Academic literature on the topic 'Illustrators; Photographers'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Illustrators; Photographers.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Illustrators; Photographers"
1
Millar, Pat. "The tension between emotive/aesthetic and analytic/scientific motifs in the work of amateur visual documenters of Antarctica's Heroic Era." Polar Record 53, no. 3 (March 9, 2017): 245–56. http://dx.doi.org/10.1017/s003224741700002x.
Full textAbstract:
ABSTRACTVisual documenters made a major contribution to the recording of the Heroic Era of Antarctic exploration. By far the best known were the professional photographers, Herbert Ponting and Frank Hurley, hired to photograph British and Australasian expeditions. But a great number of images – photographs and artworks – were also produced by amateurs on lesser known European expeditions and a Japanese one. These amateurs were sometimes designated official illustrators, often scientists recording their research. This paper offers a discursive examination of illustrations from the Belgian Antarctic Expedition (1897–1899), German Deep Sea Expedition (1898–1899), German South Polar Expedition (1901–1903), Swedish South Polar Expedition (1901–1903), French Antarctic Expedition (1903–1905) and Japanese Antarctic Expedition (1910–1912), assessing their representations of exploration in Antarctica in terms of the tension between emotive/aesthetic and systematic analytic/scientific motifs. Their depictions were influenced by their illustrative skills and their ‘ways of seeing’, produced from their backgrounds and the sponsorship needs of the expedition.
2
Dane, William J. "Public art libraries and artists and designers: a symbiotic scheme for success." Art Libraries Journal 12, no. 3 (1987): 29–34. http://dx.doi.org/10.1017/s0307472200005277.
Full textAbstract:
The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available. The increase in art exhibitions and special collections is noted in addition to a new focus on information for career opportunities, art law and the handicapped. Current developments set the stage for the continuing symbiotic relationship between public art librarians and artists/designers into the 21st century.
3
Crossley-Holland, Kevin. "Bruder und Schwester wie Wort und Bild?1." Book 2.0 10, no. 2 (December 1, 2020): 201–16. http://dx.doi.org/10.1386/btwo_00030_1.
Full textAbstract:
Throughout my writing life, I have collaborated with many visual artists − painters, etchers, wood-engravers, lino-cutters, watercolourists, photographers, even a stone carver; 37, I believe, not including occasional exchanges with illustrators of foreign editions of my books. For this article, I’ve chosen six artists to represent very different ways of working together. It hasn’t been easy to set aside such superb and eminent artists as Brian Wildsmith, who illustrated my first novel, Havelok the Dane (1964) and whose spirited, meticulous line drawings, with their replacement characters and glue and whiteout still hang on my walls at home. It was difficult, too, to omit Margaret Gordon: she and I made three picture books together, one of which, The Green Children, won the Arts Council Award for the Best Book for Young Children 1966–68. And John Hedgecoe – cussed, determined, imaginative, immensely talented, generous and a great photographer, with whom I worked on my Norfolk Poems (1970) – who persuaded me to wade fully clothed up and down muddy back-creeks, with strings of seaweed around my neck. But after some deliberation, the six visual artists I’ve chosen to write about are: Charles Keeping, John Lawrence, Andrew Rafferty, Norman Ackroyd, Jane Ray and Jeffrey Alan Love.
4
White, Tina. "New Zealand School Journals, 1960s-70s." Back Story Journal of New Zealand Art, Media & Design History, no. 5 (December 1, 2018): 41–47. http://dx.doi.org/10.24135/backstory.vi5.36.
Full textAbstract:
In this commentary, Tina White draws on her collection of the New Zealand School Journal to illustrate how by the 1960s and 1970s the Journal commissioned content from some of the country’s best writers, illustrators and photographers. Founded in 1907 with the high-minded aim to develop among New Zealand schoolchildren an “appreciation of the higher literature”, it is believed to be the longest running serial publication for children in the world with around 750,000 copies published annually in four parts. Athol McCredie, who writes on the New Zealand photobook in this issue, once described the New Zealand School Journal as an element of New Zealanders’ cultural consciousness – “remembered as evocatively as the smell of stale school milk, the feel of chalk and finger paint, and the steamy atmosphere of a classroom of wet bodies on a rainy day”.
5
Alexander, Arden. "Photographic Resources Documenting the Middle East at the Library of Congress." Middle East Studies Association Bulletin 40, no. 1 (June 2006): 63–74. http://dx.doi.org/10.1017/s0026318400049415.
Full textAbstract:
Images of the Middle East form an important part of the 14 million items in the Prints and Photographs Division (P&P) of the Library of Congress (LC). The Middle East designation covers a broad geographical region stretching from Algiers in North Africa, to Samarqand in present day Uzbekistan. Most of the photographs, negatives, book illustrations, posters, albums, stereographs, and prints date from between 1840 to the present and document people, archaeological sites, buildings, important events, and everyday life. The photographers include resident foreigners such as Rudolf Lehnert and Ernst Landrock (generally known by their corporate name Lehnert & Landrock), travelers to the region like Francis Frith, local photographers such as Ottoman military photographer Ali Riza Pasha, and most recently LC staff members who visited war-torn Baghdad. The Middle East holdings total about 50,000 items, received through copyright deposit, gift and purchase.
6
Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.
Full textAbstract:
Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.
7
Stephaniuk, Jeffrey D. "Review of David Mitchelhill-Green. Fighting in Ukraine: A Photographer at War; Rare Photographs from Wartime Archives." East/West: Journal of Ukrainian Studies 7, no. 1 (April 16, 2020): 251–53. http://dx.doi.org/10.21226/ewjus576.
Full textAbstract:
Book review of David Mitchelhill-Green. Fighting in Ukraine: A Photographer at War; Rare Photographs from Wartime Archives. Pen & Sword Military, 2016. Images of War. 176 pp. Illustrations. Maps. Appendix. Bibliography. £14.99, paper.
8
Warner, Simon. "The landscape photographer as illustrator." Landscape Research 17, no. 1 (March 1992): 34–35. http://dx.doi.org/10.1080/01426399208706355.
Full text
9
Sin, Harng Luh, and Shirleen He. "Voluntouring on Facebook and Instagram: Photography and social media in constructing the ‘Third World’ experience." Tourist Studies 19, no. 2 (November 28, 2018): 215–37. http://dx.doi.org/10.1177/1468797618815043.
Full textAbstract:
This article studies photographic practices in ‘voluntourism’ alongside the rise of social media platforms like Facebook and Instagram. The advent and widespread use of social media platforms today complicates the ethics of photographic practices, as the ease of sharing photographs accentuates and stirs up the unequal relations between the photographer and the photographed. From a conceptual standpoint, the moral and altruistic underpinnings of volunteer work supposedly differentiate voluntourists from their counterparts in mainstream tourism, who are often assumed to be engaged in commoditized and leisure-based activities. However, existing research suggests that voluntourists do participate in conventionally touristic practices, as the pervasiveness of photography illustrates. Using interviews with 16 voluntourists, this article examines the negotiations behind photo-taking and photo-posting in voluntourism. We also consider the case of Barbie Savior, a satirical Instagram account featuring ‘the doll that saved Africa’. The emergence of such online media articles that critique and make fun of voluntourists’ depiction of their Third World experience therefore becomes a self-governing mechanism for how one should behave in encountering the Third World, even as voluntourism itself continues to be seen as a viable way of caring for the Third World.
10
Knazook, Elizabeth. "Where the book ends and the album begins: Extra-illustrating the work of James MacPherson LeMoine1 in nineteenth-century Quebec." Journal of Illustration 8, no. 1 (August 1, 2021): 107–39. http://dx.doi.org/10.1386/jill_00040_1.
Full textAbstract:
This article is a case study of photographs as extra-illustrations using as an example the third volume in the series of Maple Leaves books by Sir James MacPherson LeMoine (1825‐1912), published in 1865 under the subtitle Canadian History and Quebec Scenery, which was the first literary work in Canada to be commercially illustrated with photographs. Original albumen photographs made by photographer Jules-Isaïe Benoît dit Livernois (1830‐65) depicted many of the country villas described by the author in the section referred to as ‘Our Country Seats’. The readers of Maple Leaves turned this work into a complex and intimate record of a community by liberally augmenting the official photographs with individual prints selected independently for their copies. The surviving books collectively serve as a kind of regional album, preserving the tastes and aspirations of some of the 500 subscribers living in and around Quebec City in the mid-nineteenth century.
Dissertations / Theses on the topic "Illustrators; Photographers"
1
Kennedy, Joan Loomis. "Representations of spectra in early British astrophysics." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365627.
Full text
2
Blin, Frédéric Aubenas Sylvie. "Comment traiter les photographies d'un fonds d'archives dans une bibliothèque ? analyses et réflexions dans l'optique du programme allemand Kalliope /." [S.l.] : [s.n.], 2004. http://www.enssib.fr/bibliotheque/documents/dcb/blin-frederic.pdf.
Full text
3
Buignet, Christine. "La mise en jeu du fictif dans la photographie." Aix-Marseille 1, 1998. http://www.theses.fr/1998AIX10057.
Full textAbstract:
Pour cerner le sujet, plusieurs angles d'etude sont tour a tour choisis. Une premiere partie, theorique et historique, est consacree au statut du fictif, abordant son origine dans le domaine litteraire, puis son etrange absence des theories successives concernant la photographie, et enfin, plus longuement, ses principales occurrences dans l'histoire des pratiques photographiques. La seconde partie consiste en l'analyse tres detaillee de cinq oeuvres photographiques (de minor white, ralph eugene meatyard, nils-udo, georges rousse et bernard faucon) qui mettent en jeu du fictif selon des modalites diverses - l'objectif etant d'en reperer les caracteris, tiques definitoires. A partir des conclusions-hypotheses alors etablies sur l'effet desunifiant de la mise en jeu du fictif, dans la troisieme partie, dont le corpus est etendu a l'ensemble de l'oeuvre des cinq photographes choisis et a de nombreuses autres oeuvres contemporaines, s'elabore une synthese des procedes du fictif (dilatation de l'espace, etirement de la temporalite, dispositif de de naturalisation a la prise de vue), et des ressorts qui soustendent sa mise en oeuvre (variations du leurre, de la narration, de l'evocation metaphorique). L'enjeu de cette these, qui partait d'un renversement du caractere strictement indiciel de la photographie en introduisant dans la reflexion theorique le paradoxe de la co-presence du meme et de l'autre (la realite photographiee/la scene fictive donnee a voir) devient alors evident, puis, qu'elle fait apparaitre le moteur essentiel de ces pratiques : la creation d'un ecart qui ouvre un espace de tension, introduit une beance - qui a la fois se charge des interrogations de chacun des artistes, et, incernable, offre un espace de liberte au spectateurTo define the subject, different points of view have been considered. A first theoretical and historical part is devoted to the status of the fictive, initially studying its origin in literature, then its strange absence from successive theories about photography, and finally, at greater length, its main appearances in the history of photographic practices. The second part consists of the very detailed analysis of five photographic works (by minor white, ralph eugene meatyard, nils-udo, georges rousse and bernard faucon) which introduce some fictive through different methods the objective being to locate its defining characteristics. Conclusionshypotheses concerning the disruptive effect of the fictive are then esta, blished. A synthesis of the fictive processes (dilation of space, stretching of temporality, denaturalisation mechanisms during film exposure), and of the motives of their implementation (variations of illusion, narration, metaphorical supposition) is constructed from this in the third part, extending the corpus to the entire work of the five selected photographers and to many other contemporary works. The aim of this thesis, which developped from a reversal of the strictly indexial characteristic of photography, introducing the paradox of copresence of the same and the other (the photographed reality / the fictional scene being showed) into the theorical reflexion, becomes evident. Indeed, it emphasizes the driving force of these practices : the creation of a gap which opens an area of tension, which introduces an emptyness - absorbing the interrogations of each artist, and, at the same time, evanescent, offering an area of freedom to the spectator
4
Moreno, Jérôme. "Émergence et retrait de la figure humaine : pour une anthropologie de l’image." Toulouse 2, 2009. http://www.theses.fr/2009TOU20022.
Full textAbstract:
Une pratique plastique de la figure engendre des images complexes. Cette thèse propose une exploration d'images figuratives sur la base d'une approche anthropologique. Une première catégorie d'images envisage la figure comme un élément soumis aux aléas de l'histoire. L'image peut être soit un objet de propagande soit l'objet d'une destruction qui peut aller jusqu'à la mort. La Shoah symbolise cet effacement de la figure et révèle une image en retrait. À l'inverse, par une pratique gestuelle où se mêlent avec paradoxe la déformation, la défiguration, l'altération mais aussi la re-figuration, la figure émerge. L'image envisage parfois la figure comme une trace : une empreinte gestuelle. Les principes de l'accumulation, de l'entrelacs et de la série la font surgir. L'image naît par le geste. Cependant il existe une troisième catégorie d'images qui peut parfois révéler une figure qui hésite. Dans la photographie par exemple, cette figure joue sur la fine frontière entre représentation et abstraction. Entre retrait et émergence, apparition et disparition figurative, l'image oscille. L'oscillation démontre, selon le principe de la survivance, que les images figuratives ont la capacité de resurgir par-delà le temps et l'espace. Leur pouvoir provient du fait que la figure est mémoireFace plastic practice generates sensible images. This thesis proposes an exploration of figurative images based on anthropological approach. In a first category of images, face proceeds from vagaries of History. It could be alternately propaganda and destruction. Shoah symbolizes the face obliteration and reveals an image in the very back. Conversely, the face could rise from the melting pot of distortion, disfigurement and representation. The image envisages face like a trace: a gesture print issued from accumulation, interlace or series principle. In this case, image awakes from the gesture. However, a third set of images could also reveal a hesitant face. For example, in photography, this face plays on the thin frontier between representation and abstraction. Image waves between retreat and emergence, figurative appearance and disappearance. According to survival principle, this oscillation indicates the capability of figurative images to resurface time and space, beyond. They have a power : the power to remember
5
Su, Ying-Lung. "Taïwan vue par les étrangers : illustrations photographiques de Taïwan dans les publications étrangères, 1843-1945." Thesis, Paris, EHESS, 2021. http://www.theses.fr/2021EHES0015.
Full textAbstract:
L’objectif de cette thèse est d’explorer une source d’images de Taïwan pour la plupart ignorées jusqu’à maintenant : les illustrations photographiques parues dans des publications étrangères, entre 1843 et 1945. Ce sont les nombreuses photographies faites par des étrangers séjournant à Taïwan depuis le XIXème siècle, ou commanditées par le gouvernement japonais de l’île après 1895, afin d’être publiées dans des périodiques ou des ouvrages à l’étranger, qui sont devenues la seule archive consultable. Dans les 108 publications étudiées, près de 2000 images ont été recensées, pour beaucoup photographiées sur la publication originale, toutes reproduites, légendées et référencées dans un volume annexe. La période considérée (1843-1945) est scindée en deux temps par l’annexion de Taïwan par le Japon en 1895, une mutation politique qui a un impact majeur sur l’activité économique, l’urbanisation, l’organisation sociale, et par conséquent, sur les images qui rendent compte de l’état du pays. L’étude cerne d’abord l’histoire des relations des nations étrangères avec Formose-Taïwan, puis expose avec précision l’ensemble des sources éditoriales recueillies, les informations qu’elles contiennent, et analyse les liens avec les pays étrangers par l’identité des éditeurs, des auteurs, et des langues utilisées, et ensuite l’activité de différentes catégories de photographes produisant les images, ceux-ci étant souvent des amateurs également auteurs des textes. Les techniques de la photographie et de l’illustration imprimée sont prises en compte pour saisir les possibilités de l’illustration photographique, avec la césure importante de la photogravure qui apparaît ici en 1893. L’étude de l’ensemble des images recueillies dégage les principaux thèmes des illustrations, et la manière de s’inscrire dans les objectifs éditoriaux des articles ou ouvrages, de la topographie à l’exploitation du camphre, et aux développements des écoles. Deux grandes questions dominent ce corpus d’illustrations, toutes deux prenant corps avec la colonisation japonaise : la reconnaissance des tribus aborigènes, souvent qualifiées de « sauvages », objet de curiosité, de bienveillance ethnologique, de peur ou d’hostilité, et soumises à de véritables investigations photographiques qui représentent un tiers de l’illustration globale ; la modernisation, l’urbanisation, le développement économique, les transformations sociales qui s’ensuivent, sous le contrôle japonais. L’étude met en avant la diversité et l’ambigüité des points de vue « sur Taïwan », des attitudes « étrangères » à l’égard de Taïwan, mais aussi la valeur visuelle et esthétique d’une archive en majeure partie inédite, dispersée, et désormais disponible sous forme numériqueThis thesis aims to explore a source of images of Taiwan, most of which have been neglected up to now : photographic illustrations which appeared in foreign publications between 1843 and 1945. The numerous photographs taken by foreigners living in Taiwan since the 19th century or financed by the Japanese colonial government after 1895, in order to be published abroad in periodicals or books have become the only archive available for consultation. Almost 2000 images have been inventoried in the 108 publications analysed in the thesis. Most of them have been photographed in the original publications. All of them have been reproduced, captioned and referenced in an additional volume. The timeline chosen for analysis (1843-1945) is split into two separate periods by the Japanese annexation of Taiwan in 1895. This political mutation had a major impact on the economic activity, the urbanisation, the social organisation and consequently on the images documenting the state of the country. The study first focuses on the history of the relationships between foreign nations and Formosa-Taiwan. It then minutely describes all the collected editorial sources, the information they contain and offers an analysis of the island’s links with foreign countries by looking into the identities of the editors and writers as well as the languages used. Next, the study investigates the practice of the different categories of photographers who provided the images, these often being amateurs who were also the authors of the texts. This study examines the techniques of photography and printed illustrations in order to grasp the possibilities of the photographic illustration, including the turning point represented by the emergence of photoengraving in 1893. The study of all the collected images highlights the main themes of the illustrations and the ways in which they align with the editorial objectives of the articles or books, from topography to the exploitation of camphor and the development of schools. Two main questions dominate this corpus of illustrations, both emphasizing with the Japanese colonisation. On the one hand, the recognition of Aboriginal tribes, often deemed ‘savages’. Objects of curiosity, they triggered ethnological benevolence, fear or hostility and were subjected to real photographic investigations which represent a third of all the illustrations. On the other hand, the modernisation, the urbanisation, the economic growth and the ensuing social transformations of the island under Japanese control. The study underlines the diversity and the ambivalence of the points of view ‘on Taiwan’ and of the ‘foreign’ attitudes towards Taiwan but also the visual and aesthetic value of a major archive, for the most part never seen before, scattered and, from now on, digitally available
6
Wang, Yan. "Détection des changements à partir de photographies." Thesis, Toulouse 3, 2016. http://www.theses.fr/2016TOU30069/document.
Full textAbstract:
Les travaux de cette thèse concernent la détection des changements dans des séries chronologiques de photographies de paysages prises depuis le sol. Ce contexte de comparaison d'images successives est celui que rencontrent les géographes de l'environnement qui ont recours aux observatoires photographiques du paysage. Ces outils d'analyse et d'aide à la décision sont des bases de données de photographies constituées selon une méthodologie stricte de rephotographie de la même scène, à des pas de temps réguliers. Le nombre de clichés est parfois très important, et l'analyse humaine fastidieuse et relativement imprécise, aussi un outil automatisant la comparaison de photos de paysage deux à deux pour mettre en évidence les changements serait une aide considérable dans l'exploitation des observatoires photographiques du paysage. Bien entendu, les variations dans l'éclairement, la saisonnalité, l'heure du jour, produisent fatalement des clichés entièrement différents à l'échelle du pixel. Notre objectif était donc de concevoir un système robuste face à ces changements mineurs, mais capable de détecter les changements pertinents de l'environnement. De nombreux travaux autour de la détection des changements ont été effectués pour des images provenant de satellites. Mais l'utilisation d'appareils photographiques numériques classiques depuis le sol pose des problèmes spécifiques comme la limitation du nombre de bandes spectrales et la forte variation de profondeur dans une même image qui induit des apparences différentes des mêmes catégories d'objets en fonction de leurs positions dans la scène. Dans un premier temps, nous avons exploré la voie de la détection automatique des changements. Nous avons proposé une méthode reposant sur le recalage et la sur-segmentation des images en superpixels. Ces derniers sont ensuite décrits par leur niveau de gris moyen ainsi que par leur texture au travers d'une représentation sous la forme d'histogrammes de textons. La distance de Mahalanobis entre ces descripteurs permet de comparer les superpixels correspondants entre deux images prises à des dates différentes. Nous avons évalué les performances de cette approche sur des images de l'observatoire photographique du paysage constitué lors de la construction de l'autoroute A89. Parmi les méthodes de segmentation utilisées pour produire les superpixels, les expérimentations que nous avons menées ont mis en évidence le bon comportement de la méthode de segmentation d'Achanta. La pertinence d'un changement étant fortement liée à l'application visée, nous avons exploré dans un second temps une piste faisant intervenir l'utilisateur. Nous avons proposé une méthode interactive de détection des changements reposant sur une phase d'apprentissage. Afin de détecter les changements entre deux images, l'utilisateur désigne, grâce à un outil de sélection, des échantillons constitués d'ensembles de pixels correspondant à des zones de changement et à des zones d'absence de changement. Chaque couple de pixels correspondants, c'est-à-dire situés au même endroit dans les deux images, est décrit par un vecteur de 16 valeurs principalement calculées à partir de l'image des dissemblances. Cette dernière est obtenue en mesurant, pour chaque couple de pixels correspondants, la dissemblance des niveaux de gris de leurs voisinages. Les échantillons désignés par l'utilisateur permettent de constituer des données d'apprentissage qui sont utilisées pour entraîner un classifieur. Parmi les méthodes de classification évaluées, les résultats expérimentaux montrent que les forêts d'arbres décisionnels donnent les meilleurs résultats sur les séries photographiques que nous avons utiliséesThis work deals with change detection from chronological series of photographs acquired from the ground. This context of consecutive images comparison is the one encountered in the field of integrated geography where photographic landscape observatories are widely used. These tools for analysis and decision-making consist of databases of photographic images obtained by strictly rephotographing the same scene at regular time intervals. With a large number of images, the human analysis is tedious and inaccurate. So a tool for automatically comparing pairs of landscape photographs in order to highlight changes would be a great help for exploiting photographic landscape observatories. Obviously, lighting variations, seasonality, time of day induce completely different images at the pixel level. Our goal is to design a system which would be robust to these insignificant changes and able to detect relevant changes of the scene. Numerous studies have been conducted on change detection from satellite images. But the utilization of classic digital cameras from the ground raise some specific problems like the limitation of the spectral band number and the strong variation of the depth in a same image which induces various appearance of the same object categories depending on their position in the scene. In the first part of our work, we investigate the track of automatic change detection. We propose a method lying on the registration and the over-segmentation of the images into superpixels. Then we describe each superpixel by its texture using texton histogram and its gray-level mean. A distance measure, such as Mahalanobis distance, allows to compare corresponding superpixels between two images acquired at different dates. We evaluate the performance of the proposed approach on images taken from the photographic landscape observatory produced during the construction of the French A89 highway. Among the image segmentation methods we have tested for superpixel extraction, our experiments show the relatively good behavior of Achanta segmentation method. The relevance of a change is strongly related to the intended application, we thus investigate a second track involving a user intervention. We propose an interactive change detection method based on a learning step. In order to detect changes between two images, the user designates with a selection tool some samples consisting of pixel sets in "changed" and "unchanged" areas. Each corresponding pixel pair, i.e., located at the same coordinates in the two images, is described by a 16-dimensional feature vector mainly calculated from the dissimilarity image. The latter is computed by measuring, for each corresponding pixel pair, the dissimilarity of the gray-levels of the neighbors of the two pixels. Samples selected by the user are used as learning data to train a classifier. Among the classification methods we have tried, experimental results indicate that random forests give the better results for the tested image series
7
Harel-Vivier, Mathieu. "Photographies, abstraction et réalité : l'agencement comme processus artistique." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20025/document.
Full textAbstract:
Construite à partir des questions soulevées par le travail artistique de l’auteur, cette thèse examine le rapport qu’entretiennent certains artistes, essentiellement contemporains, avec la réalité de l’image photographique, sa capacité à produire une abstraction et à s’inscrire dans un agencement. Considérée selon un double point de vue, la notion d’agencement apparait ici d’une part comme le processus de l’artiste qui travaille avec des images,et d’autre part comme une forme d’organisation qui favorise une diversité de relations entre les images, àla façon de constellations. La première partie intitulée « les conditions de l’agencement » s’intéresse au passage à l’acte photographique, à l’appropriation d’une image, comme au détachement que nécessitent parfois ces deux actions propres aux pratiques de Christian Marclay et Wolfgang Tillmans. Alternative à ces divers mouvements qui animent les élans de l’artiste vers le réel, l’abstraction photographique fait l’objet d’une étude à travers l’analyse des travaux de quelques artistes parmi lesquels Pierre Cordier, Michael Flomen et James Welling.La seconde partie s’attache à décrire comment « l’agencement d’images » est investi d’un fonctionnement caractéristique du montage cinématographique et de l’atlas warburgien. Sont ainsi tour à tour observées des oeuvres où l’agencement d’images est délimité par le cadre (John Baldessari et John Stezaker), ventilé à travers les pages d’un livre (Hans-Peter Feldmann, Luis Jacob, Gerhard Richter, etc.) et déployé dans l’espace d’exposition : sur les cimaises, au sol ou sur des tables (Pierre Leguillon, Batia Suter, Wolfgang Tillmans). L’intérêtest finalement porté sur les enjeux de transmission de l’agencement, sa volonté de non-Hiérarchie aussi, et ce notamment, dans le contexte d’expositions de collections publiques et privées (Des images comme des oiseaux, Le Mur, Les peintres de la vie moderne).À l’issue de ce texte placé en regard d’une succession de planches d’images s’ouvre une autre collection dephotographies annotées et légendées, consacrée à la pratique artistique de l’auteurDeveloped based on questions from the author’s artistic practice, this thesis examines the relationship between some artists, mainly contemporary, and the reality of the photographic picture, its ability to produce abstraction and to fit within a display. Considered here in a double perspective, the concept of display is seen, on one hand, as the process of the artist working with pictures and, on the other hand, as an organizational model that foster a variety of connections, like constellations do.Entitled “display’s conditions”, the first part deals with photographic acting-Out, the appropriation of a picture as well as the detachment that sometimes these two actions involve like in Christian Marclay’s and Wolfgang Tillmans’s practices. As an alternative to these various movements which spur on the artist’s impetus towards reality, photographic abstraction is considered for further study through the analysis of artistic works like Pierre Cordier’s, Michael Flomen’s or James Welling’s.The second part describes how the “display of pictures” is invested by a functioning that is a feature of editingand Warburg’s atlas. Several works are observed in which the display of pictures is delimited by the frame(John Baldessari and John Stezaker) scattered through the pages of a book (Hans-Peter Feldmann’s, LuisJacob’s, Gerhard Richter’s, etc.) and spread out in the exhibition space: on the walls, the ground and tables(Pierre Leguillon, Batia Suter, Wolfgang Tillmans). The interest is finally moved on the issue of displaytransmission, its aim of non-Hierarchy, especially in the context of public and private collections exhibited(Des images comme des oiseaux, Le Mur, Les Peintres de la vie moderne).As the outcome of this text that appears beside a series of plates, a new collection of annotated and captionedphotographs is developed, dedicated to the artistic practice of the author
8
Nott, Michael J. "Photopoetry : a critical history of collaborations between poets and photographers in the Anglophone world, 1845-2015." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7811.
Full textAbstract:
This thesis examines the history of collaborations between poets and photographers in the Anglophone world, from 1845 to 2015, and argues for a new form of art distinct from the photobook. It identifies a new body of work, ‘photopoetry', and develops this discovery into a critical exegesis of its forms and potentials. Proceeding chronologically, this thesis explores photopoetic history from its nineteenth-century roots to modern-day collaborations between renowned poets and photographers. Chapter I examines early experiments in photopoetic form, including scrapbooks and stereographs, and identifies two thematic trends characterising photopoetic history to the present day: the picturesque and the theatrical. The second chapter focuses on the identity politics of photopoetic books in the late-nineteenth and early-twentieth centuries, exploring how the relationship between poem and photograph can both perpetuate and subvert representations of the objectified other, from British India to the American South. Chapter III theorises Imagism from a photographic perspective, examining how, in the absence of any discernibly modernist photopoetry book, the most important dialogue between poem and photograph was enacted within Imagist verse. It proceeds to examine the introduction of urban environments into early-to-mid-twentieth-century photopoetry. Chapter IV analyses the reinterpretation of photopoetic topography in mid-to-late-twentieth-century collaborations, exploring how picturesque landscapes in nineteenth-century photopoetry were reinvented as immersive environments that echoed the rise of photopoetic co-authorship and the development of more symbiotic, less literal photopoetic relationships. The fifth chapter expands upon ideas analysed in Chapter IV, arguing how, in narrowing both poetic and photographic focus to objects rather than picturesque vistas, twenty-first-century photopoetry encourages a non-linear approach to reading and viewing, abandoning the ‘journey' paradigm of earlier photopoetry. Overall, this thesis represents the first book-length history of photopoetry, and expounds both a new area of analysis for scholars of text and image, and a new critical discourse for such analyses.
9
Charbonnier, Louise. "Les photographies dans le journal Libération : généalogie et caractéristiques d’une stratégie de distinction." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20069.
Full textAbstract:
Mobilisant le versant indiciel du signe photographique, la photographie de presse référentielle relève d’un dispositif de monstration du réel, porteur d’une promesse épistémique et d’une posture médiatique pédagogique. Une approche sémiodiscursive de la photographie de presse tente dans un premier temps de comprendre comment l’emprise de la vision photographique, et l’imaginaire de vérité techniciste de la preuve par l’image, sont mis en abyme et intentionnellement présupposés dans la stratégie testimoniale mise en œuvre par le discours d’information médiatique. On essaye ici de mettre au jour les facteurs d’activation de ce prédiscours, ses marques indirectes d’appel. Guidé par le même fil rouge qui avait motivé nos précédentes recherches – la notion princeps de regard –, on analyse alors en quoi les photographies de Libération peuvent se démarquer de cette figure imposée qu’est la photographie testimoniale, pour mettre en scène un regard singulier et décalé de l’instance médiatique sur le monde. En rupture avec les standards journalistiques attendus, la stratégie de Libération repose en effet sur une réécriture photographique sophistiquée de l’actualité – un réel art de faire visant des effets de connivence avec son lecteur. Praxis photographique, postures énonciatives, formes textuelles, procédés, visées communicationnelles, et fonctionnalités du cadre : les typologies et analyses élaborées dans cette thèse permettent de décrypter la stratégie de distinction de ce quotidien, études de cas à l’appuiMobilising the index side of the photographic sign, the referential press photograph is akin to a dispositif of monstration of the real, implying an espistemic promise and a pedagogical media posture. A semiodiscursive approach to press photography first attempts to understand how the hold of photographic vision and the imaginative world of technicist truth of image as proof are mis en abyme and intentionally presupposed in the testimonial strategy carried out by the discourse of media information. We shall try here to point out what triggers off this prediscourse, its enunciative marks.Following the same thread that had underlined our previous research – the princeps concept of gaze – we shall then analyse to what extent the photographs from Libération diverge from the compulsory figure of testimonial photography to stage a singular off-beat gaze of the medium upon the world. Breaking away from the conventional press standards, the strategy adopted by Libération lies upon a sophisticated photographic rewriting of current news – amounting to a real art de faire aiming at complicity with the reader. Illustrated with numerous cases in point, the typologies elaborated here enable us to decipher this strategy of differenciation at play in the building of a posture of enunciation, a photographic praxis, language habits and gimmicks, communicational objectives and finally of some functionalities of the frame which clearly mark out Libération as a distinctive daily newspaper
10
Vila, Laurent Defosse Marie-Françoise. "Gestion électronique des documents iconographiques au SICD de Strasbourg gestion de projet /." [S.l.] : [s.n.], 2008. http://www.enssib.fr/bibliotheque-numerique/document-2024.
Full textAbstract:
Projet professionnel personnel de bibliothécaire : gestion de projet : bibliothéconomie : Villeurbanne, ENSSIB : 2008.Texte intégral. Résumé en français et en anglais. Bibliogr. f. 53-57. Lexique de la GED.
Books on the topic "Illustrators; Photographers"
1
Loic, Zimmermann, Ahmadi Mike, and Autodesk Inc, eds. 3D tools for photographers, illustrators & graphic designers. [United States]: Autodesk, 2006.
Find full text
2
Herring, Jerry. The art & business of creative self-promotion: For graphic designers, writers, illustrators & photographers. New York: Watson-Guptill Publications, 1987.
Find full text
3
Mark, Fulton, ed. The art & business of creative self-promotion: For graphic designers, writers, illustrators & photographers. London: Columbus, 1987.
Find full text
4
RSVP 17: The directory of illustration and design. New York: Richard Lebenson, 1992.
Find full text
5
Lebenson, Richard, and Kathleen Creighton. RSVP 17: The directory of illustration and design. New York: Richard Lebenson, 1992.
Find full text
6
Chūmoku no josei kurieitā purofairu: The next generation : Japanese women designers, photographers and illustrators. Tōkyō: Pai Intānashonaru, 2010.
Find full text
7
Janet, Stoppee, ed. Stoppees' guide to photography and light: What digital photographers, illustrators, and creative professionals must know. Amsterdam: Elsevier/Focal Press, 2009.
Find full text
8
Evans, Poppy. Designer's survival manual: The insider's guide to working with illustrators, photographers, printers, Web engineers, and more ... Cincinnati, Ohio: HOW Design Books, 2001.
Find full text
9
Pyle, Howard. Howard Pyle: A record of his illustrations and writings. Mansfield Centre, Conn: Martino Pub., 2003.
Find full text
10
Pyle, Howard. Howard Pyle: His life-- his work : a comprehensive bibliography and pictorial record of Howard Pyle: illustrator, author, teacher : father of American illustration, America's foremost illustrator. New Castle, Del: Oak Knoll Press, 2004.
Find full textBook chapters on the topic "Illustrators; Photographers"
1
Richardson, Graham T. "Photographs." In Illustrations, 151–79. Totowa, NJ: Humana Press, 1985. http://dx.doi.org/10.1007/978-1-4612-4992-4_7.
Full text
2
Briscoe, Mary Helen. "Photographs." In Preparing Scientific Illustrations, 17–35. New York, NY: Springer New York, 1996. http://dx.doi.org/10.1007/978-1-4612-3986-4_3.
Full text
3
Briscoe, Mary Helen. "Photographs." In A Researcher’s Guide to Scientific and Medical Illustrations, 23–41. New York, NY: Springer US, 1990. http://dx.doi.org/10.1007/978-1-4684-0355-8_4.
Full text
4
Walsh, Thomas. "Illustrations in Oral Presentations: Photographs." In Writing and Speaking in the Technology Professions, 308–11. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119134633.ch52.
Full text
5
Sato, Tatsuo, and Kazuhiro Sakamoto. "Illustrations and Photographs of Surgical Esophageal Anatomy Specially Prepared for Lymph Node Dissection." In Color Atlas of Surgical Anatomy for Esophageal Cancer, 25–90. Tokyo: Springer Japan, 1992. http://dx.doi.org/10.1007/978-4-431-68198-4_3.
Full text
6
"List of photographers and illustrators." In Butrint 4, 323–24. Oxbow Books, 2013. http://dx.doi.org/10.2307/j.ctvh1dp16.21.
Full text
7
Caimari, Lila. "Languages of Crime." In While the City Sleeps. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520289437.003.0003.
Full textAbstract:
This chapter describes a period in which the most important national media outlets in Argentina began to alter the established language they used to describe crime, a moment when journalists, photographers, and illustrators began to deploy a wider set of resources to represent homicides, robberies, and kidnappings in the Buenos Aires press. The themes and methods of crime stories evolved and incorporated a new protagonist, the pistolero. Reporting popularized this figure to such a degree that it became difficult to separate the social phenomenon of “pistolerismo” from the advancements in the very graphic media that brought him to life: the expansion of their ability to reproduce images, the indulgent heterogeneity of their sources, and their commercial logic. The key to understanding the rise of the pistolero's visibility resides in the affinity between the new languages of mass entertainment and certain criminal practices.
8
Popenhagen, Ron J. "Impressions of the Covered Body." In Modernist Disguise, 14–33. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.003.0001.
Full textAbstract:
This chapter draws parallels between the development of photography as visual culture and images of concealing the face and body. The first section, ‘Veiled Exposures’, notes examples of the costumed and draped human form in late Romanticism through Realism, verismo and Symbolism. A history of Pierrot performances and photo portraits in Paris, Brussels and Marseille maps the stylistic changes that move the white-faced role from the classical to the sentimental and finally to the phantom grotesque. Citing the work of composers, illustrators, photographers and writers, associations with death and masking are introduced. ‘Skulls and Draped Bodies’, the final sub-section, comments upon the anxieties present in fin-de-siėcle images, including the shroud-fabric paintings of Ferdinand Hodler and the skulls in Odilon Redon’s prints and drawings. The chapter also chronicles the importance of professional portrait photography in Paris.
9
"Illustrations and photographs." In An Experts' Guide to International Protocol, 281–84. Amsterdam University Press, 2016. http://dx.doi.org/10.1515/9789048530625-027.
Full text
10
"Illustrations and Photographs." In A Family Practice, 209–10. University of Arkansas Press, 2020. http://dx.doi.org/10.2307/j.ctvz937pb.12.
Full textConference papers on the topic "Illustrators; Photographers"
1
Iranmanesh, Aminreza, and Resmiye Alpar Atun. "Exploring Patterns of Socio-spatial Interaction in the Public Spaces of City through Big Data." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5254.
Full textAbstract:
Research on socio-spatial aspect of cities has never been so vibrant and exciting. The form of urban life is changing and evolving with new advancements in communication and technology. Digital communication and social media has reshaped the way people as the actors of society interact with each other and with the network of city. New social networks and widespread of mobile devises can be used to create and reinforce existing social ties. Mobile devises also change the role of citizens from consumers into producers of data; they are the new reporters, photographers, videographers of everyday life. This production creates large quantities of data known as the “Big Data”. Big data has opened up many doors for researchers to investigate new aspects of cities. This paper aims to explore how people access urban public spaces through social media by taking the parameter of distance and physical proximity into account. We tried to investigate if different levels of accessibility effects the way people interact with space through social media. Through this process the study explored different socio-spatial patterns in the city that are being affected by social media. The research data was collect in two layers of Nicosia in Northern Cyprus: first, the geo-tagged social media data was collected from the target group, and it was located on the map. Twitter as a microblogging medium was selected for data collection due to its public nature, geo-tagged abilities, and manageable short content. Second, degrees of accessibility in local and global scale were calculated using Space Syntax. The data was analyzed using regression analysis, scatter plot, and outlier detention. The result shows various patterns in correlation of interactions between society and space; it illustrates the importance of exploring the outliers when reading big data on the city. The result shows clear importance of local accessibility even when social media is the effective variable.
2
Hedman, Paul O., Thomas H. Fletcher, Stewart G. Graham, G. Wayne Timothy, Daniel V. Flores, and Jason K. Haslam. "Observations of Flame Behavior in a Laboratory-Scale Pre-Mixed Natural Gas/Air Gas Turbine Combustor From PLIF Measurements of OH." In ASME Turbo Expo 2002: Power for Land, Sea, and Air. ASMEDC, 2002. http://dx.doi.org/10.1115/gt2002-30052.
Full textAbstract:
The objective of this study was to obtain instantaneous planar laser induced fluorescence (PLIF) images of OH in a laboratory-scale, gas-turbine combustor (LSGTC) with a pre-mixed, swirl-stabilized, natural gas flame. Instantaneous PLIF images of OH were obtained at each of four operating conditions (high swirl and medium swirl at fuel equivalence ratios of 0.80 and 0.65). Comparison of the instantaneous images illustrates the stochastic nature of the flame structure. Pixel by pixel statistical analysis of each collection of images allowed both mean and standard deviation images to be generated, and analysis at selected locations has allowed probability density functions to be obtained in various regions of the flame structure. PLIF images of OH, along with visual photographs and video recordings, showed a wide variation in flame structure for the different operating conditions. The variations in flame shapes are primarily a result of the effect of the swirl intensity and fuel equivalence ratio. Changes in the airflow rate over an order of magnitude do not seem to affect the visual flame structure in this experiment. Operation at φ = 0.80 produced the most stable flames with both injectors. The flame with the high swirl injector was more coalesced and closer to the injector than with the medium swirl injector. At φ = 0.65, the flame was quite unstable for both swirl injectors. With the medium swirl injector, the flame would oscillate between two different flame structures, one that was more or less attached to the vortex funnel, and one that was lifted well above the vortex funnel. The MS case at φ = 0.65 was at the very edge of the lean flammability limit, and would on occasion extinguish.
3
Kunkle, Claire M., and Van P. Carey. "Metrics for Quantifying Surface Wetting Effects on Vaporization Processes at Nanostructured Hydrophilic Surfaces." In ASME 2016 Heat Transfer Summer Conference collocated with the ASME 2016 Fluids Engineering Division Summer Meeting and the ASME 2016 14th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/ht2016-7203.
Full textAbstract:
A static contact angle is most often used as a means of quantifying the wetting characteristics of the liquid phase in vaporization processes at a solid surface. This metric is often convenient to measure and intuitive in its interpretation, but when a surface is superhydrophilic, the resulting low contact angles are difficult to measure accurately from photographs of sessile droplet profiles or contact line regions. For droplets at ultra low contact angles, small changes of contact angle can produce very large changes in wetted surface area, which makes small uncertainties in contact angle result in large uncertainties in wetted area. For hydrophilic nanostructured surfaces, another disadvantage is that the relationship of the macroscopic (apparent) contact angle to the nanoscale interaction of the liquid and vapor contact line with the nanostructured surface is not always clear. In this study, a new wetting metric based on spreading characteristics of sessile droplets is proposed that can be easily measured for hydrophilic surfaces. This metric also has the advantage that it is a more direct and sensitive indicator of how a droplet spreads on the surface. The spread area directly impacts heat transfer interactions between the droplet and the surface, therefore affecting evaporation time. Consequently, a metric that more directly illustrates the spread area provides an indication of how the wetting will affect these mechanisms. Use of the proposed new metric is explored in the context of evaporation and boiling applications with superhydrophilic surfaces. Characteristics of this metric are also compared to static contact angle and other choices of wetting metrics suggested in earlier studies, such as dynamic advancing and receding contact angles, and spreading coefficients. The effects of nanoscale structure and/or roughness on the proposed wetting metric are analyzed in detail. A model is developed that predicts the dependence of the proposed wetting parameter on intrinsic material wettability for rough, nano-structured surfaces. The model results demonstrate that the proposed metric is a more sensitive indicator of macroscopic wetting behavior than apparent contact angle when the surface is superhydrophilic. This characteristic of the proposed new metric is shown to have advantages over other wetting metrics in the specific case of superhydrophilic nanostructured surfaces. Application of the proposed wetting metric is demonstrated for some example nanostructured surfaces. The results of our study indicate that this proposed new metric can be particularly useful for characterizing the effects of variable wetting on vaporization processes on highly wetted nanostructured surfaces.
4
Rose, Jerry G., Paulo Fonseca Teixeira, and Nathan E. Ridgway. "Utilization of Asphalt/Bituminous Layers and Coatings in Railway Trackbeds: A Compendium of International Applications." In 2010 Joint Rail Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/jrc2010-36146.
Full textAbstract:
During the past thirty years the use of a layer(s) of hot-mix asphalt pavement within railway track structures has steadily increased until it is becoming a common consideration or practice for specific conditions and areas in several countries throughout the world. This practice augments, and for certain designs replace, the traditional granular support materials. It is considered to be a premium trackbed design. The primary documented benefits are to provide additional support to improve load distributing capabilities of the trackbed components, decrease load-induced subgrade pressures, improve and control drainage, insure maintenance of specified track geometric properties for heavy tonnage freight lines and high-speed passenger lines, and decrease subsequent expenditures for trackbed maintenance and component replacement costs. The asphalt layer is normally used in combination with traditional granular layers to achieve various configurations. This paper presents a compendium of International Asphalt Trackbed Applications. The various factors are discussed that are considered in the design phases and subsequent performance-based tests and analyses. Illustrations include typical sectional views of the trackbed/roadbed components and thicknesses and photographs of construction and finished views for various asphalt trackbed applications in several countries. Following are brief accounts for selected significant international activities emphasizing high-speed and intercity passenger rail line applications. In the United States the use of asphalt trackbeds has steadily grown since the early 1980’s. It is primarily used for maintenance (cure-all) applications in existing tracks to improve trackbed performance and for new trackbed construction where the projected superior performance of asphalt trackbeds can be justified economically. Typically the asphalt layer is 15 cm thick and is topped with conventional ballast. This application does not deviate significantly from typical designs, except the asphalt is substituted for a portion of the granular support materials. Several other countries are actively involved with the construction of new segments or complete rail lines using asphalt (frequently termed – bituminous) trackbeds. For instance, Japan has used asphalt trackbeds on certain test sections for their high-speed rail lines since the 1960’s, but since the 1970’s asphalt trackbeds with ballast cover is a standard on newly constructed rail lines. The 5-cm thickness of asphalt primarily serves as a waterproofing layer and facilitates drainage. The Japanese believe that this will assist in reducing subsequent maintenance costs associated with ballast fouling from subgrade pumping. The Japanese have recently instigated a performance-rank design system. Asphalt trackbed designs are either required or are an option for the two premium trackbed performance ranks. Italy represents another country heavily involved with incorporating asphalt trackbeds in their rail lines. In the late 1970’s Italy placed test sections of both asphalt and concrete on their original Rome to Florence high-speed line. From the Italian perspective the asphalt out-performed the other test sections, leading to standards requiring the use of asphalt trackbeds on all newly constructed high-speed passenger rail lines. The typical asphalt layer thickness is 12 cm. Germany has focused on using asphalt for ballastless trackbed designs. The main asphalt track in use in Germany consists of concrete ties or slab track placed on a 26 to 30-cm thick layer of asphalt. Various designs are incorporated into the system. Recently France installed a 3-km test section of asphalt on their Paris to Strasbourg Eastbound High-Speed Line. The French are currently observing the effects of high-speed trains traversing various test sections to determine how beneficial the use of asphalt trackbeds will be for future high-speed passenger lines. The sections are heavily instrumented for analyzing numerous trackbed induced effects on ride quality and other aspects. Other countries, a recent addition includes Spain, are involved to varying degrees with the development of asphalt trackbed technology, particularly for high-speed and intercity passenger rail lines. Pertinent information and documentation of recent findings and results are included in the paper.