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Journal articles on the topic 'Landscape photography – Technique'
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1
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.
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Simon, Soares, José Henrique Schoereder, and Marcos Da Cunha Teixeira. "Environmental Response of Dinoponera lucida Emery 1901 (Hymenoptera: Formicidae), an Endemic Threatened Species of the Atlantic Forest Central Corridor." Sociobiology 67, no. 1 (April 18, 2020): 65. http://dx.doi.org/10.13102/sociobiology.v67i1.3662.
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Endemic species of Atlantic Forest Central Corridor may have evolved under adverse climate conditions, but their response to modern climate change is unclear. The aim of this study is to evaluate the response of the endemic and endangered ant species Dinoponera lucida to biotics and abiotics factors based on three scales: ecological factors inside forest fragment, physical attributes of landscape and climatic variables of the assessed region. Data collection took place in a representative selection of forest fragments in the region where the species is distributed in. Pitfalls were used to collect samples and to assure the presence and absence of the species in the site. We also checked the abundance of food resources and applied a hemispherical photography technique to measure shading inside the fragment, in loco. Landscape attributes data and climatic predictors were collected through geoprocessing techniques. All predictors were associated with binary “presence” and “absence” data based applied in logistic models. There was no significant response to environmental aspects within the fragment or to landscape, but there was strong and peculiar response to climatic variables such as temperature and rainfall. Accordingly, D. lucida presents a restricted realized niche, a feature shared among many endangered species that can disappear due to displacement and to habitat loss caused by climate and environmental changes. This species presents all the criteria necessary to be considered as rare, which is a controversial subject with political implications for Espírito Santo state, and makes D. lucida the ideal target for urgent conservation strategies.
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Gil, Milene, Yigit HELVACI, and Jose Mirao. "Modern Mural Paintings. The Planisphere Painting of Almada Negreiros: Technical and Material Features of Plasters and Painting Technique." International Journal of Conservation Science 14, no. 3 (September 15, 2023): 1265–76. http://dx.doi.org/10.36868/ijcs.2023.03.32.
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This paper presents the results of observations and analysis carried out in the modern mural painting of 54m2, known as Planisphere (or Mapa-mundi), made by Almada Negreiros in 1939 in the city of Lisbon. The painting is Almada’s first monumental painted work at fresco, and it is a striking, colourful composition inspired by early world maps of navigators. The aim is to ascertain how he built up this masterpiece and what artistic sources could have inspired him. The analytical setup comprised in-situ technical photography in the visible (Vis and Vis-Rak) and near infrared radiation (NIR), Vis-handled-Optical microscopy, complemented by laboratorial analysis of microsamples collected from paint layers with OM-Vis-UV and SEM-EDS. The data obtained was compared with the painting compendiums of Paul Bedouin’s La fresque. Sa Technique-ses applications (1914) and of Costin Petresco’s L’art de la fresque (1931), retrieved from the artist studio in 2019. The study reveals the first technical and material features found, such as the painting execution by large giornate, the use of different types of techniques to transfer the drawings to the wall, and the presence of paint layers made with buon and lime fresco. The results also reveal the likely strategies used by Almada to overcome the challenges imposed by a fresco execution, inspired by both eastern and western mural painting traditions.
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Likhacheva, Alexandra S. "Landscapes of Galicia as Viewed through the Camera: Visualization of Belligerent Spaces of the First World War." Izvestia of the Ural federal university. Series 2. Humanities and Arts 26, no. 1 (2024): 36–57. http://dx.doi.org/10.15826/izv2.2024.26.1.003.
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This article analyses practices of capturing the experience of the First World War on the Eastern Front and the construction of militarized life worlds by combatants of the Russian Army and photojournalists. The author aims to determine the significance of the belligerent landscapes of Galicia in the formation of participants’ specific behavioural strategies and practices in the first industrial war. Methodologically, the author relies on the synthesis of approaches of spatial research and visual anthropology, conceptual provisions of landscape studies, and cultural geography. To analyse the photographic situation on the Eastern Front of the First World War, the peculiarities of the further existence of visual images in group and collective communication, identify techniques for constructing the image of the Galician environment in 1914–1915, the author refers to photographic sources of the Russian State Archive of Film and Photographic Documents. A key thesis of the study is the assumption that through the practice of photographing militarized landscapes, mental maps of alien space were constructed, and the imaginary appropriation of the territory annexed by the law of war took place. As a result, the author concludes that the landscapes of Galicia in photographs are a phenomenological construct, and not a direct reflection of reality or objective evidence. The photographic situation itself acts as an interpretation because photographers follow the imperatives of their own (prewar) life experience, the ideas formed by the prevailing discourses, consider the technical limitations of the era and shocking experiences in the spaces of death. The author also reveals the therapeutic function of war visualization and the role of the camera as a protective barrier for the photographer. The analysis determines the dynamic relationship of strategies for capturing military experience with the course of hostilities, as well as the need to study photographic albums dedicated to the life of individual units of the Russian Army or representing a series of images in a particular locality of Galicia as a whole and consistent photographic travelogue. The modern interpretation of military photographs makes it possible to reveal a layer of environmental consequences of the First World War in Eastern Europe which is latent for the photographer.
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Fadia, Aqila. "ANALISIS KOMPOSISI FOTOGRAFI PADA FOTO FASHION EDITORIAL ‘SWARNADWIPA’ KARYA NICOLINE PATRICIA MALINA." JURNAL Dasarrupa: Desain dan Seni Rupa 4, no. 2 (December 26, 2022): 6–18. http://dx.doi.org/10.52005/dasarrupa.v4i2.130.
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One of the activities to express yourself is through photography. Photography is not just an activity to take pictures or take pictures. However, expertise is also needed to be able to apply the basic techniques and composition of photography properly so that the resulting photos are more interesting. One Indonesian female photographer whose works are very interesting is Nicoline Patricia Malina. Nicoline is very famous for her Fashion Photography work. Nicoline's Fashion Photography works are usually used for editorial purposes. One of them is entitled 'Swarnadwipa'. In this photographic work, Nicoline uses a photographic composition of leading lines, symmetry, fill the frame, and the rule of third in portrait and landscape photo formats. Nicoline also uses a combination of gold tones which is a concept from the 'Swarnadwipa' photo series, and there are several other colors such as brown, black, gray and silver. Apart from that, Nicoline also used the Borobudur Temple building as a background for the 'Swarnadwipa' photo. This analysis uses a descriptive qualitative method, which aims to find out what photographic compositions are used in the 'Swarnadwipa' editorial fashion photo as well as to find out what the relationship between the photographic composition and the concept of 'Swarnadwipa'.
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Tom, Martin, and Balaji Ranganathan. "Beyond the Frame: Exploring Dimensions of Colonial Photography in India." Shanlax International Journal of Arts, Science and Humanities 11, no. 3 (January 1, 2024): 91–97. http://dx.doi.org/10.34293/sijash.v11i3.6913.
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The paper “Beyond the Frame: Exploring Dimensions of Colonial Photography in India” delves into the multifaceted dimensions of photography’s inception in India during the colonial era. Investigating photography as both an art form and a technological import by the British, it explores its role in representing and often misrepresenting India and its people. Focusing on early pioneers such as the Daniel brothers, Fox Talbot, Louis Daguerre, and Monsieur Montaino, the paper discusses the challenges of early photographic techniques and their evolution. It highlights figures like Linnaeus Tripe, John Murray, and Samuel Bourne, emphasizing their impact on documenting India’s landscapes, monuments, and social narratives during moments of historical significance like the 1857 revolt. Furthermore, the paper examines the colonial gaze inherent in early ethnographic photography and discusses the emergence of Indian photographers like Raja Deen Dayal. Overall, it underscores photography’s pivotal role in representing colonial power dynamics and cultural narratives in India, amalgamating art history, media theory, and postcolonial studies.
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Rix, Keelie, Sara Valadas, Ines Cardoso, Luis Dias, and Milene Gil. "Preliminary Diagnostic Survey of Deteriorated Paint Layers at the Maritime Station of Rocha Do Conde De Óbidos, Lisbon: A Multianalytical Research." International Journal of Conservation Science 14, no. 3 (September 15, 2023): 1249–66. http://dx.doi.org/10.36868/ijcs.2023.03.31.
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This paper reports the preliminary diagnostic survey of the six controversial mural paintings painted in 1946–49 at the Maritime Station of Rocha do Conde de Óbidos in Lisbon, considered the artistic epitome of Almada Negreiros mural painting art. Four research questions drove this research: a) What are the main decay phenomena present and their sources? b) Which are the paint layers most affected, and are they linked to a particular pigment? c) Is there any relation between the painting technique used and the deterioration or stability of the paint layers and pigments? And finally, d) Are there differences in the decay phenomena present in both maritime stations of Alcântara? The analytical setup comprised in-situ and laboratory analysis by way of technical photography documentation (TP), handled optical microscopy (h-OM), handheld X-Ray Fluorescence (XRF), complemented by optical microscopy of microfragments and cross sections (OM-Vis-UV), X-Ray Diffraction (XRD), and Scanning Electron Microscopy coupled with Energy Dispersive Spectroscopy (SEM-EDS).The first results indicate flaking of the paint layers as the main and most severe deterioration feature present in most of the murals. The yellow ochres, browns, blacks, and light greens are the colours most affected, showing different degrees of loss. The pictorial technique used, the presence and action of soluble salts in the structure, and even the products used as adhesives during past interventions might be the root of this phenomenon.
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Apriyadi, Wiwid Widya, Arti Wulandari, and Oscar Samaratungga. "Yogyakarta Dalam Fotografi Impresionisme." spectā : Journal of Photography, Arts, and Media 5, no. 1 (March 17, 2022): 51–60. http://dx.doi.org/10.24821/specta.v5i1.5007.
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Yogyakarta in The Impressionism Photography. The creation of photographic works with the title “Yogyakarta in Impressionism Photography” aims to present the scenery of Yogyakarta area using photographic techniques that look like an impressionist painting. The main objects in these photographic works are historical and natural tourist attractions in Yogyakarta area. The intensity of experience and feeling conveyed in this creation of photographic work are the feeling of boredom of the routines that are carried out in photographing, especially taking landscape photography. The method implemented for the photo creation was to have exploration and experimentation in photographing landscapes. Exploration and experimentation are conducted by moving the camera around the object or moving the camera during the image recording process. The result of the creation of this artwork is that photographic works resemble the impressionist paintings. ABSTRAKPenciptaan karya fotografi dengan judul "Yogyakarta dalam Fotografi Impresionisme" bertujuan untuk menampilkan objek pemandangan Yogyakarta yang dikemas dengan teknik fotografi dengan visualisasi berbentuk seperti lukisan impresionisme. Objek utama dalam penciptaan karya fotografi ini adalah tempat wisata bersejarah dan wisata alam di kawasan Yogyakarta. Intensitas pengalaman dan perasaan yang dituangkan dalam penciptaan karya fotografi ini adalah rasa jenuh terhadap rutinitas yang dilakukan dalam memotret, terutama memotret fotografi panorama. Rasa jenuh ini mendorong untuk melakukan eksplorasi dan eksperimentasi dalam memotret panorama. Eksplorasi dan eksperimentasi dilakukan dengan cara melakukan pemotretan memutari objek dan menggerakkan kamera pada saat proses perekaman gambar.Hasil dari penciptaan karya seni ini adalah karya fotografi dengan kesan lukisan impresionisme.
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Buriak, Larysa, and Wiktoria Kudela-Świątek. "Decoding the Images of the Polish Countryside, by Louise Arner Boyd (1887-1972)." Krakowskie Pismo Kresowe 15 (December 16, 2023): 97–126. http://dx.doi.org/10.12797/kpk.15.2023.15.07.
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This article looks at the photographic legacy of Louise Arner Boyd’s (1887-1972) expedition through the Second Polish Republic in the context of her discovery of the otherness and social diversity of the country she visited in 1934. The authors were particularly captivated by the portrayal of the Ruthenians/Ukrainians of what is now Western Ukraine, as depicted in the Boyd photography. The authors focus lies on the unprocessed photographic content from the library collections of the University of Wisconsin-Milwaukee and the book she published a few years after her journey with the cooperation of the American Geographical Society in New York. The authors told the story of Louise A. Boyd’s trip to Poland primarily to introduce the reader to the context of the creation of the photographic collection, in which authors try to discover content and meanings that have not been sought before. Their analysis of the making-off process and reception into academia for Boyd’s book entitled Polish Countryside is also crucial to understanding that it is only a part of the collection. It is a specific vision and a compromise between the photographer’s and the publisher’s expectations. The Boyd photographic collection focused on rural landscapes and the architecture of villages and farms, capturing various farming methods, road and water transport scenes, village types and traditional clothing. With meticulous descriptions and detailed lists of the photographed locations and subjects, the collection serves as valuable documentation of building styles and techniques, traditional costumes, transportation, markets and agricultural and fishing practices. Thanks to Boyd’s skilled photographer’s eye, she was able to capture visually attractive photographs that also serve as scientifically intriguing documents of a bygone era. The significance of these photos extends beyond the confines of ethnography, as we have endeavoured to emphasise in this article. Through reinterpreting Ruthenians/ Ukrainians portraits in Boyd photographs after almost a century, we aim to grasp the preserved and concealed contexts, thereby reconstructing, if not the complete image, at least its distinct components. However, the images of contemporary Western Ukraine and its inhabitants by Louise Arner Boyd that the authors analysed are currently in the photography collection mentioned above from the UWM as part of the digitalised archive of the American Geographical Society. The authors had attempted to look at them both as an example of ethnographic photography typical of the interwar period and a unique image of a world that no longer exists. In the authors’ opinion, Louise A. Boyd’s photograms, placed as raw ethnographic material in the mentioned repository of the UWM library, today have the value that she wanted to give them from the beginning when she was considering the publication of Polish Countrysides, and they are a reminder of a world whose traces have almost disappeared today.
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Scott, Samantha L., Rick Rohde, and Timm Hoffman. "Repeat Landscape Photography, Historical Ecology and the Wonder of Digital Archives in Southern Africa." African Research & Documentation 131 (2017): 35–47. http://dx.doi.org/10.1017/s0305862x00022512.
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Environmental history projects using repeat photography often involve the acquisition of large collections of historical and current images, matching those images for comparative analysis, and then cataloguing and archiving the imagery for long-term storage and later use (Webb et ah, 2010). When used in combination with other techniques, repeat photography is an excellent tool for documenting change (Gruell, 2010) and has been used in a variety of disciplines, including historical ecology, to determine changes in plant populations, soil erosion, climate trends and ecological processes to name a few. Historical photographs often provide greater temporal range to an analysis compared to, for example, satellite imagery and in many cases even aerial photography (Gruell, 2010).
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Scott, Samantha L., Rick Rohde, and Timm Hoffman. "Repeat Landscape Photography, Historical Ecology and the Wonder of Digital Archives in Southern Africa." African Research & Documentation 131 (2017): 35–47. http://dx.doi.org/10.1017/s0305862x00022512.
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Environmental history projects using repeat photography often involve the acquisition of large collections of historical and current images, matching those images for comparative analysis, and then cataloguing and archiving the imagery for long-term storage and later use (Webb et ah, 2010). When used in combination with other techniques, repeat photography is an excellent tool for documenting change (Gruell, 2010) and has been used in a variety of disciplines, including historical ecology, to determine changes in plant populations, soil erosion, climate trends and ecological processes to name a few. Historical photographs often provide greater temporal range to an analysis compared to, for example, satellite imagery and in many cases even aerial photography (Gruell, 2010).
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Котик, Татьяна. "Особенности Новой Украинской Школы: применение исследовательского подхода к обучению младших школьников." Studia Gdańskie. Wizje i rzeczywistość XV (June 15, 2019): 321–34. http://dx.doi.org/10.5604/01.3001.0014.0491.
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The article is devoted to the actual problem of developing the cognitive and reading activity of junior pupils. The author’s technique of formation the research skills of junior pupils at literary reading lessons is highlighted. The leading conditions for the implementation of the technique are the use of such modes as “immersion” of children into the world of landscape lyrics by means of various kinds of art (literature, painting, photography, music); stimulation of creative self expression and children’s reading activity in their study of poetry (group research on creation of a score of expressive reading, linguistic experiment, comparative analysis of one or different authors’ works as well as works belonging to different kinds of art); introduction of research training methods : the search for a problem that is going to be investigated on the material of a literary work; formulation of problem solving questions by pupils that will form the basis of the training task (on ascertainment of cause-and-effect relationships; on formation of ability to think critically, defend their personal position; on comparison and confrontation); joint working out an action plan to answer a problematic question; individual search activity; meaningful answer to the problem question). We have come to the conclusion that the proposed method of work on familiarization of junior schoolchildren with literary works on the principles of research approach will help to form students’ continuous interest in reading, to activate readership, to prepare for independent, creative acquaintance with new works at literary reading lessons on the basis of formed research skills.
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Bohnen, J. L., and A. M. Hanchek. "630 (PS 3) PRAIRIE PLANT SEED AND SEEDLING IDENTIFICATION." HortScience 28, no. 5 (May 1993): 541d—541. http://dx.doi.org/10.21273/hortsci.28.5.541d.
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Photographic resource materials to assist in identification of seeds and seedlings of grasses and forbs native to Minnesota prairies are being developed as part of a grant from the Legislative Commission on Minnesota Resources. Native plant materials are being used for habitat improvement, roadside vegetation, and landscape plantings throughout Minnesota. Seeds were obtained from producers or collected from prairie remnants. Seed photographs were taken with a Wild Leitz stereomicroscope and camera unit using Kodak EPY 64T film. Magnification was 6.5X, 10X, or 16X based upon seed size. Seedlings were photographed with one or two true leaves using Kodak EPY 64T film with a Nikon FM2 camera with a 55 mm micro Nikkor macro lens and an extension tube when necessary. Nondestructive sampling using photographic techniques provides a relatively quick and inexpensive means of recording information on potentially rare species. The color pictures and slides developed in this project provide an effective tool for educators, producers and land managers to easily distinguish between seeds and seedlings of valuable native plants and those of weedy species undesirable in restoration projects or cropping systems.
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Millington, Jennifer A., Colin A. Booth, Michael A. Fullen, Glenis M. Moore, Ian C. Trueman, Annie T. Worsley, Nigel Richardson, and Edita Baltrėnaitė. "THE ROLE OF LONG‐TERM LANDSCAPE PHOTOGRAPHY AS A TOOL IN DUNE MANAGEMENT/ILGALAIKIS KRAŠTOVAIZDŽIO FOTOGRAFAVIMAS KAIP PRIEMONĖ NUMATANT KOPŲ VALDYMĄ/МНОГОЛЕТНЕЕ ФОТОГРАФИРОВАНИЕ ЛАНДШАФТА КАК СПОСОБ СЛЕЖЕНИЯ ЗА ДЮНАМИ." JOURNAL OF ENVIRONMENTAL ENGINEERING AND LANDSCAPE MANAGEMENT 17, no. 4 (December 31, 2009): 253–60. http://dx.doi.org/10.3846/16486897.2009.17.ia-ih.
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Attitudes to maintaining dune diversity are changing under the realization that existing dune stabilization techniques are fixing dune landscapes, causing ‘coastal squeeze’ and loss of habitat as shorelines retreat. Instead, it is recommended that a natural, dynamic, migrating dune system is much more appropriate and that blown, unstable sands are encouraged to act as mobile coastal defence barriers. Lack of appropriate monitoring techniques has limited progress in understanding the role of sediment dynamics in dune environments over long timescales. Therefore, this paper outlines the role of straightforward and inexpensive photography, from fixed points and angles, as a useful approach to long‐term, decadal monitoring of the evolution and migration of dynamic dune landforms. The case study, on the Morfa Dyffryn dunes, Gwynedd, mid‐Wales, United Kingdom (National Grid Reference SH563240), identified particularly dynamic mobile fo‐redunes, with cyclical morphological development, paralleling to an overall landward recession. A cyclical trend of sand encroachment, followed by stabilization with growing vegetation, is documented for semi‐fixed dune pastures, while the hind dunes remained stable. A general relationship between foredune morphology and erosion/accretion processes was established, offering the prospect of predicting future dune morphological changes in other dune systems, if increased blown sand activity is encouraged as a management technique. Santrauka Požiūris išlaikyti kopų įvairovę kinta, suvokiant, kad esamos kopų stabilizavimo priemonės, formuojant kopų kraštovaizdį, nepadeda išvengti pajūrio ruožo susiaurėjimo ir arealo praradimo atsitraukiant kranto linijai. Kita vertus, rekomenduojama išsaugoti natūralią dinamišką ir migruojančią kopų sistemą, kad nupustomi labilūs smėliai atliktų mobilių kranto apsaugos barjerų funkciją. Dėl tinkamų monitoringo priemonių trūkumo sulėtėjo patirties apie ilgalaikę nuosėdų dinamiką kopų aplinkoje kaupimas. Darbe aprašomas tiesioginis ir didelių išlaidų nereikalaujantis fotografijos metodas, kuris galėtų būti taikomas minėtoms problemoms spręsti. Metodas pagrįstas fotografavimu fiksuotuose taškuose ir tomis pačiomis kryptimis. Tai gali būti naudingas būdas ilgalaikiam monitoringui – stebėti dinaminių kopų sausumos darinių migraciją dešimtmečius. Tiriamoji vieta – Morfa Dyffryn kopos, Gwynedd, Velso vidurinėje dalyje Jungtinėje Karalystėje (nacionalinėje koordinačių sistemoje SH563240). Tai ypač dinamiškos priešakinės kopos. Joms būdinga cikliška morfologinė raida, prilygstanti bendrajam atsitraukimui iš sausumo pusės. Cikliška smėlio įsibrovimo tendencija, po kurio vyksta augalijos stabilizavimasis, būdinga pusiau sutvirtintoms kopoms, kai užnugarinės kopos lieka stabilios. Darbe nustatytos bendros sąsajos tarp priešakinių kopų morfologijos ir erozijos/akrecijos procesų, siūlomas morfologinių pokyčių numatymo būdas, kuris galėtų tapti valdymo priemone ir kitose kopų sistemose, kur smėlis ypač pustomas. Резюме Мнение о том, как сохранить разнообразие дюн, меняется, если принять во внимание, что существующие способы стабилизации дюн формируют ландшафт с дюнами, „сжимают“ приморье и теряют ареал из-за отступления линии берега. С другой стороны, рекомендуется сохранить естественную, динамичную и мигрирующую систему, чтобы сдуваемые, подвижные пески служили мобильными барьерами для защиты берега. Из-за нехватки соответствующих средств мониторинга замедлилось получение сведений о многолетней динамике отложений в среде дюн. С целью восполнить пробел в статье описывается не требующий больших затрат метод фотографирования. Он основан на фотографировании в фиксированных точках и в тех же направлениях и может стать полезным способом осуществления многолетнего мониторинга миграции динамичных дюн. Исследования проводились в динамичных передних дюнах Morfa Dyffryn, Gwynedd, в средней части Уэльса в Англии (в Национальной системе координат SH563240). Для них характерно цикличное морфологическое развитие, соответствующее общему отступлению со стороны суши. Цикличная тенденция наступления песка, после чего стабилизируется растительность, характерна для отчасти укрепленных дюн в том случае, если задние дюны остаются стабильными. Установлена связь между процессами морфологии передних дюн и эрозии/аккреции, предложен способ предвидения морфологических изменений в качестве средства управления процессом и в других системах дюн, в которых усилилась деятельность подвижного песка.
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Marine, Nicolas, Cecilia Arnaiz-Schmitz, Luis Santos-Cid, and María F. Schmitz. "Can We Foresee Landscape Interest? Maximum Entropy Applied to Social Media Photographs: A Case Study in Madrid." Land 11, no. 5 (May 10, 2022): 715. http://dx.doi.org/10.3390/land11050715.
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Cultural Ecosystem Services (CES) are undervalued and poorly understood compared to other types of ecosystem services. The sociocultural preferences of the different actors who enjoy a landscape are intangible aspects of a complex evaluation. Landscape photographs available on social media have opened up the possibility of quantifying landscape values and ecosystem services that were previously difficult to measure. Thus, a new research methodology has been developed based on the spatial distribution of geotagged photographs that, based on probabilistic models, allows us to estimate the potential of the landscape to provide CES. This study tests the effectiveness of predictive models from MaxEnt, a software based on a machine learning technique called the maximum entropy approach, as tools for land management and for detecting CES hot spots. From a sample of photographs obtained from the Panoramio network, taken between 2007 and 2008 in the Lozoya Valley in Madrid (Central Spain), we have developed a predictive model of the future and compared it with the photographs available on the social network between 2009 and 2015. The results highlight a low correspondence between the prediction of the supply of CES and its real demand, which indicates that MaxEnt is not a sufficiently useful predictive tool in complex and changing landscapes such as the one studied here.
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Planinc, Lucija, Marija Grabnar, and Jedert Vodopivec Tomažič. "Inventory and Protection of Photographs from the Julij Felaher Collection." Atlanti 28, no. 1 (November 12, 2018): 91–102. http://dx.doi.org/10.33700/2670-451x.28.1.91-102(2018).
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Photographs bear visual memories of events, people, buildings and landscapes. The sensitivity of the materials used makes them a vulnerable part of cultural heritage, therefore their appropriate use and storage is ever more important. The work presented is based on an inventory of photographs from the Julij Felaher Collection (SI AS 1384) kept by the Archives of the Republic of Slovenia. In addition to basic information, the inventory sheet used also included reference to the type of photographic technique, the type of primary support, the type of damage, and an assessment of the preservation status. Based on the data obtained, physical protection of the photographs was carried out in order to enable their permanent storage.
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Figueiredo, Albano, Aida Pupo-Correia, António Campar de Almeida, and Miguel Menezes de Sequeira. "Distribuição atual e potencial de espécies do género Acacia Mill. (Fabaceae) na Ilha da Madeira e implicações para a diversidade florística em contexto de invasão." Cadernos de Geografia, no. 35 (December 22, 2016): 67–80. http://dx.doi.org/10.14195/0871-1623_35_6.
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As espécies mais comuns de Acacia que ocorrem na Ilha da Madeira foram introduzidas durante os séculos XIX e XX, como ornamentais ou para uso florestal, tendo-se tornado espécies invasoras. De forma a avaliar os impactes associados à invasão por estas espécies, neste trabalho procede-se à i) caracterização da distribuição atual de espécies do género Acacia Mill. na Ilha da Madeira, com base na recolha de presenças em campo a partir de um processo de amostragem sistemática e estratificada, assegurando que todo o gradiente ambiental da ilha é amostrado; ii) avaliam-se os impactes na diversidade florística das áreas invadidas, com base na comparação de inventários florísticos de comunidades nativas climácicas (laurissilva, zambujal) com os de áreas invadidas por acácia-austrália (Acacia melanoxylon R. BR.) e acácia negra (Acacia mearnsii De Willd.), as espécies que apresentam distribuição mais ampla na ilha; iii) avalia-se a distribuição potencial destas espécies, com base em modelos de base estatística, suportados no conceito de nicho ecológico; e iv) confirma-se o caráter invasor da acácia negra, através da avaliação da dinâmica a longo prazo com recurso a técnica de refotografia (Repeat Landscape Photography Technique). Em termos de resultados, tendo em conta o evidente empobrecimento florístico que os acaciais representam em co mparação com as comunidades nativas clímax que encabeçam as séries climatófilas, considerando a importância das áreas que são potencialmente adequadas à presença das espécies em análise, e dado o seu caráter invasor, confirmado no caso da acácia negra, podem considerar-se estas espécies como verdadeiras ameaças à diversidade na Ilha da Madeira.https://doi.org/10.14195/0871-1623_35_6
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Untari, Rini, Muh Faturokhman, Wahyu Budi Priatna, and Hudi Santoso. "Pengembangan Desa Benteng Sebagai Desa Wisata Berbasis Agro di Masa Pandemi Covid-19." Agrokreatif: Jurnal Ilmiah Pengabdian kepada Masyarakat 9, no. 1 (March 29, 2023): 33–45. http://dx.doi.org/10.29244/agrokreatif.9.1.33-45.
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This community service was carried out as an effort to revive the tourism sector by developing an agro-based tourism village in Benteng Village by identifying the perceptions of tourism village managers, constraints and impacts, and program sustainability. This activity seeks to construct perceptions of agro-tourism activities, media promotion, and the development of agro-based tourism. The readiness of managers to become part of the identified consists of long-time readiness to receive visitors, service ethics to visitors, aspects of security, comfort, and cleanliness as well as readiness for agro-tourism activities. Data collection was carried out through literature, participatory studies, interviews, and distributing questionnaires with a purposive sampling technique to 18 respondents managing the Benteng tourism village. Data analysis used descriptive quantitative and descriptive qualitative methods. Based on the assessment of the Benteng Village manager, harvesting activities, enjoying the landscape, photography, interpretation programs, and shopping for agricultural products are agro-based tourism activities that can be carried out in Benteng Village. Promotional videos are the highest choice for promoting village potential and managers say they are ready to receive visitors 1‒3 hours and a week. The manager also stated that he was ready regarding the ethics of service to visitors, security, comfort, and cleanliness including implementing health protocols (prokes) and being ready to develop agro-tourism activities. Implementation constraints are technical in nature and post-pandemic conditions that require adjustments in various aspects. Development of tourism potential through an integrated approach by collaborating involving various parties including universities as well as massive promotion using the right media so that agro-based tourism activities in Benteng Village can be sustainable.
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Kane, Carolyn. "The Toxic Sublime: Landscape Photography and Data Visualization." Theory, Culture & Society 35, no. 3 (January 12, 2018): 121–47. http://dx.doi.org/10.1177/0263276417745671.
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If the cliché about garbage – ‘Out of sight, out of mind’ – is true, its inverse, unfortunately, is not. Heaps and masses of garbage brought into direct view still somehow manage to escape acute recognition, let alone social responsibility or global political activism. This article investigates this trend as a growing problem between the human world and representation. Focusing on historical and contemporary landscape photography, the article questions whether data visualization trends, particularly those that attempt to visualize the post-industrial consumer landscape, help or hinder our capacity to understand our environment, and possibly even ecological endeavors. The article charts the history of photography’s landscape genre, mapping the contours of a shift from the classical ‘nature’ aesthetic, to an industrial, post-industrial, and eventually a mathematical aesthetic contingent on emergent techniques and data visualization in the attempt to depict ever amassing magnitudes of environmental despoliation.
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Kang, Juhyeon. "A Study on the Surreal Space in Modern Plastic Photography." Korean Society of Culture and Convergence 44, no. 12 (December 31, 2022): 387–99. http://dx.doi.org/10.33645/cnc.2022.12.44.12.387.
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This research aims to study the surreal space that appears in modern plastic photography by analyzing its surreality, which is a spatial characteristic of plastic photography, from a visual, figurative, and interactive perspective. Marey's chronophotographie expands the concept of space according to the superpositioning process of real space, showing a surreal space from a visual perspective through superimposed images. The surrealism of photomontage, created by Krauss' redundant process of spacing, extends images separated by the concept of desublimation in writing into unconscious acts of connection, creating a surreal space from a figurative perspective. Mitchell’s thinking about post-photography is to recognize the place and space in the photograph as a complex of interactions, centering on digital images and editing techniques performed in online networks and computer programs. Based on this way of thinking, the works of Andreas Gursky and Shinichi Maruyama, which show non-placed, non-material absent landscapes, appear as surreal spaces with a reciprocal perspective created by digital images. This study is thus significant in that it connects the surreal elements inherent in modern plastic photography with the concept of space.
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Porfido, Sabina, Giuliana Alessio, Germana Gaudiosi, Rosa Nappi, Alessandro Maria Michetti, and Efisio Spiga. "Photographic Reportage on the Rebuilding after the Irpinia-Basilicata 1980 Earthquake (Southern Italy)." Geosciences 11, no. 1 (December 25, 2020): 6. http://dx.doi.org/10.3390/geosciences11010006.
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This paper aims to present, through a photographic reportage, the current state of rebuilding of the most devastated villages by the earthquake that hit the Southern Italy on 23 November 1980, in Irpinia-Basilicata. The earthquake was characterized by magnitude Ml = 6.9 and epicentral intensity I0 = X MCS. It was felt throughout Italy with the epicenter in the Southern Apennines, between the regions of Campania and Basilicata that were the most damaged areas. About 800 localities were serious damaged; 7,500 houses were completely destroyed and 27,500 seriously damaged. The photographic survey has been done in 23 towns during the last five years: Castelnuovo di Conza, Conza della Campania, Laviano, Lioni, Santomenna, Sant’Angelo dei Lombardi, Balvano, Caposele, Calabritto and the hamlet of Quaglietta, San Mango sul Calore, San Michele di Serino, Pescopagano, Guardia dei Lombardi, Torella dei Lombardi, Colliano, Romagnano al Monte, Salvitelle, Senerchia, Teora, Bisaccia, Calitri and Avellino. Forty years after the 1980 earthquake, the photographs show villages almost completely rebuilt with modern techniques where reinforced concrete prevails. Only in few instances, the reconstruction was carried out trying to recover the pre-existing building heritage, without changing the original urban planning, or modifying it. We argue that this photography collection allows to assess the real understanding of the geological information for urban planning after a major destructive seismic event. Even more than this, documenting the rebuilding process in a large epicentral area reveals the human legacy to the natural landscape, and our ability, or failure, to properly interpret the environmental fate of a site.
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Trebeleva, Galina, Konstantin Glazov, Vladlen Yurkov, and Andrey Kizilov. "Archaeological GIS of Northwestern Colchis: a tool for the preservation and research of historical and cultural heritage." InterCarto. InterGIS 28, no. 2 (2022): 484–98. http://dx.doi.org/10.35595/2414-9179-2022-2-28-484-498.
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The territory of Northwestern Colchis, which today includes both the territory of Abkhazia and the territory of Russia (the Greater Sochi region, Krasnodar Krai), in ancient times was the most important contact zone of many peoples, but has been poorly studied archaeologically. Therefore, full-fledged field research and the creation of a specialized GIS of this territory is an urgent problem. Currently, the territory of Northwestern Colchis is a rapidly developing resort region, which threatens the destruction of historical and cultural heritage sites by anthropogenic activities. The existing GIS today includes 1,780 monuments (dolmens, temples, fortresses, settlements, individual locations and burial grounds without architectural remains above the surface) in the form of point objects. But in recent years, with the development of technologies, orthophotoplanes and DEMs have been included in the GIS structure. Shooting from a UAV and including the obtained models in the GIS structure can solve two problems at once: displaying an archaeological monument in the form of a polygonal theme and obtaining detailed layers displaying landscape conditions. This data will significantly expand the capabilities of GIS. The technique of obtaining an orthophotoplan of an archaeological object was worked out during a series of experiments that helped to identify the basic principles for photogrammetric photography in conditions of dense subtropical vegetation. Another important layer in GIS is historical maps. Their analysis, taking into account the analysis of the semantics of toponymy, the analysis of settlement structures in GIS, and analogies with already known monuments, made it possible to localize a number of toponyms with a high degree of probability. In addition to the analysis of historical maps, the settlement structure itself was analyzed, the main clusters were identified, and a predictive model of the missing fortresses of the Pontic Limes was created.
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Deng, Bowen. "Style transfer for converting images into Chinese landscape painting based on CycleGAN." Applied and Computational Engineering 51, no. 1 (March 25, 2024): 53–58. http://dx.doi.org/10.54254/2755-2721/51/20241162.
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Chinese landscape painting is a prevalent and unique mode of artistic expression within traditional Chinese art. It boasts intricate techniques and demands a relatively high level of artistic skill. Recent advancements in artificial intelligence have ushered in the era of image style transfer techniques, making it feasible to convert landscape photographs into stunning Chinese landscape paintings. In this study, the author has developed an image translation model that enables mutual transformation between images of landscapes and Chinese landscape paintings. This technology significantly reduces the difficulty of creating Chinese landscape paintings, allowing more ordinary people in China to experience and appreciate the joy brought by traditional Chinese art. Experimental results indicate that the style transfer model based on CycleGAN has achieved significant success in this scenario. The generated artworks successfully integrate the style of Chinese landscape painting into the original images without altering the original composition and details. As a result, the original photos gain a certain level of artistic value. Additionally, this study innovatively explores the goal of reverse restoration of Chinese landscape paintings into images, highlighting both the similarities and differences with the current research, thus laying the foundation for future studies.
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ZAHAR, IWAN. "A BRIEF CONCEPT IN LANDSCAPE PHOTOGRAPHY." International Journal of Creative Future and Heritage (TENIAT) 4, no. 1 (June 30, 2016): 63–84. http://dx.doi.org/10.47252/teniat.v4i1.335.
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AbstrakDi Malaysia, tidak terdapat banyak perbincangan tentang landskap fotografi dan tidak ramai juru gambaryang berkemahiran dalam bidang ini. Penyelidikan ini menggunakan analisis kandungan dan analisis fotodaripada sumber yang berlainan termasuk monograf, buku, dan jurnal. Esei pendek ini menerangkanpengaruh seni Zen terhadap landskap foto, dan perkembangannya di Barat. Ia juga menerangkansecara ringkas tentang sejarah landskap fotografi di Malaysia. Selain daripada itu, esei ini tidak berhasratuntuk menerangkan semua teknik dan konsep landskap fotogafi, tetapi saya cuba menghubungkaitkanpengalaman saya dalam landskap fotografi dan mengintegrasi teori fotografi dalam penciptaan landskapfoto. Kesimpulan kajian ini menunjukkan ramai landskap jurugambar telah memperkembangkan konsepmereka daripada ideologi dan sumber lain seperti lukisan dan falsafah. Tiada pengaruh Zen atau Gestaltdalam landskap fotografi Lambert dan Thompson ditemui.
AbstractThere are not much discussions on landscape photography and also not many photographers in Malaysiaspecialize in this genre. The research uses content analysis and pictoral analysis from many sources,including monographs, books and journals. This short essay explains the influence of Zen art on landscapephotos, and the development of landscape photos in the west. It also briefly explains history of landscapephotography in Malaysia. Furthermore, this short essay does not aim to explain all the techniques andconcepts of landscape photography, but I try to relate to my own experience in landscape photographyand other integrated photograhic theories in making landscape photo. The conclusion of this studyindicates that many landscape photographers develop their concepts from the previous ideas and alsofrom other sources such as painting and philosophy. There are no Zen or Gestalt influences on Lambertand Thompson’s landscape photographies found.
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Kwoczynska, Boguslawa, Urszula Litwin, and Izabela Piech. "Modern Methods and Techniques in Landscape Shaping with Various Functions on the Example of Southern Poland." Applied Sciences 12, no. 4 (February 13, 2022): 1948. http://dx.doi.org/10.3390/app12041948.
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The aim of this publication is to present the detailed results of research on the formation of landscapes with different functions. The research was conducted in areas typical for southern Poland in Kasinka Mala and Kamionka Wielka communes using the WIT statistical method and photogrammetric techniques. Among the landscape evaluation methods, the publication uses the WIT method of site significance indices, which employs a wide representation of features describing the spatial structure of villages. Using these indicators, the “value” and changes that have occurred in the landscape of each designated area were assessed. Three indicators were determined: WIT 1—for agricultural activities, WIT 2—for non-agricultural activities, and WIT 3—for recreational activities, for each of the villages of the Kamionka Wielka commune, comparing them in a tabular and graphical form. The indicators were used to determine the suitability of the land for agricultural activities, its potential for economic activity, and the development of recreational and tourist activities in the area. Most of the factors determining the character of a landscape can be properly captured using photogrammetric and remote-sensing materials. Thanks to the technological advances provided by photogrammetric methods, visualizations of landscapes with different functions were also used in this study. For landscape analysis, photogrammetric materials in the form of aerial photographs, digital orthophotomaps taken in different time periods (1963–1977–1997–2010–2013), and data from airborne laser scanning were used, which allowed visualization of the studied areas in the form of a DSM and 3D models of Kasinka Mala and Kamionka Wielka.
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Rahmansyah, Moch Astya Ariya. "Pesona Alam dalam Fotografi Landscape dalam Kerangka Analisis Isi." Jurnal Nomosleca 9, no. 2 (October 11, 2023): 179–89. http://dx.doi.org/10.26905/nomosleca.v9i2.9902.
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The choice of nature as a space for exploration, including mountains, sea and rice fields in the creation of works of art is because nature is an entity that cannot be separated from human life. The creator of this work uses observation and experimentation methods to be able to visualize nature through landscape photography. This research method is descriptive qualitative by analyzing the contents of photos and compositions. The research steps include preferences, experimental analysis and detour analysis. The choice of nature as a space for exploration, including mountains, seas and rice fields in the creation of works of art means that nature is an entity that cannot be separated from human life. Within the framework of photography techniques, it can give birth to a variety of imaginations when explored, especially through the art medium of photography.
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Faltýnová, M., and P. Nový. "Airborne Laser Scanning and Image Processing Techniques for Archaeological Prospection." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5 (June 6, 2014): 231–35. http://dx.doi.org/10.5194/isprsarchives-xl-5-231-2014.
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Aerial photography was, for decades, an invaluable tool for archaeological prospection, in spite of the limitation of this method to deforested areas. The airborne laser scanning (ALS) method can be nowadays used to map complex areas and suitable complement earlier findings. This article describes visualization and image processing methods that can be applied on digital terrain models (DTMs) to highlight objects hidden in the landscape. Thanks to the analysis of visualized DTM it is possible to understand the landscape evolution including the differentiation between natural processes and human interventions. Different visualization methods were applied on a case study area. A system of parallel tracks hidden in a forest and its surroundings – part of old route called "Devil's Furrow" near the town of Sázava was chosen. The whole area around well known part of Devil's Furrow has not been prospected systematically yet. The data from the airborne laser scanning acquired by the Czech Office for Surveying, Mapping and Cadastre was used. The average density of the point cloud was approximately 1 point/m<sup>2</sup> The goal of the project was to visualize the utmost smallest terrain discontinuities, e.g. tracks and erosion furrows, which some were not wholly preserved. Generally we were interested in objects that are clearly not visible in DTMs displayed in the form of shaded relief. Some of the typical visualization methods were tested (shaded relief, aspect and slope image). To get better results we applied image-processing methods that were successfully used on aerial photographs or hyperspectral images in the past. The usage of different visualization techniques on one site allowed us to verify the natural character of the southern part of Devil’s Furrow and find formations up to now hidden in the forests.
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Friedman, Richard A., Anna Sofaer, and Robert S. Weiner. "Remote Sensing of Chaco Roads Revisited." Advances in Archaeological Practice 5, no. 4 (September 12, 2017): 365–81. http://dx.doi.org/10.1017/aap.2017.25.
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ABSTRACTThis paper reports on the first and highly effective use of Light Detection and Ranging (lidar) technology to document Chaco roads, monumental linear surface constructions of the precolumbian culture that occupied the Four Corners region of the American Southwest between approximately AD 600 and 1300. Analysis of aerial photographs supplemented by ground survey has been the traditional methodology employed to identify Chaco roads, but their traces have become increasingly subtle and difficult to detect in recent years due to the impacts of natural weathering, erosion, and land development. Roads that were easily visible in aerial photography and on the ground in the 1980s are now virtually invisible, underscoring the need for new, cutting-edge techniques to detect and document them. Using three case studies of the Aztec Airport Mesa Road, the Great North Road, and the Pueblo Alto Landscape, we demonstrate lidar's unprecedented ability to document known Chaco roads, discover previously undetected road segments, and produce a precise quantitative record of these rapidly vanishing features.
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Feng, Wei Zhong. "Implementation of Aerial Panoramic Photography for Environmental Studies Through VR Experiences." Journal of Environmental Science Studies 4, no. 1 (September 27, 2021): 1. http://dx.doi.org/10.20849/jess.v4i1.926.
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Technology allows us to experience situations from a different perspective. This project investigated many parts and techniques for better VR experiences. Aerial photography: Aerial photography provides a broad view of the changes in a landscape. However, aerial photography cannot offer a microscopic perspective of the changes with novel panoramas and landscape photos. A parallax compensation algorithm for stitching videos enables the user to reduce the time required to fix stitching issues in post-production. The experiment results indicated that the optimum camera height was 500 m, slightly higher than the clouds. An appropriate number of spatial samples were selected during photography to obtain high-quality images. The researchers avoided restricted flight areas and designed the image acquisition method according to the selected flight path, which were then combined in the post-processing step. Those 360-degree-aerial-images trigger young people's environmental awareness, which enhances the creator's sense of environmental protection.
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Frantál, Bohumil, Tadej Bevk, Bregje Van Veelen, Mihaela Hărmănescu, and Karl Benediktsson. "The importance of on-site evaluation for placing renewable energy in the landscape: A case study of the Búrfell wind farm (Iceland)." Moravian Geographical Reports 25, no. 4 (December 1, 2017): 234–47. http://dx.doi.org/10.1515/mgr-2017-0020.
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AbstractUsing a case study of the Búrfell wind farm project, a large wind farm proposed in the Central Highlands of Iceland, the authors attempt to provide new insights into the factors shaping subjective landscape perceptions and attitudes to renewable energy developments, and into alternative methods that may be used for their assessment. The research was based on an on-site visit and actual experience of the place, investigated using a combination of mental mapping, the technique of the semantic differential and a questionnaire survey. The results show that participants visiting a landscape and using all sensory organs in combination with mental mapping, can reveal more important information than using only ‘laboratory’ methods with static photographs. The results suggest that the perception of landscape is highly subjective. Those perceiving the landscape as more open, homogenous, industrial, unfamiliar and resilient also consider it more compatible with wind turbines. The perception of the landscape’s compatibility with wind turbines proved to be a dominant factor shaping attitudes towards the project. The acceptance of wind turbines is not, however, inconsistent with the perception of landscape as beautiful, wild and unique. Participants from more densely populated countries and countries with a developed wind energy industry were more tolerant of wind turbines in the Icelandic landscape.
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Polidori, L. "ON LAUSSEDAT’S CONTRIBUTION TO THE EMERGENCE OF PHOTOGRAMMETRY." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2020 (August 12, 2020): 893–99. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2020-893-2020.
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Abstract. The French officer Aimé Laussedat (1819–1907) is often considered as the “father of photogrammetry”. Indeed, he was the first to use photographic images for topographic surveys as early as 1861, based on a technique he called metrophotography, which he had already implemented with hand-drawn perspective views of edifications and mountainous landscapes. However, the development of analog photogrammetry at the beginning of the 20th century is not a direct evolution of Laussedat’s method and we can wonder what is his actual contribution to the emergence of photogrammetry when the first stereocomparators were created. Based on the influence of precursors like Beautemps-Beaupré and Arago, he developed a very innovative method but his main contribution remained mainly instrumental and he ignored some concepts or technologies which were available, like error computation, stereoscopy and aerial photography. These observations allow a more nuanced appreciation of his contribution.
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Elliott, Julie, and Matthew E. Pritchard. "Historic photographs of glaciers and glacial landforms from the Ralph Stockman Tarr collection at Cornell University." Earth System Science Data 12, no. 2 (April 2, 2020): 771–87. http://dx.doi.org/10.5194/essd-12-771-2020.
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Abstract. Historic photographs are useful for documenting glacier, environmental, and landscape change, and we have digitized a collection of about 1949 images collected during an 1896 expedition to Greenland and trips to Alaska in 1905, 1906, 1909, and 1911, led by Ralph Stockman Tarr and his students at Cornell University. These images are openly available in the public domain through Cornell University Library (http://digital.library.cornell.edu/collections/tarr, last access: 15 March 2020; Tarr and Cornell University Library, 2014, https://doi.org/10.7298/X4M61H5R). The primary research targets of these expeditions were glaciers (there are about 990 photographs of at least 58 named glaciers), but there are also photographs of people, villages, and geomorphological features, including glacial features in the formally glaciated regions of New York state. Some of the glaciers featured in the photographs have retreated significantly in the last century or even completely vanished. The images document terminus positions and ice elevations for many of the glaciers and some glaciers have photographs from multiple viewpoints that may be suitable for ice volume estimation through photogrammetric methods. While some of these photographs have been used in publications in the early 20th century, most of the images are only now widely available for the first time. The digitized collection also includes about 300 lantern slides made from the expedition photographs and other related images and used in classes and public presentations for decades. The archive is searchable by a variety of terms including title, landform type, glacier name, location, and date. The images are of scientific interest for understanding glacier and ecological change; of public policy interest for documenting climate change; of historic and anthropological interest as local people, settlements, and gold-rush era paraphernalia are featured in the images; and of technological interest as the photographic techniques used were cutting edge for their time.
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Schaffland, Axel, and Gunther Heidemann. "Heritage and Repeat Photography: Techniques, Management, Applications, and Publications." Heritage 5, no. 4 (December 18, 2022): 4267–305. http://dx.doi.org/10.3390/heritage5040220.
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Repeat photography, the process of locating the camera position of an old photo and taking a new photo from this position, is utilized to protect our natural heritage, by measuring landscape changes between old and new image, and to conserve and recover our architectural and archaeological heritage, by observing changes between images taken before, during, and after conservation efforts or destructive events. Most importantly, repeat photography—in short, rephotography—is connecting us to our heritage on all levels from personal to global: while rephotographing, we connect with the old image and its creator and—when viewing and comparing the old image and the rephotograph—we connect with the tangible, intangible, and natural heritage shown in the images by observing changes and continuities. In this paper, we review publications and applications employing rephotography. We discuss the organization, retrieval, and presentation of rephotographic compilations, their generation by different image registration techniques, and their conservation as rephotographic heritage. Further, we describe challenges in rephotography, discuss how they differ from standard challenges in photography, computer vision, and image registration and present both analog and digital solutions and tools used in practice by rephotographers to address said challenges.
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Tabellion, Eric, Nikhil Karnad, Noa Glaser, Ben Weiss, David E. Jacobs, and Yael Pritch. "Computational Long Exposure Mobile Photography." ACM Transactions on Graphics 42, no. 4 (July 26, 2023): 1–15. http://dx.doi.org/10.1145/3592124.
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Long exposure photography produces stunning imagery, representing moving elements in a scene with motion-blur. It is generally employed in two modalities, producing either a foreground or a background blur effect. Foreground blur images are traditionally captured on a tripod-mounted camera and portray blurred moving foreground elements, such as silky water or light trails, over a perfectly sharp background landscape. Background blur images, also called panning photography, are captured while the camera is tracking a moving subject, to produce an image of a sharp subject over a background blurred by relative motion. Both techniques are notoriously challenging and require additional equipment and advanced skills. In this paper, we describe a computational burst photography system that operates in a hand-held smartphone camera app, and achieves these effects fully automatically, at the tap of the shutter button. Our approach first detects and segments the salient subject. We track the scene motion over multiple frames and align the images in order to preserve desired sharpness and to produce aesthetically pleasing motion streaks. We capture an under-exposed burst and select the subset of input frames that will produce blur trails of controlled length, regardless of scene or camera motion velocity. We predict inter-frame motion and synthesize motion-blur to fill the temporal gaps between the input frames. Finally, we composite the blurred image with the sharp regular exposure to protect the sharpness of faces or areas of the scene that are barely moving, and produce a final high resolution and high dynamic range (HDR) photograph. Our system democratizes a capability previously reserved to professionals, and makes this creative style accessible to most casual photographers.
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Modica, G., M. Vizzari, M. Pollino, C. R. Fichera, P. Zoccali, and S. Di Fazio. "Spatio-temporal analysis of the urban–rural gradient structure: an application in a Mediterranean mountainous landscape (Serra San Bruno, Italy)." Earth System Dynamics 3, no. 2 (December 19, 2012): 263–79. http://dx.doi.org/10.5194/esd-3-263-2012.
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Abstract. The most recent and significant transformations of European landscapes have occurred as a consequence of a series of diffused, varied and often connected phenomena: urban growth and sprawl, agricultural intensification in the most suitable areas and agricultural abandonment in marginal areas. These phenomena can affect dramatically ecosystems' structure and functioning, since certain modifications cause landscape fragmentation while others tend to increase homogeneity. Thus, a thorough comprehension of the evolution trends of landscapes, in particular those linked to urban-rural relations, is crucial for a sustainable landscape planning. In this framework, the main objectives of the present paper are: (a) to investigate Land Use/Land Cover (LULC) transformations and dynamics that occurred over the period 1955–2006 in the municipality of Serra San Bruno (Calabria, Italy), an area particularly representative of the Mediterranean mountainous landscape; (b) to compare the settlement growth with the urban planning tools in charge in the study area; (c) to examine the relationship between urban–rural gradient, landscape metrics, demographic and physical variables; (d) to investigate the evolution of urban–rural gradient composition and configuration along significant axes of landscape changes. Data with a high level of detail (minimum mapping unit 0.2 ha) were obtained through the digitisation of historical aerial photographs and digital orthophotos identifying LULC classes according to the Corine Land Cover legend. The investigated period was divided into four significant time intervals, which were specifically analysed to detect LULC changes. Differently from previous studies, in the present research the spatio-temporal analysis of urban–rural gradient was performed through three subsequent steps: (1) kernel density analysis of settlements; (2) analysis of landscape structure by means of metrics calculated using a moving window method; (3) analysis of composition and configuration of the urban–rural gradient within three landscape profiles located along significant axes of LULC change. The use of thematic overlays and transition matrices enabled a precise identification of the LULC changes that had taken place over the examined period. As a result, a detailed description and mapping of the landscape dynamics were obtained. Furthermore, landscape profiling technique, using continuous data, allowed an innovative and valuable approach for analysing and interpreting urban–rural gradient structure over space and time.
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Modica, G., M. Vizzari, M. Pollino, C. R. Fichera, P. Zoccali, and S. Di Fazio. "Spatio-temporal analysis of the urban-rural gradient structure: an application in a Mediterranean mountainous landscape (Serra San Bruno, Italy)." Earth System Dynamics Discussions 3, no. 2 (August 20, 2012): 827–70. http://dx.doi.org/10.5194/esdd-3-827-2012.
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Abstract. The most recent and significant transformations of European landscapes have occurred as a consequence of a series of diffused, varied and often connected phenomena: urban growth and sprawl, agricultural intensification in the most suitable areas and agricultural abandonment in marginal areas. These phenomena can affect dramatically ecosystems' structure and functioning, since certain modifications cause landscape fragmentation while others tend to increase homogeneity. Thus, a thorough comprehension of the evolution trends of landscapes, in particular those linked to urban-rural relations, is crucial for a sustainable landscape planning. In this framework, the main objectives of the present paper are: (a) to investigate Land Use/Land Cover (LULC) transformations and dynamics occurred over the period 1955–2006 in the municipality of Serra San Bruno (Calabria, Italy), an area particularly representative of the Mediterranean mountainous landscape; (b) to compare the settlement growth with the urban planning tools in charge in the study area; (c) to examine the relationship between urban-rural gradient, landscape metrics, demographic and physical variables; (d) to investigate the evolution of urban-rural gradient composition and configuration along significant axes of landscape changes. Data with a high level of detail (minimum mapping unit 0.2 ha) were obtained through the digitisation of historical aerial photographs and digital orthophotos identifying LULC classes according to the Corine Land Cover legend. The investigated period was divided into four significant time intervals, which were specifically analysed to detect LULC changes. Differently from previous studies, in the present research the spatio-temporal analysis of urban-rural gradient was performed through three subsequent steps: (1) kernel density analysis of settlements; (2) analysis of landscape structure by means of metrics calculated using a moving window method; (3) analysis of composition and configuration of the urban-rural gradient within three landscape profiles located along significant axes of LULC change. The use of thematic overlays and transition matrices enabled a precise identification of the LULC changes that had taken place over the examined period. As a result, a detailed description and mapping of the landscape dynamics were obtained. Furthermore, landscape profiling technique, using continuous data, allowed an innovative and valuable approach for analysing and interpreting urban-rural gradient structure over space and time.
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Saputra, Aditya, Kuswaji Dwi Priyono, Yuli Priyana, Iqbal Taufiqurrahman Sunariya M., and Taryono . "Unchartered fault through outcrop study by using simple structure from motion technique in seismicaly active area." Disaster Advances 16, no. 11 (October 15, 2023): 1–9. http://dx.doi.org/10.25303/1611da0109.
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Structure from motion (SfM) is a photogrammetric method used to reconstruct 3-Dimensional (3D) surfaces from the displacement of the camera in between several 2-dimensional photographs. This method can produce sparse and dense point clouds from which high-resolution surface models such as digital surface models and digital terrain models are obtained. SfM is not restricted to topographic surfaces, it also can be used to model various ground objects at different scales such as trees, buildings, outcrops and any other structure that can be photographed with an ordinary camera. Among this myriad of possibilities, the present contribution focuses on the reconstruction of 3D outcrop models, as they can become digital archives of geological and seismic activity, especially in countries where landscape remodeling activity and mining are important. Outcrop is a vertical exposure of particular rock formation. By knowing the characteristics of the outcrop, we can understand the reservoir characteristics and important stratigraphic information. Also, we can take more attention on microstructural information for both slope instability and seismic characteristics analysis. Thus, although SfM is relatively new in geoscience, this study will provide the usage of the SfM technique to support the outcrop analysis to obtain important micro-structure information of the outcrop. Further, this data was used to support the seismic susceptibility assessment in a very complex geological structure area.
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Jordana, T. R., C. L. Goetcheus, and M. Madden. "POINT CLOUD MAPPING METHODS FOR DOCUMENTING CULTURAL LANDSCAPE FEATURES AT THE WORMSLOE STATE HISTORIC SITE, SAVANNAH, GEORGIA, USA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 277–80. http://dx.doi.org/10.5194/isprs-archives-xli-b5-277-2016.
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Documentation of the three-dimensional (3D) cultural landscape has traditionally been conducted during site visits using conventional photographs, standard ground surveys and manual measurements. In recent years, there have been rapid developments in technologies that produce highly accurate 3D point clouds, including aerial LiDAR, terrestrial laser scanning, and photogrammetric data reduction from unmanned aerial systems (UAS) images and hand held photographs using Structure from Motion (SfM) methods. These 3D point clouds can be precisely scaled and used to conduct measurements of features even after the site visit has ended. As a consequence, it is becoming increasingly possible to collect non-destructive data for a wide variety of cultural site features, including landscapes, buildings, vegetation, artefacts and gardens. As part of a project for the U.S. National Park Service, a variety of data sets have been collected for the Wormsloe State Historic Site, near Savannah, Georgia, USA. In an effort to demonstrate the utility and versatility of these methods at a range of scales, comparisons of the features mapped with different techniques will be discussed with regards to accuracy, data set completeness, cost and ease-of-use.
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Jordana, T. R., C. L. Goetcheus, and M. Madden. "POINT CLOUD MAPPING METHODS FOR DOCUMENTING CULTURAL LANDSCAPE FEATURES AT THE WORMSLOE STATE HISTORIC SITE, SAVANNAH, GEORGIA, USA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 277–80. http://dx.doi.org/10.5194/isprsarchives-xli-b5-277-2016.
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Documentation of the three-dimensional (3D) cultural landscape has traditionally been conducted during site visits using conventional photographs, standard ground surveys and manual measurements. In recent years, there have been rapid developments in technologies that produce highly accurate 3D point clouds, including aerial LiDAR, terrestrial laser scanning, and photogrammetric data reduction from unmanned aerial systems (UAS) images and hand held photographs using Structure from Motion (SfM) methods. These 3D point clouds can be precisely scaled and used to conduct measurements of features even after the site visit has ended. As a consequence, it is becoming increasingly possible to collect non-destructive data for a wide variety of cultural site features, including landscapes, buildings, vegetation, artefacts and gardens. As part of a project for the U.S. National Park Service, a variety of data sets have been collected for the Wormsloe State Historic Site, near Savannah, Georgia, USA. In an effort to demonstrate the utility and versatility of these methods at a range of scales, comparisons of the features mapped with different techniques will be discussed with regards to accuracy, data set completeness, cost and ease-of-use.
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HIRAKAWA, HIROFUMI, and KISHIO MAEDA. "A Technique to Estimate the Approximate Size of Photographed Bats." Wildlife Society Bulletin 34, no. 2 (June 2006): 413–18. http://dx.doi.org/10.2193/0091-7648(2006)34[413:atteta]2.0.co;2.
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., Zahrawani, Drs Hardiman, M. Si ., and I. Gusti Made Budiarta, S. Pd ,. M. Pd . "KAJIAN ESTETIKA FOTOGRAFI DJAJA TJANDRA KIRANA." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 1 (March 26, 2017): 42. http://dx.doi.org/10.23887/jjpsp.v7i1.11355.
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Penelitian ini bertujuan (1) untuk mendeskripsikan jenis-jenis fotografi Djaja Tjandra Kirana. (2) untuk mendeskripsikan nilai estetika dalam karya fotografi Djaja Tjandra Kirana. Penelitian ini merupakan penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan adalah teknik dokumentasi, kepustakaan dan triangulasi.
Hasil penelitian menunjukkan bahwa: (1) Jenis-jenis fotografi Djaja Tjandra Kirana yang terdapat dalam buku “Jiwa Cahaya” adalah: fotografi kehidupan manusia (human interest), fotografi jurnalistik (photojournalism), fotografi pemandangan (landscape photography), fotografi model (photography modelling), fotografi jalanan (street photography), dan fotografi potret (portrait photography) dan (2) Nilai estetika fotografi Djaja Tjandra Kirana yang terdapat dalam buku “Jiwa Cahaya” adalah: unsur-unsur rupa (unsur desain) dibagi menjadi enam unsur yaitu, garis, shape (bangun), tekstur, warna, intensity/chroma, ruang dan waktu. Dasar-dasar penyusunan (prinsip desain) dibagi menjadi empat unsur yaitu, paduan harmoni, paduan kontras, paduan irama, dan paduan gradasi dan hukum penyusunan (azas desain) dibagi menjadi empat unsur yaitu, asas kesatuan, keseimbangan, simplicity (kesederhanaan), emphasis (aksentuasi), dan proporsi.
Kata Kunci : Estetika, Fotografi, Djaja Tjandra Kirana. This study aimed (1) to describe the types of Djaja Tjandra Kirana’s photography and (2) to describe the aesthetic values conveyed in Djaja Tjandra Kirana’s photographical work. This was a descriptive qualitative study. The data were collected with documentation, library research, and triangulation techniques. The result showed that (1) the types of Djaja Tjandra Kirana’s photography found in the book “Jiwa Cahaya” were: the photography of human interest, photojournalism, landscape photography, photography modelling, street photography, and portrait photography. The result also showed that (2) the aesthetical values conveyed in Djaja Tjandra Kirana’s photography found in the book “Jiwa Cahaya” were: the design element, which was divided into six elements, namely line, shape, texture, color, intensity/chroma, space and time, and also the design principle, which was divided into four composite elements, namely the composite of harmony, contrast, rhythm, and gradation. Another value found was also the design basis, which was divided into four principles, namely the principle of unity, balance, simplicity, emphasis, and proportion.keyword : Aesthetic, Photography, Djaja Tjandra Kirana