): 90–95. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_09.
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Among his remarkable performance-based short films made in the garden of his family home, two films show the artist holding a mirror to both catch and reflect sunlight back to the camera and viewer. Such performances provide a fitting allegory for his relationship to the medium of photography. As a photographer Peter Finnemore is someone who catches and plays with light. Light is key to the pictures made in his home place in rural mid Wales, Gwendraeth House. The photographs relay the intimacy he has with his childhood home, which has been in his family for generations. Finnemore has been photographing his home for thirty years and his pictures are full of hints and suggestions, traces of those who live and lived there. With people’s passing, he is now its sole occupant and the house has become more and more a portrait of his own imagining, his dream space. Finnemore photographs feelingly and describes his home as “a dreaming centre to divine and survey the spaces between darkness and stars”. Working with black and white film and the chemical-based printing process his richly toned prints explore the opposition and gradations between non-light and light, negative and positive, with all their symbolic implications. Like film, the house and its rooms are seen as receptive and responsive spaces. In Dream Traces a partly decorated wall above a bed is animated both by the gestural traces of darker paint upon it and lighter rectangular areas where posters and pictures were once attached. The wall is not blank but a field of different energy forces, the slow photographic effect of the darkening of the wall around the absent pictures against the more immediate brushmarks of house paint at its edges. The wall is also suggestive of an awakening state, the sense of something not fully coming into consciousness. This is in contrast to the relative order and geometry introduced by the wooden bars of the bedstead and the clarity of the singing and piercing detail of the white dot at the centre of an eye, painted on glass. This Greek mati, used to ward off evil, becomes the focal point of this picture and cue to many objects and elements in his pictures that are felt to be imbued with energies and powers beyond their material form. [...]
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Hillman, John. "How Does Photography Appear to Appear?" Magic, Vol. 5, no. 1 (2020): 72–79. http://dx.doi.org/10.47659/m8.072.art.
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Photography shares little with the logic of simulation and simulacrum, instead it facilitates a dimension within which people and objects we photograph emerge from an impossible frame. Its intrigue resides in the palpable sense of impossibility that photographs render visible to us. This sleight of hand obfuscates the question of how appearance appears. In Finders Keepers, Dutch photographer Laura Chen works with imagery sourced from undeveloped films purchased from eBay and car-boot sales. When Chen develops the films, the real of someone else’s reality is transformed into art. Left undeveloped, these images occupy nowhere in particular, but Chen makes appearances fill in a void and poses a question which is not one of “why” but of “where” are images? Furthermore, in seeking out meanings, the magic of photography is understood through the misdirection of illusion and appearance. What is more useful is to ask how photography appears to appear? Keywords: photography and illusion, magic of photography, reality and simulation, appearance of photography, Laura Chen
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Piekielek, Nathan. "A semi-automated workflow for processing historic aerial photography." Abstracts of the ICA 1 (July 15, 2019): 1. http://dx.doi.org/10.5194/ica-abs-1-299-2019.
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<p><strong>Abstract.</strong> Libraries, museums and archives were the original big geospatial information repositories that to this day house thousands to millions of resources containing research-quality geographic information. However, these print resources (and their digital surrogates), are not easily incorporated into the contemporary research process because they are not structured data that is required of web-mapping and geographic information system tools. Fortunately, contemporary big data tools and methods can help with the large-scale conversion of historic resources into structured datasets for mapping and spatial analysis.</p><p>Single frame historic aerial photographs captured originally on film (hereafter “photographs”), are some of the most ubiquitous and information-rich geographic information resources housed in libraries, museums and archives. Photographs authentically encoded information about past places and time-periods without the thematic focus and cartographic generalization of historic print maps. As such, they contain important information in nearly every category of base mapping (i.e. transportation networks, populated places etc.), that is useful to a broad spectrum of research projects and other applications. Photographs are also some of the most frustrating historic resources to use due to their very large map-scale (i.e. small geographic area), lack of reference information and often unknown metadata (i.e. index map, flight altitude, direction etc.).</p><p>The capture of aerial photographs in the contiguous United States (U.S.) became common in the 1920s and was formalized in government programs to systematically photograph the nation at regular time intervals beginning in the 1930s. Many of these photography programs continued until the 1990s meaning that there are approximately 70 years of “data” available for the U.S. that is currently underutilized due to inaccessibility and the challenges of converting photographs to structured data. Large collections of photographs include government (e.g. the U.S. Department of Agriculture Aerial Photography Field Office “The Vault” – over 10 million photographs), educational (e.g. the University of California Santa Barbara Library – approximately 2.5 million photographs), and an unknown number non-governmental organizations (e.g. numerous regional planning commissions and watershed conservation groups). Collectively these photography resources constitute an untapped big geospatial data resource.</p><p>U.S. government photography programs such as the National Agricultural Imagery Program continued and expanded in the digital age (i.e. post early 2000s), so that not only is there opportunity to extend spatial analyses back in time, but also to create seamless datasets that integrate with current and expected future government aerial photography campaigns. What is more, satellite imagery sensors have improved to the point that there is now overlap between satellite imagery and aerial photography in terms of many of their technical specifications (i.e. spatial resolution etc.). The remote capture of land surface imagery is expanding rapidly and with it are new opportunities to explore long-term land-change analyses that require historical datasets.</p><p>Manual methods to process photographs are well-known, but are too labour intensive to apply to entire photography collections. Academic research on methods to increase the discoverability of photographs and convert them to geospatial data at large-scale has to date been limited (although see the work of W. Karel et al.). This presentation details a semi-automated workflow to process historic aerial photographs from U.S. government sources and compares the workflow and results to existing methods and datasets. In a pilot test area of 94 photographs in the U.S. state of Pennsylvania, the workflow was found to be nearly 100-times more efficient than commonly employed alternatives while achieving greater horizontal positional accuracy. Results compared favourably to contemporary digital aerial photography data products, suggesting that they are well-suited for integration with contemporary datasets. Finally, initial results of the workflow were incorporated into several existing online discovery and sharing platforms that will be highlighted in this presentation. Early online usage statistics as well as direct interaction with users demonstrates the broad interest and high-impact of photographs and their derived products (i.e. structured geospatial data).</p>
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Watkins, Liz. "The Politics of Nostalgia: Colorization, Spectatorship and the Archive." Comparative Cinema 9, no. 17 (December 19, 2021): 123–45. http://dx.doi.org/10.31009/cc.2021.v9.i17.07.
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Colorization describes the digitization and retrospective addition of color to photographic and film materials (celluloid nitrate, glass negatives) initially made and circulated in a black-and-white format. Revisiting the controversial 1980s colorization of 24 classic Hollywood studio titles, which incited debate over questions of copyright, authorship and artistic expression, this essay examines the use of colorization to interpret museum collections for new audiences. The aesthetics of colorization have been criticized for prioritizing image content over the history of film technologies, practices and exhibition. An examination of They Shall Not Grow Old (Jackson, 2018) finds a use of digital editing and coloring techniques in the colorization of First World War film footage held in the Imperial War Museum archives that is familiar to the director’s fiction films. Jackson’s film is a commemorative project, yet the “holistic unity” of authorial technique operates across fragments of archive film and photographs to imbricate of fiction and nonfiction, signaling vital questions around the ethics and ideologies of “natural color”, historiography, and the authenticity of materials and spectator experience.
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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.
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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
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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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Fort, Jeff. "André Bazin's Eternal Returns: An Ontological Revision." Film-Philosophy 25, no. 1 (February 2021): 42–61. http://dx.doi.org/10.3366/film.2021.0156.
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The recent publication of André Bazin's Écrits complets (2018), an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple (“Bazin and ontology”) nonetheless retains its fascination. Rather than attempting to provide a systematic reworking of this couple along well established lines, particularly those defined by realism and indexicality, this article proposes to shift the notion of ontology in Bazin from its determination as actual existence toward a more radical concept of ontology based on the notion of mimesis, particularly as articulated, in a Heideggerian mode, by Philippe Lacoue-Labarthe. This more properly ontological concept, also paradoxically and radically improper, is shown to be at work already in Bazin's texts, and it allows us to see that far from simplistically naturalizing photographic technology, Bazin does the contrary: he technicizes nature. If Bazin says that the photograph is a flower or a snowflake, he also implies that, like photographs, these are likewise a kind of technical artifact, an auto-mimetic reproduction of nature. Bazin likewise refers to film as a kind of skin falling away from the body of History, an accumulating pellicule in which nature and history disturbingly merge. This shifted perspective on Bazin's thinking is extended further in reference to Georges Didi-Huberman on the highly mimetic creatures known as phasmids, insects that mimic their environement. I extend this into the dynamic notion of eternal return, an implicit dimension of Bazin's thinking, clarified here in reference to Giorgio Agamben and the “immemorial image” which, like Bazin's “Death Every Afternoon,” presents an eminently repeatable deathly image, an animated corpse-world that can be likened to hell.
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To̸nder, K., and J. Jakobsen. "Interferometric Studies of Effects of Striated Roughness on Lubricant Film Thickness Under Elastohydrodynamic Conditions." Journal of Tribology 114, no. 1 (January 1, 1992): 52–56. http://dx.doi.org/10.1115/1.2920867.
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Experimental results for striated roughness, obtained from an interferometric EHD test rig, are presented. The roughnesses are straight-edged grooves etched in a flat sapphire surface, yielding fringes over the flat lands. A new feature is the method of recording: Visual inspection, serial photography and digital analysis of the photographs, gives the relative light intensity in the central region of the contact zone. This permits the construction of curves relating light intensity and thence film thickness to speed. We find: transversely oriented grooves produce a higher central film thickness than do longitudinal ones, and films generated by smooth surfaces are thicker still. The slopes of the curves, on log-log paper, all tend to the value 0.67. The curves for rough surfaces are very different at low speeds, due to the escape of lubricant along the grooves.
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Schouten, Fiona. "Turning Photographs into a Silent Film." Neophilologus 90, no. 2 (April 2006): 271–81. http://dx.doi.org/10.1007/s11061-005-4252-z.
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JEMI FLORINABEL, D., S. EBENEZER JULIET, and V. SADASIVAM. "REGION BASED PATCH PROPAGATION AND PATCH INPAINTING FOR IMAGE COMPLETION." International Journal of Information Acquisition 08, no. 01 (March 2011): 39–52. http://dx.doi.org/10.1142/s0219878911002355.
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Film and photography archives nowadays go through an accelerated process of degradation. Since the preservation of cultural heritage plays an important role in our society, photograph/film restoration has drawn a lot of attention recently. In this paper, an extent of exemplar based inpainting at determining patch priority and patch matching is proposed. Patch priority is defined by two terms: the number of homogeneous regions within the patch (heterogeneous term) obtained by image segmentation and the variance of the pixels within each homogeneous region. The first term prioritizes the heterogeneous patches and the second term defines the inconsistency within each homogeneous region of the heterogeneous patch to discriminate patches having similar heterogeneous term. Patch inpainting is done in two stages. First, the missing pixels of the patch under consideration are interpolated and then a weighted patch matching criterion is applied for finding the candidate patch. Experimental results on damaged digitized photographs and natural images are presented, which demonstrate the effectiveness of the image-completion framework for tasks such as scratch/text, object removal and image inpainting.
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Murray, Brittany. "Historicity and photography in Salut Les Cubains." Short Film Studies 12, no. 1 (May 1, 2022): 47–54. http://dx.doi.org/10.1386/sfs_00066_1.
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Salut Les Cubains, Agnès Varda’s short film released in 1963, deploys black-and-white photographs to capture Cuba at a moment of historical transition. Situating the film within the tradition of political films that use a similar formal device, this article explores how the tension between moving and still images in Salut Les Cubains honours a momentous present and an uncertain future.
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Caron, Roland, Serge Koutchmy, and Michel Sarrazin. "A Study of Disconnection Velocities in the Plasma Tail of P/Halley." International Astronomical Union Colloquium 98 (1988): 158–59. http://dx.doi.org/10.1017/s0252921100092629.
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During a photographic campaign on Comet P/Halley in 1986 April, a considerable number of photographs were obtained, especially on April 8, of a disconnection event in the plasma tail. Initial details were presented at the Symposium in Heidelberg at the end of 1986.The photographs were obtained with a camera five examples of which were specially constructed (by Carron), and known as the K600. The objective is a 100-mm OG, focal length 600 mm and the image is corrected with a field lens. The camera body is a Hasselblad, taking 120 roll film, which was Agfa 1000.
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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.
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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
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Brant, Clare. "‘Dozens who thought they knew her’: Finding Vivian Maier?" European Journal of Life Writing 4 (March 16, 2015): C1—C6. http://dx.doi.org/10.5463/ejlw.4.138.
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It’s not very often that a story comes along to astonish and excite, but the tale of Vivian Maier[M1] is one such, and of such interest that I would like to alert our life writing community. I describe it through the film version in which I encountered it, though reviewers and others redescribe that tale in condensed ways also of interest as biographical micronarratives. The least you might know is the film’s description by its maker: ‘Finding Vivian Maier is the critically acclaimed documentary about a mysterious nanny, who secretly took over 100,000 photographs that were hidden in storage lockers and, discovered decades later, is now among the 20th century’s greatest photographers. Directed by John Maloof and Charlie Siskel, Maier’s strange and riveting life and art are revealed through never before seen photographs, films, and interviews with dozens who thought they knew her.’ This article was submitted to the European Journal of Life Writing in August 2014 and published on 16 March 2015.
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Prager, Brad. "Trophy Hunter: Ulrich Seidl’s Portraits and Safari." New German Critique 46, no. 3 (November 1, 2019): 157–79. http://dx.doi.org/10.1215/0094033x-7727469.
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Abstract The Austrian director Ulrich Seidl often films interview subjects as though they were posing for portrait photographs, and Seidl maintains that one of his major influences is the photographer Diane Arbus. This article examines how this high level of control over a film’s frames reveals strategies central to his filmmaking and especially to his documentary films. Seidl is particularly concerned with depicting his subjects’ complicity in the exploitation of labor, as seen in Safari (2016), a film about Austrians who travel to Namibia to hunt and collect trophies. Seidl presents viewers with unforgiving portraits of Austrian tourists, as he employs nearly every one of his trademark techniques to highlight the many contradictions behind his subjects’ perspectives.
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Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.
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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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Spanel, Donald. "Sedat Pakay’s Photographs of James Baldwin in Istanbul." James Baldwin Review 10, no. 1 (September 24, 2024): 276–96. http://dx.doi.org/10.7227/jbr.10.35.
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Despite his several long periods of residence in Istanbul, James Baldwin published little about his experiences there. Visual documentation, however, is abundant—much more so than for any other place associated with Baldwin—because of the Turkish-American photographer Sedat Pakay. Although better known for his short film James Baldwin: From Another Place (1973), Pakay also took scores of still photographs of Baldwin. This article draws on the work of Magdalena J. Zaborowska and includes previously unpublished and rarely exhibited works. Selected from Pakay’s extensive archives, these photographs illustrate the comfort and freedom Baldwin found in Istanbul, which led to his most productive period.
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Chivers, Sally. "Reimagining care: images of aging and creativity in House Calls and Year at Sherbrooke." International Journal of Ageing and Later Life 7, no. 2 (April 12, 2013): 53–71. http://dx.doi.org/10.3384/ijal.1652-8670.1272a3.
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This article looks at the relationship between the esthetic and documentary commentaries offered by two National Film Board of Canada (NFB) productions, chosen because they use the documentary form to interpret aging and care in Canada for Canadians, offering a Canadian example of an issue that is of international importance. The first film, House Calls (Ian McLeod 2004), follows the work of Mark Nowaczynski, a physician who photographs his elderly patients to illustrate their dignity amidst what he perceives to be their fragility and vulnerability. The second, A Year at Sherbrooke (Thomas Hale 2009), follows artists Thelma Pepper and Jeff Nachtigall who work with residents of a Saskatoon long-term care facility - Pepper continues her longer term practice of photographing the residents and Nachtigall takes on a new role of artist-in-residence in which he mentors them in their own creative development. Analyzing the role of photography in each film, the article shows that, together, the films demonstrate that images of aging beyond mere decline may play a role in reimagining how care for older adults takes place.
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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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Dhiman, Rajeev, and Sanjeev Chandra. "Rupture of thin films formed during droplet impact." Proceedings of the Royal Society A: Mathematical, Physical and Engineering Sciences 466, no. 2116 (November 11, 2009): 1229–45. http://dx.doi.org/10.1098/rspa.2009.0425.
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Rupture of liquid films formed during droplet impact on a dry solid surface was studied experimentally. Water droplets (580±70 μm) were photographed as they hit a solid substrate at high velocities (10–30 m s −1 ). Droplet–substrate wettability was varied over a wide range, from hydrophilic to superhydrophobic, by changing the material of the substrate (glass, Plexiglas, wax and alkylketene dimer). Both smooth and rough wax surfaces were tested. Photographs of impact showed that as the impact velocity increased and the film thickness decreased, films became unstable and ruptured internally through the formation of holes. However, the impact velocity at which rupture occurred was found to first decrease and then increase with the liquid–solid contact angle, with wax showing rupture at all impact velocities tested. A thermodynamic stability analysis combined with a droplet spreading model predicted the rupture behaviour by showing that films would be stable at very small or at very large contact angles, but unstable in between. Film rupture was found to be greatly promoted by surface roughness.
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Yu, Ping, Guo-Bing Hu, Yun-Fei Tian, Ding-Quan Xiao, Yang Liu, and Qing-Wu Guo. "Synthesis and Photoluminescent Properties of Nanocrystalline CaMoO4 Thin Film via Chemical Solution Processing." Journal of Nanoscience and Nanotechnology 8, no. 5 (May 1, 2008): 2651–54. http://dx.doi.org/10.1166/jnn.2008.422.
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Stoichiometric CaMoO4 thin film was successfully fabricated based on chemical solution processing. The thin films were deposited on Si(100) substrates by means of the spin-coating technique. X-ray diffraction reveals that the CaMoO4 thin film prepared are pure and well crystalline thin films. Atom Force Microscope photographs indicate that the film prepared possesses a homogeneous and dense surface morphology. The average grain size of the films was 40–50 nm, and the root-mean-square (RMS) of the surface roughness and the average surface roughness of the film measured were 2.161 nm and 1.726 nm respectively. The photoluminescent properties of calcium molybdate thin film under ultraviolet light excitation were systematically measured from 12 K to room temperature and a green emission band of the films were observed. The results of present work confirm that the chemical solution processing is a promising technology on the fabrication of CaMoO4 thin film.
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Jerslev, Anne. "The Mediated Body." Nordicom Review 27, no. 2 (November 1, 2006): 133–51. http://dx.doi.org/10.1515/nor-2017-0235.
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Abstract Taking Vivian Sobchack’s idea of the digital morph as not only a digital practice but also a metaphor for a culture obsessed with the idea of bodily changes, of reversibility and metamorphoses, the article takes a closer look at the visual construction of the body as a site of transformation, modification, and improvement in both television, film and fashion photography. The article focuses on the two reality programmes /Extreme Makeover/ (ABC) and /The Swan/ (FOX), the American drama-series /Nip/Tuck/ and an extended series of fashion photographs from /Italian Vogue/ July 2005 by American photographer Steven Meisel titled /Makeover Madness/. The article argues that this modifiable body is today’s /natural body /and it concludes that even though the modified body, digital or not, is noticable everywhere in contemporary visual culture it may, primarily, point out what our culture wants to deny.
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Qasmiyeh, Yousif M., and Saiful Huq Omi. "Photography as Archive." Migration and Society 4, no. 1 (June 1, 2021): 195–202. http://dx.doi.org/10.3167/arms.2021.040118.
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In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, finally, how to envision an equitable future between the photographer and the photographed.In the form of poetic fragments, “The Human that is Lacking” offers a response to Saiful Huq Omi’s photograph reproduced in these pages, in an attempt to “co-see” the image with the photographer. The image and its response sit alongside Yousif M. Qasmiyeh’s interview with the award-winning photographer and film-maker himself (also in this issue).
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Hagaman, Dianne DiPaola. "Connecting Cultures: Balinese Character and the Computer." Sociological Review 42, no. 1_suppl (May 1994): 85–102. http://dx.doi.org/10.1111/j.1467-954x.1994.tb03411.x.
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Gregory Bateson and Margaret Mead intended to use a combination of text, still photographs, and motion picture film in the report of their study of character development in Bali, but found this technically impossible. Multimedia computational devices have now made it possible to do what they could not do, making the three media (in Latour's terms) ‘combinable on a flat surface.’ We were compelled to economize on motion-picture film, and disregarding the future difficulties of exposition, we assumed that the still photography and the motion-picture film together would constitute our record of behavior. (Notes to the Photographs, in Bateson and Mead, 1942 (italics Bateson's)) If inventions are made that transform numbers, images and texts from all over the world into the same binary code inside computers, then indeed the handling, the combination, the mobility, the conservation and the display of the traces will all be fantastically facilitated. When you hear someone say that he or she ‘masters’ a question better, meaning that his or her mind had enlarged, look first for inventions bearing on the mobility, immutability or versatility of the traces; and it is only later, if by some extraordinary chance, something is still unaccounted for, that you may turn towards the mind. (Latour, 1986 (italics Latour's)).
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Sudliankova, Volha. "Phototextuality as a Phenomenon of Present-Day British Prose." CLEaR 3, no. 2 (September 1, 2016): 9–15. http://dx.doi.org/10.1515/clear-2016-0009.
Full textAbstract:
Abstract Like many other world literatures, the English literature of the last few decades has been marked by an intensive search for new narrative techniques, for innovative ways and means of arranging a plot and portraying characters. The search has resulted, among other things, into merging literature with visual arts like painting, film and photography. This phenomenon got the name of ekphrasis and has become a popular field of literary research lately. Suffice it to cast a glance at several of the novels published around the year 2000 to see that incorporation of photographic images into fiction allows writers to use new means of organizing literary texts, to employ non-conventional devices of structuring a plot and delineating personages as well as to pose various problems of aesthetic, ethical, ideological nature. We suggest to look briefly at seven novels published in the last three decades to see the various roles assigned to photography by their authors: Out of this World (1988) by Graham Swift, Ulverton (1992) by Adam Thorpe, Master Georgie (1998) by Beryl Bainbridge, The Dark Room (2001) by Rachel Seiffert, The Photograph (2003) by Penelope Lively, Double Vision (2003) by Pat Barker and The Rain Before It Falls (2007) by Jonathan Coe. The scenes of the novels are set widely apart and have time spans of various duration. Ulverton and Master Georgie have a mid-19th century setting, The Dark Room is centered round WWII, Out of this World and The Rain before It Falls contain their heroes’ long life stories, while The Photograph and Double Vision are set at the end of the last century and their characters are our contemporaries. The novels also differ by the particular place photographs occur in the novels, by the roles they play there, as well as by the issues associated with them.