Academic literature on the topic 'Landscape photography – Technique'
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Journal articles on the topic "Landscape photography – Technique"
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Pickard, John. "Assessing vegetation change over a century using repeat photography." Australian Journal of Botany 50, no. 4 (2002): 409. http://dx.doi.org/10.1071/bt01053.
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Repeat photography is a technique of detecting changes in the landscape by comparing old and more recent photographs taken at the same place. Information gained is used to detect landscape change as one component of historical ecology. Understanding the causes of any change detected requires additional information. The technique was pioneered in vegetation ecology in Arizona and has since been applied in many other parts of the United States. After a description of the technique, the American experience is reviewed and the problems of detecting change and assigning cause are discussed. The relatively few Australian examples are briefly summarised. There are many limitations of repeat photography, but these can be controlled through a careful approach. Although repeat photography has rarely been used in Australia, it has significant applications in education, in understanding past changes and in helping to help predict future changes in vegetation.
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Yaman, Hakan. "The Perception and Views of Photographers on Artistic Photography in Turkey." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 77–84. http://dx.doi.org/10.15294/harmonia.v18i1.14667.
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The purposes of this study are to know generally the perception and view of photographers on artistic photography in a purposeful sample in Turkey. Participants were purposefully selected (purposive sample) from the community of photographers because it would represent diverse photographers in Turkey. The survey included 19 questions and divided into three parts. Findings of our study revealed that most of the participants were at their middle-age, male, married, university graduates, private sector employed, DSLR users, amateur/ traveling-landscape-portrait photographers, and they shoot their photos to be happy, to document anything, and for spending time (Hobby). They mainly thought that photos should be taken for documentary reasons. The creativity is mainly dependent on perspective (or photographic seeing). Good photography could be achieved with good photographic technique, a good photo is relying on the influence to the spectator, photo critics/reading should be mainly based on technique, the most influential movement is realism, artistic photography will improve, photography in future will improve, and some are participating in photographic projects. The results show that good grounds exist in Turkey to shape artistic photography for the needs of the 21st century.
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Bozhko, E. M., and M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.
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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the city and its environs. Lead amaze with its accuracy. At that time, such images served as photographs. The requirements for the paintings corresponded to their purpose: the accuracy of the image of objects, down to the smallest detail. With the advent of photography, the requirements for graphic images have lost their relevance. The camera can accurately capture the object, transmit small details better than the artist. The changes that are taking place in modern realistic painting are connected precisely with the appearance of photography. Many modern impressionists, trying to impress the landscape they saw, write sketches with wide, wide strokes. For the sake of such a technique, they ignore many important elements of the landscape in order to maximize the expressiveness of their work. Modern artists working in the realistic direction of the architectural landscape pay attention to color reproduction, color of painting, while paying due attention to drawing, linear perspective and construction. Painting and photography at the present stage are fundamentally different from each other. Painting corresponds to its name - living writing, generalization, typification and stylization of forms, the viewer's impression of lightness, airiness and illumination. Modern realistic painting is modified relative to the painting of the VIII-XIX centuries. This process is due to the technical development of the modern world, the advent of digital photography, new materials for creativity. Picturesque language goes into the language of flowers. Professional art education plays a fundamental role in understanding the landscape as a genre of painting. Education allows you to combine composition, the picturesque effect, which is an innovation in realistic landscape painting, for the complete deep impression of the viewer.
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Vávrů, Petr, and Helge Viken. "Mapping of Greenland landscape using aerial photography and orthophotography (Technical Note)." Czech Polar Reports 3, no. 2 (June 1, 2013): 208–12. http://dx.doi.org/10.5817/cpr2013-2-21.
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Aerial photography is an important tool for mapping on local scale. In the paper, description of aerial photos taken over several urban and natural landscape sites in West Greenland is given as well as their processing. Using a high-resolution software, aerial photos were processed and digital terrain models (DTMs) of the sites produced. Technique of contour lines was used to check the created DTM for particular site. Finally, orthophotos of all sites were produced. In this Technical Note, several sites located on Western coast of Greenland are presented and the use of maps generated from orthophotos is discussed.
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Gawryszewska, Beata Joanna, Maciej Łepkowski, Łukasz Pietrych, Anna Wilczyńska, and Piotr Archiciński. "The Structure of Beauty: Informal Green Spaces in Their Users’ Eyes." Sustainability 16, no. 4 (February 15, 2024): 1619. http://dx.doi.org/10.3390/su16041619.
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Informal Green Spaces (IGS) in towns and cities are areas of varied appearance, representing a wide range of aesthetic values. In this study, we have focused on how users perceive such space and which elements match some particular values. Based on the analysis of photographic images taken by chosen IGS visitors, the technique called Visitor-Employed Photography (VEP), we elicited three primary groups of IGS images, namely landscape, scenery, and special elements. It is possible to define several visual structures in each category, with highly preferable spatial fragments and particular attributes. They are aesthetic prototypes, centers of aesthetic preferences among users of informal green areas. Recognizing proximity to the preference core allows us to define the preferred IGS landscape aesthetics. Based on the data collected, we have concluded that IGS users prefer vast grass areas, dense groups of trees and shrubs, water, and the absence of anthropogenic elements.
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Sumarta, I. Wayan Ardi. "Persuasive Discourse on the Application of Worship Mosque in Denpasar A Case Study of Landscape Linguistics." e-Journal of Linguistics 16, no. 2 (July 31, 2022): 188. http://dx.doi.org/10.24843/e-jl.2022.v16.i02.p04.
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The existence of outdoor signs in places of worship not only conveys information, but also has the intention of persuasive invitations or appeals and contains symbolic meanings. This study aims to analyze the outdoor signs that exist in the mosque environment around Denpasar. The source of the data for this research is outdoor signs in mosques around Denpasar. This study uses methods and techniques which are divided into three stages, namely (1) The method of data collection using the method of documentation and observation. Data collection techniques with observation and photography techniques. (2) Data analysis using qualitative methods. The data analysis technique used descriptive analytic technique by describing the facts which were then followed by data analysis; (3) Presentation of the results of data analysis using informal methods and formal methods with the help of deductive techniques. The results show that outdoor signs are not only information elements such as announcements or notifications, but also have persuasive power and meaning.
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Petino, Gianni, Maria Donata Napoli, and Mario Mattia. "Landscape, Memory, and Adverse Shocks: The 1968 Earthquake in Belìce Valley (Sicily, Italy): A Case Study." Land 11, no. 5 (May 20, 2022): 754. http://dx.doi.org/10.3390/land11050754.
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The interaction between humans and nature dramatically reveals the role of sudden and destructive events in the progressive and never-ending trend of depletion of the territorial dimension of the Belìce Valley (Valle del Belìce, Sicily, Italy). If on the one hand a tragic event, such as the earthquake of 1968, that destroyed towns and villages in the Belìce Valley, represented a moment of pain and suffering for local communities and their territories, on the other, more than 50 years after the event, we are able to shed light on the reaction to the earthquake effects through an in-depth analysis of the heritage of the physical and immaterial rubble. Our research is aimed at framing, through special geovisual tools, the paths of this rebuilding process and to verify whether the “new” interaction of humans and nature has reached an acceptable balance. After introducing the concept of landscape and investigating some local manifestations within the Belìce Valley, we tackle the technical question of re-photography as a powerful and quick method for observing the territorial changes that occurred after the earthquake. This approach is based on the collection of historical photographs and, subsequently, onsite activities for the creation of a contemporary archive of images. The method used for comparing the images was that of re-photographic overlapping, a useful technique to compare different moments of the history of a landscape and to analyze the effectiveness of the process of rebuilding. Finally, this analysis introduces us to a new perspective where in our opinion, it is possible to frame some features of the Belìce Valley and some more general aspects that are useful for other territories hit by destructive events and having to face choices related to the future of their communities.
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Varhola, A., G. W. Frazer, P. Teti, and N. C. Coops. "Estimation of forest structure metrics relevant to hydrologic modelling using coordinate transformation of airborne laser scanning data." Hydrology and Earth System Sciences 16, no. 10 (October 23, 2012): 3749–66. http://dx.doi.org/10.5194/hess-16-3749-2012.
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Abstract. An accurate characterisation of the complex and heterogeneous forest architecture is necessary to parameterise physically-based hydrologic models that simulate precipitation interception, energy fluxes and water dynamics. While hemispherical photography has become a popular method to obtain a number of forest canopy structure metrics relevant to these processes, image acquisition is field-intensive and, therefore, difficult to apply across the landscape. In contrast, airborne laser scanning (ALS) is a remote-sensing technique increasingly used to acquire detailed information on the spatial structure of forest canopies over large, continuous areas. This study presents a novel methodology to calibrate ALS data with in situ optical hemispherical camera images to obtain traditional forest structure and solar radiation metrics. The approach minimises geometrical differences between these two techniques by transforming the Cartesian coordinates of ALS data to generate synthetic images with a polar projection directly comparable to optical photography. We demonstrate how these new coordinate-transformed ALS metrics, along with additional standard ALS variables, can be used as predictors in multiple linear regression approaches to estimate forest structure and solar radiation indices at any individual location within the extent of an ALS transect. We expect this approach to substantially reduce fieldwork costs, broaden sampling design possibilities, and improve the spatial representation of forest structure metrics directly relevant to parameterising fully-distributed hydrologic models.
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Varhola, A., G. W. Frazer, P. Teti, and N. C. Coops. "Estimation of forest structure metrics relevant to hydrologic modeling using coordinate transformation of airborne laser scanning data." Hydrology and Earth System Sciences Discussions 9, no. 4 (April 25, 2012): 5531–73. http://dx.doi.org/10.5194/hessd-9-5531-2012.
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Abstract. Accurate characterizations of the complex and heterogeneous forest architecture are necessary to parameterize physically-based hydrologic models that simulate precipitation interception, energy fluxes and water dynamics. While hemispherical photography has become a popular method to obtain a number of forest canopy structure metrics relevant to these processes, image acquisition is field-intensive and therefore difficult to apply across the landscape. In contrast, airborne laser scanning (ALS) is a remote sensing technique increasingly used to acquire detailed information on the spatial structure of forest canopies over large, continuous areas. This study presents a novel methodology to calibrate ALS data with in-situ optical hemispherical camera images to obtain traditional forest structure and solar radiation metrics. The approach minimizes geometrical differences between these two techniques by transforming the Cartesian coordinates of ALS data to generate synthetic images with a polar projection directly comparable to optical photography. We demonstrate how these new coordinate-transformed ALS metrics, along with additional standard ALS variables, can be used as predictors in multiple linear regression to estimate forest structure and solar radiation indices at any individual location within the extent of an ALS transect. This approach is expected to substantially reduce fieldwork costs, broaden sampling design possibilities, and improve the spatial representation of forest structure metrics directly relevant to parameterize hydrologic models.
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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.
Dissertations / Theses on the topic "Landscape photography – Technique"
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Harrild, Christopher S. "Exploring the Potential of Resident Employed Photography as a Context Sensitive Technique in Roadway Design." DigitalCommons@USU, 2014. https://digitalcommons.usu.edu/etd/2065.
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The purpose of the study was to explore the potential of resident employed photography as a context sensitive assessment tool in roadway design by identifying the key elements of resident employed photography and context sensitivity and then exploring the potential of the elements of resident employed photography that may contribute to context sensitivity in roadway design. State and federal transportation agencies have identified principles and potential outcomes with the intent to guide processes that are sensitive to the context of a project’s surroundings. The improved design of public roadways to meet the needs of those who live and travel along them is the goal of these agencies. Resident employed photography is the use of a photograph to obtain information from a participant. The study explored resident employed photography as a context sensitive technique in the discovery of the attributes that reflect and define participant attachment to an environment. The technique therefore relied upon the existing community in the establishment of elements of value to be used to shape and guide the roadway design of the realignment of Utah State Route 30 through a neighborhood in Logan, Utah. Cameras and photograph logs were distributed to households in the residential area and participants were invited to provide contextual information about their neighborhood with regard to the proposed realignment. This information was gathered and analyzed using a grounded theory approach. The data derived from the participant’s photos, written comments, and interviews shaped and added to the research questions and resultant theory. In the study, areas of concern and mitigation ideas as identified by the participants found that a complete streets approach focused on maintaining or improving the feel of the neighborhood may be the best possible alternative in the realignment of SR-30. However, the success of this alternative is largely dependent upon a design professional’s consideration of the contextual relevance of the data provided through resident employed photography.
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Leonardi, Carlos César. "A construção da represa Guarapiranga: imagem, técnica e paisagem." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-01102018-193535/.
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O trabalho visa por meio de um conjunto de imagens fotográficas da Fundação Energia e Saneamento e de outras fontes correlatas do período analisar historicamente a construção da represa Guarapiranga (1906-1909) em Santo Amaro, ao sul da cidade de São Paulo, bem como discutir as alterações da paisagem e as técnicas de engenharia envolvidas no processo. Tratava-se de um empreendimento da canadense The São Paulo Tramway, Light and Power Company Ltd., companhia de força e luz a se instalar no Brasil, em 1899. Para tanto, apresenta-se também a história da ocupação do Estado e as demandas de água e energia na região, sobretudo em fins do XIX e começo do XXThe work aims at historically analyzing the construction of the Guarapiranga dam (1906-1909) in Santo Amaro, south of the city of São Paulo, through a series of photographic images of the Energy and Sanitation Foundation and other related sources. Besides, it intends to discuss the landscape changes promoted by and the engineering techniques employed in the process. It was an enterprise of the Canadian The São Paulo Tramway, Light and Power Company Ltd., company of force and light to be installed in Brazil, in 1899. For this, we also present the history of the State occupation and the demands of water and energy in the region, especially in the late nineteenth and early twentieth centuries
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Cardoso, Silvia Helena dos Santos. "Estrada, paisagem e capim - = fotografias e relatos no Jalapão." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284439.
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Orientador: Luise WeissA biblioteca do IA acompanha 2 DVD-R
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T02:45:00Z (GMT). No. of bitstreams: 1 Cardoso_SilviaHelenadosSantos_D.pdf: 204143936 bytes, checksum: 8684d797a1436e3233a9c041032a67bb (MD5) Previous issue date: 2011
Resumo: Estrada, Paisagem e Capim - Fotografias e Relatos no Jalapão é uma pesquisa em Poética Visual constituída por viagens - como deslocamento e experiência estética - ao cerrado jalapoeiro, no interior do Estado do Tocantins. A fotografia digital e as anotações se constituem como expressão e desenvolvimento do percurso processual do trabalho realizado. As referências teóricas e visuais contaram com a Antropologia como essência, metodologia e inserção no campo de pesquisa e a Arte como espaço de reflexão e criação para o caminho poético. Diferentes questionamentos surgiram ao longo do desenvolvimento do fazer artístico e acabaram por delimitar o trabalho. Nesta pesquisa, arte, natureza e cultura tornam-se pares no processo de registro e percepção da intuição criativa fotográfica, enfatizando assim, o caráter de "work in progress". Um Livro de Fotografias e um DVD sonorizado com 170 imagens são apresentados como processo e resultado do trabalho poético
Abstract: Road, Landscape and Grass - Photographs and Reports in the Jalapão is a research in Poetic Visual consisting of travels - such as displacement and aesthetic experience - to the brazilian savannah, in the State of Tocantins/BR. The digital photography and the written summary notes are as expression and development of the proceedings of the visual work done. The theoretical and visual references counted with the Anthropology as well as essence, methodology and insertion in the field of research, and the Art to be a space for reflection and creation for the poetic way. Different questions have arisen in the course of the development of artistic making and ultimately define the work. In this research, art, nature and culture have become parts in the process of registration and perception of the creative intuition photographic, emphasizing the character of "work in progress". A book of photographs and a DVD with sound and 170 images are presented as a process and outcome of the research poetic
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Artes Visuais
Doutor em Artes
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Mercier, Lambert Marie-Philippe. "Reproduire pour déconstruire : le paradoxe de l'engagement dans la série Body techniques de Carey Young." Thèse, 2014. http://hdl.handle.net/1866/11968.
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La série Body Techniques (2007) a été réalisée par l’artiste britannique Carey Young dans le cadre d’une résidence offerte par la biennale de Sharjah, aux Émirats Arabes Unis. Les huit photographies de format tableau constituant la série montrent l’artiste qui, portant l’uniforme d’une femme d’affaires, réinterprète huit œuvres célèbres associées à la mouvance de l’art conceptuel. Des paysages singuliers, situés aux abords des villes de Sharjah et Dubaï, servent de toile de fond à ces actions et leur confèrent une aura futuriste. La présente analyse tâche de démontrer que la série est habitée par un paradoxe remettant en question le statut d’art engagé que l’artiste revendique pour son œuvre. Ce paradoxe se manifeste à travers trois axes, autour desquels s’articule notre réflexion : les médiations se glissant entre Body Techniques et les œuvres que la série réinterprète, la déconstruction du « médium » du paysage, et le rôle actif occupé par le dispositif photographique. Cet examen attentif de chacune des occurrences du paradoxe permet de révéler Body Techniques comme une incarnation exemplaire de la double contrainte traversant toute œuvre d’art contemporain engagé : celle permettant aux artistes de critiquer le système auquel ils participent, mais les forçant en retour à participer au système qu’ils critiquent.British artist Carey Young’s Body Techniques (2007) series was created in the context of a residency at the Sharjah Biennal, in the United Arab Emirates. The eight large-scale photographs of the series depict the artist, dressed in a business woman’s attire, reenacting eight famous works associated with conceptual art. The backdrops to these actions are unusual and futuristic-looking landscapes from in and around the cities of Dubai and Sharjah. This analysis attempts to demonstrate the paradoxical essence of the series, which calls into question the political status that Young claims for her artwork. The paradox unfolds through three axes, which are used to structure this investigation: the varied mediations between Body Techniques and the artworks it is inspired from, the deconstruction of the landscape as “medium”, and the active role played by the photographic apparatus. This detailed examination of each of the paradox’s occurrences serves to reveal Body Techniques as an exemplary embodiment of the double bind presiding over any work of political contemporary art: that which allows artists to criticize the system they participate in, but also constrains them to participate in the system which they criticize.
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Donaldson-Selby, Gavin Hugh. "Photorealistic visualisation of urban greening in a low-cost high- density housing settlement." Thesis, 2005. http://hdl.handle.net/10413/3380.
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Apartheid housing policies of the pre-1994 South African government, and the low-cost highdensity housing programmes of the post-1994 government, has given rise to numerous urban environmental problems, some of which could be addressed in a cost-effective and sustainable manner through urban greening, while simultaneously promoting biodiversity. Public participation in the planning of urban greening has been identified as being of vital importance, without which urban greening projects run a high, and expensive, risk of failure. Previous studies indicate that the greening priorities of residents in low-cost high-density housing settlements may differ considerably from those of managers and experts tasked with the protection and extension of the natural environment resource base. A system of participatory decision support is therefore required to reconcile the greening requirements of the community, and the ecological benefits of biodiversity. If language, literacy, map literacy and numeracy difficulties are to be avoided, and a sense of place or belonging is to be invoked, such a participatory decision support system should, ideally, be visually based, and capable of generating realistic eye-level depictions of the urban landscape. New computer-based landscape visualisation applications, which can directly utilise GIS, CAD and DEM data to produce detailed photo-realistic viewsheds, were deemed better suited to the task of visualising urban greening than existing GIS based mapping systems, CAD and traditional landscape visualisation methods. This dissertation examines the process of constructing a 3D computer model of the Mount Royal low-cost high-density housing settlement, situated in the eThekwini Municipality, KwaZulu-Natal, South Africa. Visualisations including terrain, natural features, indigenous vegetation, houses and roads were produced and submitted, with a questionnaire, to experts from different disciplines, Mount Royal residents and neighbors. Results from the expert survey indicate moderate support for visualisation in professional decision-making. However, both experts and residents expressed strong support for the accuracy and credibility ofthe visualisations, as well as for their potential in a participatory decision support system.Thesis (M.Sc.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.
Books on the topic "Landscape photography – Technique"
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Waite, Charlie. The making of landscape photographs. London: Collins & Brown, 1992.
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Lawson, Stephen. Laying it down: Some notes concerning ideas, images and cameras. [Morgantown, W.V.]: S. Lawson, 2005.
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Hŏ, Hŭng-mu. Taehan Min'guk sajin yŏhaengji: Tijit'ŏl k'amera sayongja rŭl wihan chich'imsŏ. Sŏul-si: Mijinsa, 2021.
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Busselle, Michael. Feng jing she ying. Xianggang: Wan li ji gou, Wan li shu dian chu ban, 1999.
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author, Devigne Nicolas, Delmas Julie, Thomas-Murin Frédérique, Bourdon Élise, Weisberg Gabriel P, Frumholz-Burtin Mô, Choulet Philippe 1951-, and Musée Gustave Courbet, eds. À l'épreuve du réel: Les peintres et la photographie au XIXe siècle. Lyon: Fage éditions, 2012.
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Vernon, Gorter, ed. Pro techniques of landscape photography. Tucson, AZ: HP Books, 1985.
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Schaub, George. Focus on digital landscape photography. New York: Lark Books, 2010.
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Ephraums, Eddie. Creative Elements: Landscape Photography - Darkroom Techniques. London: 21st Century Publishing, 1996.
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Schaub, George. Focus on digital landscape photography. New York: Lark Books, 2010.
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Sheppard, Rob. The magic of digital landscape photography. New York: Lark Books, 2010.
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Legorreta-Paulín, Gabriel, Marcus Bursik, Lilia Arana-Salinas, and Miguel Medina-Jaen. "Assessing Landslide Distribution for Landform Hazard Zoning Purposes: A Case Study on the Western Flank of Iztaccíhuatl Volcano, Puebla, México." In Progress in Landslide Research and Technology, Volume 3 Issue 1, 2024, 355–61. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-55120-8_25.
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AbstractIn volcanic terrains, landslides are major natural hazard, posing risks to human settlements and economic activity. The characterization and analysis of landslide distribution is important in understanding their behavior in the landscape. The aim of this paper is to present results of the ongoing research project in the Institute of Geography at the National Autonomous University of Mexico (UNAM), to analyze the distribution of landslides, and characterize landforms that are prone to slope instability. For the Río Xopanac watershed on the western flank of Iztaccíhuatl volcano, landforms and landslide distribution were ascertained through a landslide inventory map created from multi-temporal aerial photographs, field investigations and adaptation of the Landslide Hazard Zonation Protocol of the Washington State Department of Natural Resources, Forest Practices Division, in a GIS-based technology. This analysis divided the watershed into 13 mass-wasting landforms that were assigned slope-stability hazard ratings from low to very high. The overall hazard rating for this watershed was very high. The implementation of the technique yields information essential for policy makers here and in other areas of Mexico.
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John and Barbara Gerlach. "Techniques for Sharp Images." In Digital Landscape Photography, 74–95. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81093-5.00005-1.
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Kuropatwa, Justyna. "Moda na fotografię w Gdańsku na tle ziem polskich (do lat sześćdziesiątych XIX wieku)." In Życie prywatne Polaków w XIX wieku. Moda i styl życia. Tom 6. Wydawnictwo Uniwersytetu Łódzkiego, Instytut Historii i Stosunków Międzynarodowych UWM, 2017. http://dx.doi.org/10.18778/8088-801-2.07.
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The history of Polish photography started almost at the same time as in other European countries, so at the beginning of the forties of the XIXth century. Gdańsk was second city after Warsaw on a scale of Polish lands in terms of the number of photographic atelests. The aim of the chapter is to approximate the beginnings of photography in Gdańsk until the sixties of the XIXth century. There were presented the pioneers of photography in this city and the first and most important atelier, in which, there were used modern contemporary photographic techniques. The main source of retention of photographers was primarily portraits – individual, collective, family. Landscape photos were less popular due to their price and large size.
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Denevan, William M. "Research on Native Cultivated Landscapes in the Americas." In Cultivated Landscapes of Native Amazonia And the Andes, 3–12. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198234074.003.0001.
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Abstract Until recently, there has been little scholarly interest in the techniques and ecology of native1 cultivation2 systems in the New World. More attention had been directed towards agricultural3 origins and the history and nature of specific crops. It was assumed that few ancient fields still existed and that contemporary Indian cultivation was largely deteriorated and simplified and/or highly modified by European influences. Air photography, however, has revealed the existence of hundreds of thousands of early fields and associated remnant features which can be measured, excavated, and analyzed and their ecology and productivity reconstructed. Many indigenous cultivation techniques have continued relatively intact throughout the hemisphere to the present, and even where modified it may be possible to determine pre-European characteristics.
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Westervelt, James D. "Geographic Information Systems and Agent-Based Modeling." In Integrating Geographic Information Systems and Agent-Based Modeling Techniques for Understanding Social and Ecological Processes. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195143362.003.0010.
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As we enter the twenty-first century, decreasing computer costs continue to result in the development of new generations of computation-based land management tools. Geographical information systems (GIS) emerged from laboratories in the mid-1970s and became, by the mid-1990s, a mainstay of the land manager’s toolbox. During this time, GIS technicians moved from a role as the sole GIS operator to one that includes the design and development of decision support systems (DSS) developed on a foundation of GIS technologies. The land manager is now provided with interactive environments that provide limited, but directed, manipulation and querying of GIS data files. GIS, now a mature technology, is an incomplete tool. It allows for the capture and analysis of landscape system state information. Historic maps, satellite and high-altitude photography, survey data, communication networks, and other sources now provide a rich record of historic and present conditions. Our culture has now embraced the idea that ideas about the state of our landscapes should be formally captured. Ideas about how landscape works, however, remain concepts in the minds of land managers. These ideas develop through formal education, continual review of the literature, and perhaps most importantly, personal experiences during one’s career. While applications of GIS technologies reflect land manager knowledge about the land processes, the GIS does not easily allow that knowledge to be formally captured. The scientific community has now developed a rich array of formalized landscape processes in the form of computer simulations. Hydrologic engineers have a wealth of groundwater, surface water, and overland water flow simulation models. Regional planners offer simulations of urban growth and traffic flow. Ecologists are developing plant and community succession models , and models of habitat responses to land use patterns. Working with scientists, land managers can apply such models to their land management decision processes. However, each model focuses on only part of the landscape system. Full use of the scientific models to affect land management decisions will not occur until the models are integrated as components of a simulation-based geographic modeling system (GMS). Over the next decade experimental systems are expected to result in the release of commercially viable land simulation modeling environments. As we currently capture our understandings of state information in GISs, we will formalize our understandings regarding the dynamics of the landscape in GMSs.
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Sillars, Stuart. "Modern Pilgrims." In Picturing England between the Wars, 40–52. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198828921.003.0004.
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In the 1930s B. T. Batsford published many books about English life and landscape. All had modern-style dust jackets and contained around 150 photographs. Series titles including ‘The Modern Pilgrim’s Library’ suggest readers far from rural life. Introductions deplore loss of fields to suburbs and trippers with special disdain for bungalows, although the books encourage visitors to the very places being laying waste. Photographs include very few people, with only an occasional child or young woman: this is still a time of mourning. Other books discuss London, with up to date metropolitan images and a satirical tone; and Speed, in which outmoded English record-holders are proudly shown, while German aircraft display menacing strength. All the books match image and text with care and precision, and the layout makes careful use of current printing techniques; yet the effect is again one of a description from exile.
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Algeo, Katie, Ann Epperson, and Matthew Brunt. "Historical GIS as a Platform for Public Memory at Mammoth Cave National Park." In Geographic Information Systems, 1309–27. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2038-4.ch079.
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The Mammoth Cave Historical GIS (MCHGIS) fosters new understandings of a national park landscape as a historic farming community and offers a web-based platform for public memory of pre-park inhabitants. It maps the 1920 manuscript census at the household level over a streaming topographic map and georeferences Civilian Conservation Corps photographs of dwellings for visualization and analysis of the area’s population on the eve of creation of Mammoth Cave National Park. A web interface to the MCHGIS permits broader dissemination of archival holdings. Public participation GIS techniques are adapted to initiate a virtual site of public memory to supplement the history presented by institutionally-held materials with those donated from private holdings.
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Debost, Michel. "Images." In The Simple Flute, 111–12. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195145212.003.0036.
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Abstract There is a technique of interpretation. Interpretation is not something that comes to your instincts and hormones out of a clear blue sky. It takes study and thought, but it should feel natural to you and to your listeners. Interpretation should sound simple, because like culture, “It is what’s left when you have forgotten everything.” But too often culture (and knowledge of interpretation) is like jam: the less one has, the more one spreads it around. Music is sometimes descriptive. Titles are bestowed upon masterpieces after they have been composed. The “Moonlight” Sonata made Liberace very rich, but it can be listened to in broad daylight. The “New World” Symphony flatters America’s idea of itself, but it is, first of all, a beautiful symphony. Debussy himself titled La mer, but it goes beyond the imitation of wind and seagulls. A work of art should not represent anything but itself. The greatness of a painting is not in the likeness it gives of a landscape or of a face. Any good photograph can do that. Rather, it is a vision of the world through the mind, the heart and the hands of the artist. It is better than a faithful representation.
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Oikonomou, Maria. "Manteia, Mediality, Migration." In Classics and Media Theory, 291–312. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846024.003.0012.
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From the Oracle of Dodona to modern GPS, mediation and migration have been closely interrelated. In fact, migration can be conceptualized as passage through a complex field of decisions (junctions, entries, exits, obstacles, connections) whose every bifurcation is coupled to a medium to direct the migrant in her path. This chapter discusses this nexus between manticism and narratives of migration with regard to Greek mythology. In this respect, the shipwrecked alien Odysseus depends on a series of media; he descends to the underworld to consult the seer Tiresias as to how to operate in what Michel Serres calls a precultural topology of seams and fissures (the notorious vagueness of such auguries reflects both the uncertainties of migration and the rate of noise in media transmissions). Similarly, Oedipus’ visit at the Oracle of Delphi constitutes a crucial point in the mythological discourse as well as the protagonist’s topographical parcourse; it transforms the territory into a field of connections, alternatives, decisions, and catastrophes—a ‘tragic landscape’, which George Hadjimichalis’s installation Schiste Odos translates into various techniques of representation (scale models, maps, oil paintings, aerial photographs). Finally, such medializations also touch the migrant’s body. Derrida describes Oedipus at Colonus as a figure of transference and placelessness—marked, in Sophocles, by the unknown location of his grave—who nevertheless allows the founding of a new community, thus exhibiting the foreign as a politically and culturally creative factor.
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Rango, Albert, and Jerry Ritchie. "Applications of Remotely Sensed Data from the Jornada Basin." In Structure and Function of a Chihuahuan Desert Ecosystem. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780195117769.003.0019.
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Like other rangelands, little application of remote sensing data for measurement and monitoring has taken place within the Jornada Basin. Although remote sensing data in the form of aerial photographs were acquired as far back as 1935 over portions of the Jornada Basin, little reliance was placed on these data. With the launch of Earth resources satellites in 1972, a variety of sensors have been available to collect remote sensing data. These sensors are typically satellite-based but can be used from other platforms including ground-based towers and hand-held apparatus, low-altitude aircraft, and high-altitude aircraft with various resolutions (now as good as 0.61 m) and spectral capabilities. A multispectral, multispatial, and multitemporal remote sensing approach would be ideal for extrapolating ground-based point and plot knowledge to large areas or landscape units viewed from satellite-based platforms. This chapter details development and applications of long-term remotely sensed data sets that are used in concert with other long-term data to provide more comprehensive knowledge for management of rangeland across this basin and as a template for their use for rangeland management in other regions. In concert with the ongoing Jornada Basin research program of ground measurements, in 1995 we began to collect remotely sensed data from ground, airborne, and satellite platforms to provide spatial and temporal data on the physical and biological state of basin rangeland. Data on distribution and reflectance of vegetation were measured on the ground along preestablished transects with detailed vegetation surveys (cover, composition, and height); with hand-held and yoke-mounted spectral and thermal radiometers; from aircraft flown at different elevations with spectral and thermal radiometers, infrared thermal radiometers, multispectral video, digital imagers, and laser altimeters; and from space with Landsat Thematic Mapper (TM), IKONOS, QuickBird, Terra/Aqua, and other satellite-based sensors. These different platforms (ground, aircraft, and satellite) allow evaluation of landscape patterns and states at different scales. One general use of these measurements will be to quantify the hydrologic budget and plant response to changes in components in the water and energy balance at different scales and to evaluate techniques of scaling data.
Conference papers on the topic "Landscape photography – Technique"
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Cipolletti, Sara. "A taxonomy of vernacular heritage in the mid-Adriatic. Landscape relations and architectural characteristics of the farmhouses in Tronto Valley (Italy)." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15673.
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The hilly area of Central Italy represents one of the most original characteristics of Italian agrarian system distinguished by a particular form and technique of land management, la Mezzadria (sharecropping), which was a contract stipulated between a landowner and the farmer, reflected in the construction of open space as well as artifacts. The structure of rural settlements typical of sharecropping is a mosaic of terrains with scattered farmhouses (case coloniche), connected by a dense road network. The architecture of these structures is always the same with only slight variations articulated by the form of the terrain and in relationship with their use and the road pathways, and is characterised by a rectangular plan with the rooms dispersed on two floors and an external staircase which is the prevalent distinguishing trait. Sharecropping rural heritage represents an important case study for the analysis and cataloguing of vernacular architecture since artifacts come from precise needs linked to the social and cultural life of the farming family. This paper investigates vernacular rural architecture in Central Italy, particularly in the mid-Adriatic in the southern Marche Region, by building up an investigative and categorization method: selecting precise geographical areas where the original farmhouses have first been identified by studying historical maps of the 19th century before moving on to in situ exploration. Photography has also been a useful instrument for constructing the taxonomy of rural ruins which today are in a state of total abandonment; showing the photographs next to each other allows us to more clearly identify and understand subtle differences and suggest a reuse of the buildings.
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Olivares González, Adriana I., and Tania Córdova Martínez. "Coastal landscape management in mexican tourist regions: Punta de Mita case in Bahía de Banderas, Nayarit." In Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8157.
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This article analyzes the process of coastal landscape management in the Mexican tourist region from the transformation of the landscape of Punta de Mita. This peninsula is part of the interstate metropolitan zone of Puerto Vallarta - Bahía de Banderas, located between the State of Jalisco and State of Nayarit. It is one of three coastal metropolitan zones of Mexico.
This research has a qualitative approach and adopts the concept of the landscape defined by the European Landscape Convention as “any part of the territory, as perceived by people, whose character is the result of the action and interaction of natural and/or human factors” (Council of Europe, 2000).
The units of analysis were the peninsular zone of Punta de Mita and the actors who participated in their transformation. The information was collected through semi-structured interviews with key informants selected using the snowball technique, qualitative observation, review of official documentary sources (plans, projects, reports) as well as historiographical and aerial photographs.
The identification of the participation of each type of actor is highlighted in the transformation of the landscape: the State provides the land and enables for tourism investment; economic actors take ownership and monetize their aesthetic values; social actors are deprived of the use and enjoyment of the landscape. The symbols printed on the territory are mainly touristic and, in the second instance, natural whose conservation represents a point of agreement between the state and the residents.
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Van Dyck Murphy, Kelley. "The Accidental Beauty of the Productive Landscape." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.56.
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The Midwestern agricultural landscape is a tapestry shaped by natural and artificial forces. From above, patterns of use mani¬fest through grids, infrastructural lines, and irrigation circles, superimposed with other natural or manmade features. These patterns can be seen as expressions of our cultural values: layered compositions of regulation, agricultural production, and environmental conditions. Aerial imagery captures the complex interaction of natural and human logics by taking these patterns, formed without compositional intention, and presents them as cultural artifacts. This paper seeks to probe these accidental compositions as objects of reflection through the investigation of the production of aerial imagery, the adoption of landscape patterns in both art and architecture, and the exploration of these superimpositional techniques. Of particular interest are art and architectural practices that explore the tense relationship between man and environment through a reinterpretation of the captured landscape. Works by artist Andrea Zittel, photographer David Thomas Smith, and visual effects artist Aydin Buyuktas are considered as case studies that provide a critical context for the author’s public art installation, 3_6_._9_°,_ _-_8_9_._6_°. This project reinterprets the forms and patterns of the Midwestern agricultural land¬scape as a field of play. This installation, comprised of portions of discarded carpet, is inhabitable as drawing, surface, and representation of the landscape of Southeast Missouri. Here, the aerial landscape is a composition of values, and, applied to a vertical surface presents those values in a new light.
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Paredes, Carlos, Rogelio De la Vega-Panizo, and Miguel Ángel Ropero. "APPLICATION OF IMPROVED ACCURACY SFM-MVS FOR PHOTOGRAMMETRIC RESTITUTION AND COMPARISON OF PRE- AND POST-ERUPTION ARCHIVAL AERIAL IMAGERY ON DECEPTION ISLAND (SOUTH SHETLAND, ANTARCTICA)." In 3rd Congress in Geomatics Engineering. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cigeo2021.2021.12755.
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Despite today's extensive remote sensing imagery with all kinds of sensors, the use of old aerial imagery is still importantin the study of slowly evolving land processes to reconstruct past landscape forms. Numerous organisations sharephotogrammetric data in public repositories, offering opportunities to exploit them to identify historical, natural andanthropogenic topographic changes, which is particularly interesting if they are difficult to access areas, possibly affectedsince historic times by climate change and other geodynamic processes. This work proposes and applies a workflow basedon the SfM-MVS photogrammetric technique to 22 and 33 historical aerial photographs of the English FIDASE (1956/57)and Argentinean Navy (1968) flights, scanned at 1016dpi and 96dpi, black and white, of Deception Island (South Shetland,Antarctica). The photogrammetric processing controls the threshold values of the reconstruction uncertainties andprojection accuracy. The 3D point clouds obtained are geroreferenced with 37 ground control points (GCP) geographicallypositioned in a QuickBird2 satellite image over island areas not affected by volcanism. The quality of the DTM is controlledby comparison with the 1960 topographic map 1:25000 of the island, which allows the volumes of material emitted in thevolcanic eruption of 1967 to be evaluated. The results obtained improve considerably and extend the set of resultscompared to those obtained by classical contour line digitizing. The applied method, the DTM and orthomosaic of 1956and 1968 presented will allow us to evaluate, together with the analysis applied to later historical flights, English 1979 andChilean 1986, the recent changes produced by the recent volcanism, the local external geodynamics, the possible climaticdeterioration and the scope of current human activity from 1956 to the present day.
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Cova Morillo, Miguel Angel De la. "Le Corbusier y Charles Lasnon: De las maquetas blancas de los Salones de Otoño a los plan-reliefs del nuevo urbanismo." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.729.
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Resumen: El “mouleur” Charles Lasnon representa la convivencia que durante el primer tercio del siglo XX se dará entre las Artes y Oficios y las nuevas técnicas de representación vinculadas a la fotografía. Lasnon realizará para Le Corbusier una serie de maquetas que presentarán sus propuestas a escala doméstica y urbana, primera aproximación a una expresión tridimensional de sus teorías: los modelos 1:20 de los Salones de Otoño en 1922 y 1923, a camino entre el objet-type y la escultura de vanguardia, y las del “Urbanisme á trois dimensions” del Plan Obus y Nemours. Las maquetas de las Villas se establecerán como “manifiestos estéticos y arquitectónicos”. En ellas se ensayarán principios teóricos plásticos, previos incluso a una idea de construcción, indagaciones que abren la puerta a transferencias entre la representación a escala realizada en yeso y la arquitectura a realizar. Por otra parte, la vinculación de Lasnon con el Service Geographique de l’Armée le familiarizará con las nuevas técnicas de representación del territorio. Así, realizará los Carte-Relief de Argel coetáneamente a la ejecución de las maquetas de las propuestas urbanas argelinas de Le Corbusier, garantes no sólo del rigor geométrico de sus postulados: quedan en ellas registradas el paisaje original, cuya topografía se modela y manipula como si de un trabajo plástico se tratara. Utopías en busca de un lugar imaginado sobre un trozo de yeso. Abstract: Charles Lasnon, "mouleur",represents the coexistence between the Arts and Crafts and the new rendering techniques related to photography that took place in the first quarter of the twentieth century. Commissioned by Le Corbusier, Lasnon made in those years several models that represent his new proposals at a domestic and urban scale. That was the first approach to a three-dimensional expression of his theories –the scale models of 1:20 from "Salon d'Automne" in 1922 and 1923, which were halfway between objet-types and avant-garde sculptures, and the theories of "L'Urbanisme à trois dimensions" from Plan Obus and Nemours. The scale-models of "Villas" were established as “aesthetic and architectural manifestos”. They were used to test theoretical and plastic principles, formulated before the idea of construction. These tests resulted in "transfers" between plaster-craft scale models and the architecture to be built. Additionally, the links between Lasnon and the “Service Geographique de l’Armée” enabled him to be familiar with new techniques to represent landscape. Thus, Lasnon made the Carte-Reliefs d'Argel at the same time as Le Corbusier made the models for the urban proposals in Alger. These models not only guarantee the geometrical accuracy of his proposals, but also capture an original landscape whose topography is modeled as if it was a plastic craftwork. Utopias seeking an imaginary place on a plaster slice. Palabras clave: maqueta; moulage; Charles Lasnon; urbanismo; plan-relief; Salón de Otoño. Keywords: model; "moulage", Charles Lasnon; urbanism; plan-relief; Salon d'Automne. DOI: http://dx.doi.org/10.4995/LC2015.2015.729
Reports on the topic "Landscape photography – Technique"
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.
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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.