Relevant bibliographies by topics / Photograph

Academic literature on the topic 'Photograph'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Photograph"

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Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'." Aesthetic Investigations 1, no. 1 (July 16, 2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.

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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's photograph, the articles shows how such a 'social' focus on photography, easily reaffirms the social inequalities that lies within the practices of atrocity photography.
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Bragalini, Luca. "Buddy Bolden’s Photo." Journal of Jazz Studies 14, no. 1 (May 30, 2023): 90–119. http://dx.doi.org/10.14713/jjs.v14i1.227.

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In their 1939 monograph Jazzmen, Frederic Ramsey Jr. and Charles Edward Smith presented the photograph of a sextet from New Orleans which prominently features a cornet player identifed as Buddy Bolden. From the time of its publication, this photo has been the subject of controversy and many unanswered questions. What is the correct orientation of the photograph? What are the mysterious spherical objects that are seen on the edge of the photograph? Who is the leader of the band? This article presents a detailed photographic analysis of this so-called first jazz photo, proposing a solution to an enigma that has lasted for eighty years. Analysis of early photographic processes, analysis of the history of musical instruments portrayed in 19th century photographs, study of the history of US clothing in 19th century photographs, and organological investigations have helped provide answers to the riddles that Buddy Bolden's photography has raised.
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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.

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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
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Shamriz, Lior. "Photography of indenture." Journal of New Zealand & Pacific Studies 12, no. 1 (June 1, 2024): 55–72. http://dx.doi.org/10.1386/nzps_00187_1.

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The 1882 photography book by British photographer Colonel Henry Stuart Wortley, Tahiti: A Series of Photographs, features an image of a family of service workers. Wortley, who only briefly passed through the island, refers to the couple in the photograph as his ‘servants’. This article traces the margins of the journey of Wortley, as well as that of Lady Annie Brassey, an ultra-wealthy traveller and photography enthusiast who visited Tahiti in 1876 and who contributed the letterpress to Wortley’s book. By analysing the text and images of the book and looking at the historical context of Tahiti at that time, and the place European military personnel, travellers, entrepreneurs, royals and local workers had in the island’s economy and society, this article argues for the incentives and implications of trivializing and invisiblizing Tahitian labour. Looking at our engagement with a photograph as a transtemporal performance, beginning in the photograph’s commission, through the moment of encounter and until its printing and viewing years later, this article considers as a beginning of an entanglement the encounter between Wortley and the Tahitian family. I discuss how, by travelling in 2022 to Tahiti and revisiting Wortley’s photographs in different locations around the island, I aimed to influence those entanglements.
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AGUIAR, JONAS JOSÉ MENDES, JEAN CARLOS SANTOS, and MARIA VIRGINIA URSO-GUIMARÃES. "On the use of photography in science and taxonomy: how images can provide a basis for their own authentication." Bionomina 12, no. 1 (March 24, 2017): 44–47. http://dx.doi.org/10.11646/bionomina.12.1.4.

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Photography has, since its inception, significantly contributed as a tool to many areas of scientific research and consequently, has been able to achieve a high level of prestige in the scientific field. In recent years, there has been an increasing debate within the scientific community regarding the need for the deposition of type specimens when describing new species. Recently, Marshall & Evenhuis (2015) described a new species of Diptera, based exclusively on a few photographs. Even if one withholds judgement about whether the photographs used present sufficient characteristics for the description and identification of this new species, data missing from the holotype photograph could be of great importance for other analyses and future comparisons. The authors have omitted the digital photographic format used for the photographs in their work, and at no point has a deposition of the RAW type (a digital format sometimes called digital negatives, this file preserves most of the information from the captured picture) for verification of its authenticity been mentioned. The absence of this file for verification of the authenticity of the photograph makes its scientific credibility questionable and untrustworthy. We consider this taxonomical practice based exclusively on the use of photographs to be simplistic and harmful. Although the Code does not mention Rules about the use of photography formats we strongly suggest that, for the elaboration of academic articles, not only in taxonomic ones, using characteristics based on digital photography, the authors should be willing to make the RAW file of the photograph available for comparison in order to avoid doubts regarding the authenticity of the photograph presented.
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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (December 16, 2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.

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AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.
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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing
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Qasmiyeh, Yousif M., and Saiful Huq Omi. "Photography as Archive." Migration and Society 4, no. 1 (June 1, 2021): 195–202. http://dx.doi.org/10.3167/arms.2021.040118.

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In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, finally, how to envision an equitable future between the photographer and the photographed.In the form of poetic fragments, “The Human that is Lacking” offers a response to Saiful Huq Omi’s photograph reproduced in these pages, in an attempt to “co-see” the image with the photographer. The image and its response sit alongside Yousif M. Qasmiyeh’s interview with the award-winning photographer and film-maker himself (also in this issue).
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Redmond, Eden. "Radiant Traces." Departures in Critical Qualitative Research 3, no. 4 (2014): 418–26. http://dx.doi.org/10.1525/dcqr.2014.3.4.418.

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Photography is a referent medium. While a photograph is a physical object with its own ontology, the image depicted references a moment that has already ended. The mobility of a photograph relies on the divide between presence and absence, the material and the ephemeral. This photographic essay considers the tensions and parallels of such divides in photographing and photographs of sadhus, holy men who wander throughout East Asia. Sadhus relinquish worldly possessions in the name of spiritual pursuits, surviving on whatever the divine provides. The following images illustrate both their radiant spiritual presence, and the trace of a material boundedness.
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Bajraghosa, Terra, Budi Irawanto, and Seno Gumira Ajidarma. "Family Photography as Object and Practice in Independent Comics in Indonesia." International Journal of Creative and Arts Studies 10, no. 2 (December 5, 2023): 133–48. http://dx.doi.org/10.24821/ijcas.v10i2.11166.

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One small element that is rarely put in the comics’ scene setting is photographic imagery, commonly a portrait of a person or a family photograph. It is assumed that once a family photograph is presented in a comic, it definitely has a particular function. This study will examine how the family photograph as an object and practice is depicted and present the signification of the story meaning in independent comics. The research object is a drawing that represents a family photograph in a panel, or series of panels – consecutive or non-consecutive -in the independent comic "Pupus Putus Sekolah" (2022) and “Phagia” (2016) as the case study. This research uses a comic studies approach based on qualitative methods. The first analysis process is to pay attention to the presence of family photographic images in comic stories. In the following analysis stage, family photographs are treated as an object defined by social practices based on a semiological/discursive approach, especially the Doing Family Photography approach introduced by Gillian Rose. The study revealed that photographic images in independent comics were shown using the same artistic drawing style as the characters and objects in the story. The inclusion of family photographs in comics aims to present a portrayal of the 'evidence,' 'truth,' and 'indexicality' as the genuine authenticity of the photographed moments in photography while also serving as a symbolic picture in storytelling. The readers' comprehension of the indexical nature of the family photograph is inherently linked to the manner in which the photographic imagery is portrayed and organized with other elements in the sequential composition of comics.Foto Keluarga sebagai Objek dan Praktik dalam Komik Independen di Indonesia Abstrak Salah satu elemen kecil yang jarang dimasukkan ke dalam adegan komik adalah citra fotografi, biasanya potret seseorang atau foto keluarga. Diasumsikan jika foto keluarga disajikan dalam komik, pasti memiliki fungsi tertentu. Penelitian ini akan mengkaji bagaimana foto keluarga sebagai objek dan praktik digambarkan dan menyajikan signifikasi makna cerita dalam komik independen. Objek penelitian adalah gambar yang merepresentasikan foto keluarga dalam sebuah panel, atau rangkaian panel—berurutan atau tidak berurutan—dalam komik independen "Pupus Putus Sekolah" (2022) dan "Phagia" (2016) sebagai studi kasus. Penelitian ini menggunakan pendekatan studi komik berdasarkan metode kualitatif. Tahap analisis pertama adalah memperhatikan citra fotografi keluarga dalam cerita komik. Pada tahap analisis berikutnya, foto keluarga diperlakukan sebagai objek yang didefinisikan oleh praktik sosial, berdasarkan pendekatan semiologis/diskursif, terutama pendekatan Doing Family Photography yang diperkenalkan oleh Gillian Rose. Studi ini mengungkapkan bahwa gambar fotografi dalam komik independen ditampilkan menggunakan gaya gambar yang sama dengan karakter dan objek dalam cerita. Pencantuman foto keluarga dalam komik bertujuan untuk menyajikan penggambaran 'bukti', 'kebenaran', dan 'indeksikal' sebagai keaslian asli dari momen yang difoto dalam fotografi sekaligus berfungsi sebagai gambaran simbolis dalam bercerita. Pemahaman pembaca tentang sifat indeksikal foto keluarga secara inheren terkait dengan cara di mana citra fotografi digambarkan dan diatur dengan unsur-unsur lain dalam komposisi komik yang berurutan.
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Dissertations / Theses on the topic "Photograph"

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De, Lorenzo Nicholas. "Photography Post-Photography: Materiality of the Photograph." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16303.

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This exegesis examines the theoretical framework and artistic context of my studio practice. The primary focus of the work is on the materiality of the photograph. Through alchemical experimentations and abstractions, the work contemplates the question what is photography? in the complex context of a post-photographic world. While not attempting to answer such an elusive question, this paper seeks to investigate some of the relevant ideas and evaluate how they manifest in contemporary practice. I will use this exegesis as a means of recording an exploration of the mediums recent history, as the context and general area of thought from which my own practice has emerged. As such, Chapter One looks into the discourse around the notion of ‘post-photography’, where it has come from, what it involves and why it could be considered significant. Chapter Two looks at how these ideas are manifested in contemporary photography, with a particular focus on the materiality of photographs, as well as on the roll of abstraction and experimentation in photography. Chapter Three then introduces my own practice in relation to these ideas. While my work and this paper broadly revolve around the position of photography in its current context, the intent of this exegesis is to further inform and ground my studio practice. By establishing and exploring this theoretical context, I hope to identify my work's position in –and possible contribution to–the field.
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Belknap, Geoffrey David. "'From a photograph' : photography and the periodical print press 1870-1890." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609850.

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Johansson, Gustav, and Fredrik Persson. "Photograph labeling application : An Android application for labeling and uploading of photographs." Thesis, Karlstads universitet, Institutionen för matematik och datavetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-42972.

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Projektets mål var att lösa ett tekniskt problem för Värmlands Elonservice, där derastekniker har behov av en uppladdningslösning för märkta fotografier i samband med garantiärenden.Lösningen till problemet var att utveckla en Androidapplikation som märkerfotografier och sedan automatiskt laddar upp dem till en vald lagringstjänst. Slutresultatetav projektet är en fungerande Androidapplikation. Användaren kan ta fotografier viaapplikationen och tvingas sedan att namnge dem på ett korrekt sätt. Applikationen hanterarautomatiskt uppladdning av fotografier och radering av uppladdade fotografier. Utöverdetta finns även ett galleri där alla fotografier visas med sina uppladdningstillstånd samtmöjlighet till att se alla fotografier i helskärmsformat. Applikationen har framtida utvecklingsmöjlighetersom exempelvis fler alternativ till lagringstjänster, märkningsalternativtill fotografierna och en snyggare design.
The project’s goal was to solve a technical problem for Elonservice in Värmland, wheretheir technicians have the need for an upload solution for labeled photographs in connectionwith warranty claims. The solution to the problem was to develop an Android applicationthat label photographs and then automatically uploads them to a selected storage service.The end result of the project is a working Android application. Users can take photographsthrough the application and is then forced to name them in a correct manner. Theapplication automatically handles the uploading of photographs and deletion of uploadedphotographs. In addition to this there is also a gallery where all photographs are displayedwith their upload state and the opportunity to see all photos in full screen. The applicationhas future development possibilities such as more options for storage services , labelingalternative to photographs and a more attractive design.
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Malan, Andre. "The use of historical photographs as source for cultural histor : the Sammy Marks photograph collection." Diss., University of Pretoria, 1996. http://hdl.handle.net/2263/37292.

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During his sojourn on earth man leaves traces behind. Subsequent generations can follow these traces through research in order to find out more about his forebears. The term document can be interpreted much wider than referring to written material so that different types of material can serve as source from which this knowledge can be drawn. Pictorial sources is one subsection underneath which photographic material in turn resorts. This study looks at the use of historical photographs as source from which the cultural historian can draw information .. Historical photographs are often merely seen and used as illustration material while they are sources in own right. It is the only source which captures and eternalises a moment in time visually. Unfortunately it is still a human with all his faults and deficiencies who stands behind the camera. That means that although the photograph as source is generally speaking very reliable and objective, historical criticism still has to be applied. To err is human, over and above wilful misrepresentation. Furthermore there are certain pitfalls and limitations inherent to the photograph. At the Sammy Marks Museum just east of Pretoria, a large collection of photographs has been preserved which shows the everyday life of the Marks family over a long period of time. By examining these photographs a clear picture can be formed of the everyday life of a well-to-do Victorian family in the Transvaal during the period 1890 to 1920. The actual images captured by the camera tell the story of these people's weal and woe like words cannot do. No source can be all-revealing .on its own. The photographs and the information drawn from them, are supported and confirmed by references and quotations from the personal correspondence of the family of which much has also been preserved. It is kept at the University of Cape Town. The biography of Sammy Marks by Richard Mendelsohn (Cape Town, 1991) as well as other literary sources has been studied and applied. The study also contains a broad background sketch of the period and its spirit. By making comparisons between the findings about the lives of Sammy Marks and his family and what is known generally about the people of the time, one can see to what degree they conformed or differed. The development of photography itself is also. briefly discussed. The historical photographs which were preserved by the Marks family, serve as example of how valuable such photographs are for our knowledge and the eventual reconstruction of the past. Without them the task of the physical restoration of the house, outbuildings and garden to their original shape would have been much more difficult. At the same time and even more important, they breathe life into the house through the information they contain about the people who used to inhabit it.
Dissertation (MA)--University of Pretoria, 1996.
gm2014
Historical and Heritage Studies
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McCoy, M. J. "Would You Publish This Photograph?" Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/292240.

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Hontos, Vasiliki. "Conservation survey of the Benaki Museum Photographic Archive in Athens, Greece /." Online version of thesis, 1991. http://hdl.handle.net/1850/11621.

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Bonnell, Sian. "The camera as catalyst, the photograph as conduit : an exploration of the performative role of photography." Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/336516/.

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This thesis is a retrospective examination of practice based research as constituted by eight published outputs spanning a period of twenty years. The field in which the research began was British feminist photography of the 1980s and 1990s, part of the postmodern response to modernism/formalism. The analytical text that forms part of the thesis argues that the key contribution being made to this field is ‘Wilful Amateurism’, a term I have coined to describe an aesthetic which can be compared, and possibly contrasted with the aesthetic of play and boundary transgression found in artists of the avant-garde such as Duchamp and Hannah Höch. My application of Wilful Amateurism is a fusing of sculpture and performance understood as photography. The experiential origins are feminist, inhabiting the domestic, absurdism and motherhood. In addition to traversing boundaries between mediums, Wilful Amateurism ignores distinctions between the genres of landscape, still life and self-staging and I cite this as my original contribution to knowledge. The research is discussed within the prevailing attitudes in photography in the 1990s as a defiant attempt to bring a lived, feminine/domestic experience into the professionalized photographic domain that was categorised by either genre or gender. The research question and the driving force behind the work constituted within the submission is presented in the text as a desire to subvert the technical and professionalized aspects of photography so that my images are ‘entered’ and for the space between reality and fantasy to be experienced and understood. Other key artists who I identify as Wilful Amateurs include John Cage, Claude Cahun, Cindy Sherman and Helen Chadwick. The enquiry is underpinned by my research into the theories of DW Winnicott, Jean Rouch, Vilém Flusser and Bruno Latour. As the study will demonstrate, my methodology encompasses bricolage, defined as an ad hoc synthesis of space/place, object, performance and absurdity aimed at creating fictions. As I will show, I use the camera as an agent of my will and imagination to act on its subject/object. The resulting photographs enable the viewer to ‘willingly suspend disbelief’ and become a performer. Finally the point is made that the aesthetic category of Wilful Amateurism that I have identified, is tentative, requiring further research to become a possible tool for continuing study of this field.
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Smoacà, Andreea. "ID Photograph hashing : a global approach." Phd thesis, Université Jean Monnet - Saint-Etienne, 2011. http://tel.archives-ouvertes.fr/tel-00719585.

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Cette thèse traite de la question de l'authenticité des photographies d'identité, partie intégrante des documents nécessaires lors d'un contrôle d'accès. Alors que les moyens de reproduction sophistiqués sont accessibles au grand public, de nouvelles méthodes / techniques doivent empêcher toute falsification / reproduction non autorisée de la photographie d'identité. Cette thèse propose une méthode de hachage pour l'authentification de photographies d'identité, robuste à l'impression-lecture. Ce travail met ainsi l'accent sur les effets de la numérisation au niveau de hachage. L'algorithme mis au point procède à une réduction de dimension, basée sur l'analyse en composantes indépendantes (ICA). Dans la phase d'apprentissage, le sous-espace de projection est obtenu en appliquant l'ICA puis réduit selon une stratégie de sélection entropique originale. Dans l'étape d'extraction, les coefficients obtenus après projection de l'image d'identité sur le sous-espace sont quantifiés et binarisés pour obtenir la valeur de hachage. L'étude révèle les effets du bruit de balayage intervenant lors de la numérisation des photographies d'identité sur les valeurs de hachage et montre que la méthode proposée est robuste à l'attaque d'impression-lecture. L'approche suivie en se focalisant sur le hachage robuste d'une classe restreinte d'images (d'identité) se distingue des approches classiques qui adressent une image quelconque
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Brown, William H. "The historical photograph, artifact-testament-text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0009/MQ33980.pdf.

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Smoaca, Andreea. "ID Photograph hashing : a global approach." Thesis, Saint-Etienne, 2011. http://www.theses.fr/2011STET4034/document.

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Cette thèse traite de la question de l’authenticité des photographies d’identité, partie intégrante des documents nécessaires lors d’un contrôle d’accès. Alors que les moyens de reproduction sophistiqués sont accessibles au grand public, de nouvelles méthodes / techniques doivent empêcher toute falsification / reproduction non autorisée de la photographie d’identité. Cette thèse propose une méthode de hachage pour l’authentification de photographies d’identité, robuste à l’impression-lecture. Ce travail met ainsi l’accent sur les effets de la numérisation au niveau de hachage. L’algorithme mis au point procède à une réduction de dimension, basée sur l’analyse en composantes indépendantes (ICA). Dans la phase d’apprentissage, le sous-espace de projection est obtenu en appliquant l’ICA puis réduit selon une stratégie de sélection entropique originale. Dans l’étape d’extraction, les coefficients obtenus après projection de l’image d’identité sur le sous-espace sont quantifiés et binarisés pour obtenir la valeur de hachage. L’étude révèle les effets du bruit de balayage intervenant lors de la numérisation des photographies d’identité sur les valeurs de hachage et montre que la méthode proposée est robuste à l’attaque d’impression-lecture. L’approche suivie en se focalisant sur le hachage robuste d’une classe restreinte d’images (d’identité) se distingue des approches classiques qui adressent une image quelconque
This thesis addresses the question of the authenticity of identity photographs, part of the documents required in controlled access. Since sophisticated means of reproduction are publicly available, new methods / techniques should prevent tampering and unauthorized reproduction of the photograph. This thesis proposes a hashing method for the authentication of the identity photographs, robust to print-and-scan. This study focuses also on the effects of digitization at hash level. The developed algorithm performs a dimension reduction, based on independent component analysis (ICA). In the learning stage, the subspace projection is obtained by applying ICA and then reduced according to an original entropic selection strategy. In the extraction stage, the coefficients obtained after projecting the identity image on the subspace are quantified and binarized to obtain the hash value. The study reveals the effects of the scanning noise on the hash values of the identity photographs and shows that the proposed method is robust to the print-and-scan attack. The approach focusing on robust hashing of a restricted class of images (identity) differs from classical approaches that address any image
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Books on the topic "Photograph"

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Joseph, Abram, Ecole des Beaux-Arts de Metz., Schweizerische Stiftung für die Photographie., Columbia University. Graduate School of Architecture, Planning and Preservation., and Arthur Ross Architecture Gallery, eds. Hugo P. Herdeg: Photographe/photographer/Photograph, 1909-1953. Metz: Ecole desBeaux-Arts, 1993.

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Jones, Taylor D. Dear photograph. New York: William Morrow, 2012.

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Gaye, Kynoch, ed. Lime's photograph. London: Harvill Press, 2001.

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ill, Selway Martina, ed. The photograph. Littleton, MA: Sundance, 1999.

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Shange, Ntozake. A photograph. Alexandria, VA: Alexander Street Press, 2003.

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Bingxin. The photograph. Beijing: Chinese Literature Press, 1992.

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Ellis, Virginia. The photograph. New York: Ballantine Books, 2003.

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International, Holt Studios, ed. Photograph library. Hungerford: Holt Studios International, 1995.

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Ellis, Virginia. The photograph. Thorndike, Me: Center Point Pub., 2003.

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Lafia, Marc. Image Photograph. Brooklyn, NY: punctum books, 2015.

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Book chapters on the topic "Photograph"

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Walker, Stuart. "Photograph." In Design Realities, 119–20. spirit / Stuart Walker. Description: First edition. |: Routledge, 2018. http://dx.doi.org/10.4324/9780429489037-53.

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Rosengarten, Ruth. "Photograph." In Second Chance, 111–32. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0285.07.

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Wallwork, Adrian. "THE PHOTOGRAPH." In CVs, Resumes, and LinkedIn, 49–53. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-1867-6_5.

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Payne, Natalie. "The Intertwining—The Chiasm." In Advances in Media, Entertainment, and the Arts, 202–25. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-5337-7.ch009.

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The author deploys the notion of embodiment to provide a theoretical framework for a series of autobiographical photographs, Encountering Windrift (2012-2018). Applied to certain modes of autobiographical photography, the theory of embodiment proposed is based upon the notion of the photograph as the embodiment of an encounter between the photographer, the photographed subject, and the viewer. In autobiographical photography the embodied encounter may be heightened by the apparent intimacy between photographer and subject. Maurice Merleau-Ponty's notion of the chiasm and Jill Bennett's notion of an affective transaction serve to support this conception of the photograph as an embodied encounter in that both imply an intertwining of self and other. While the viewer may never be able to access another person's subjective experience directly, certain formal and conceptual approaches to autobiographical photography may enable the viewer's understanding of the photographer's personal experience of space and time, whilst simultaneously triggering their own autobiographical memory.
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"Photography, Memory, and the Frail Instant." In Cultural Sustainabilities, edited by Timothy J. Cooley, 158–73. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042362.003.0013.

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This chapter begins with the idea of the photograph as an integral component in the ecology of memory, exploring the nature of the photograph as key in the sustaining of community identity and knowledge. Focusing on the documentary photographic work and life of Maggie Lee Sayre and Paul Kwilecki, it looks at ways in which memory, imagination, and creativity propel the making of photographs and also are served by the lasting nature of photography. The photographs of Sayre and Kwilecki, born of ordinary life and passing moments, are discussed as key elements the artists' attempt to arrest time–frail instant–and nourish personal and sustainable community-based memory.
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Bokelman, Marina. "How to Look at the Photographs." In Going Up the Country, 15–23. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841971.003.0003.

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This chapter discusses in detail the photographic methodology of co-author Marina Bokelman—how she worked with the limitations of the black and white film available at the time, and the resulting qualities of the photographs. She discusses her decision not to use flash photography and its ramifications, the problems of photographing indoors in low light conditions, and the challenges of photographing subjects with dark skin. She emphasizes the importance of using framing and loose cropping in order to document and illustrate cultural context. She also touches on the importance of gaining permission to photograph, being sensitive to the reluctance of certain subjects to be photographed, and other issues. She illustrates her points with photographs.
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Hallas, Roger. "Introduction." In A Medium Seen Otherwise, 1—C0F4. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190057763.003.0001.

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Abstract The introduction elucidates the broader question of intermediality between photography and film before focusing on the representation of photography within film. A comparative analysis of fictional narrative and documentary film illuminates the propensity of the latter for the intermedial incorporation of photography, permitting the media of photography and documentary film to each be “seen otherwise.” In particular, the spatio-temporal capacities of documentary film enable it to provide new or enhanced perspectives on the significance of photographic materiality and the event of photography. The introduction concludes with a summary of the book’s organization around documentary film’s engagement with the photographic image, the photograph as object, the photographer, the photo archive, and portraiture as photographic genre.
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Shneer, David. "Introduction." In Grief, 1–4. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923815.003.0001.

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The introduction describes how the author first learned about Grief from a local photography collector, whom Shneer learned played a central role in exposing the Soviet photographer Dmitri Baltermants and the photograph to the global art market. The collector assumed that, given its aesthetics, the photograph was a postbattle image taken at Kerch. Only through painstaking research did Shneer learn that Grief was one of the first photographs documenting the liberation of a Nazi atrocity site, even though there are likely no Jews in the photograph, either dead or alive. It is found in Holocaust photo archives and major art museums’ permanent collections and has been exhibited around the world since the 1960s. This book is a biography of Grief and its maker and asks how a photograph documenting Nazi atrocities can be found in modern art museums and Holocaust institutions, whose missions seem diametrically opposed.
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Trefzer, Annette. "Epilogue." In Exposing Mississippi, 221–24. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837493.003.0008.

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This chapter expounds on Eudora Welty's visionary modernity. It highlights Welty's similar principles of photography to William Eggleston, such as the significance of the visible and invisible meaning of the photograph. Landscapes and photographs share an existence as material objects and social processes in photographs. Moreover, Welty was informed and opinionated about photography, thus, she rejected pictorialism and took a liking to candid snapshots instead. Anticipating transformation and questioning social boundaries, Welty's vision of place in her photographs is regarded as mobile and modern. The chapyer concludes that the book traces Welty's visual sense of place to explore the contextual and historical definitions that saturate her photographic representations of southern cultural landscapes.
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Hill, Phil. "In the Absence of the Photograph." In Advances in Media, Entertainment, and the Arts, 326–44. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-5337-7.ch015.

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This chapter considers the specific materiality of a defaced family photograph and the absence of narrative that it represents. The photograph is interrogated to open a dialogue and understand how the meaning of it has changed over time after the point it was made and not only the depicted moment that it shows. The photograph is discussed from the personal perspective of re-discovering the cut photographic print within the family archive and the shift in interpretation that it started. The chapter brings together this personal encounter with a defaced, undesirable photograph and other examples of theory and practice that deal with similar themes of intervention, photographic materiality, distributed memory, and absence that demonstrates the significance and value of photographs placed on a timeline over a singular moment. This is how photographs are part of a range of factors that support the construction of autobiographical memory.
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Conference papers on the topic "Photograph"

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Chelliah, Shobhana. "Making Photographs in Language Archives Maximally Useful: Metadata Guidelines for Community and Academic Depositors." In International Workshop on Digital Language Archives: LangArc-2023. University of North Texas, 2023. http://dx.doi.org/10.12794/langarc2114301.

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Collections in language archives typically include photographs. The purpose of these photographs is to supplement linguistic information about materials, places, and people related to cultural activities that are being forgotten. Instruction on metadata creation for these photograph deposits must take into consideration the variety of depositors to and users of language archives. In addition to the use of existing controlled vocabularies, classification lists, or thesauri in metadata creation, we observe in metadata for photographs the need for open-ended descriptions of personal experience related to the objects, places, and things photographed.
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Mohd Muslim Tan, Ellyana, Mastura Mohd Jarit, Azlina Wati Nikmat, Ruslan Rahim, and Mohd Nagib Mohd Padil. "Therapeutic Photography: Photograph Preferences in Stress Reduction." In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315271.

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Perciun, Andrei. "The Nonhuman Character of Technology And Nature Revealed Through Photography." In 11th International Conference on “Electronics, Communications and Computing". Technical University of Moldova, 2022. http://dx.doi.org/10.52326/ic-ecco.2021/ks.05.

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Tools, like photography, are helping the man fighting nature. However, inside the essential structures of photography there is no signification function. Therefore, the objects represented in the photograph appear as they are in nature, meaningless and without human presence. The photograph, like other technical devices, does not retain the meaning of things. And so, photography is equivalent to nature, which equivantly has nothing to do with human meanings and values. Only in the field of subjectivity and human intersubjectivity the meanings given to world objects are able to survive. In addition, free of sense objects from photography or film, under the guidance of consciousness can combine in unexpected ways and, as a result, produce alternative meanings. Hereafter, the photograph circumscribes an element that corresponds to the basic function of art in general, namely the opportunity to readjust the daily life in which we live in by giving possible meanings and opening up alternative perspectives. In this context, the man is no longer formalized by abstract rationality, but returns to the rethinking of the living environment in which he cohabitates with others.
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Venable, Dennis L., and Nicholas George. "Orientation sorting by diffraction pattern sampling." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/oam.1987.ma2.

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Diffraction pattern sampling has been successfully applied to various problems in automatic pattern recognition, e.g., sorting of photographs based on scene content. In the current research we address the problem of sorting pictorial imagery according to whether a photograph was exposed upright (0°) or rotated 90°. This problem is of interest in the field of photographic processing, where along a continuous film strip, it is desirable to know whether a photograph was exposed in landscape or portrait mode. We limit the photographs in our study to those containing (1) landscape and houses only, (2) people only, and finally (3) groupings of houses and people. The optical transform is known to be independent of image translation but relates in a one-to-one fashion with image rotation. The detector used for sampling the optical transform is the Ring-Wedge detector, consisting of 32 wedge-shaped detectors and 32 concentric half-ring detectors. Using a feature set extracted from data obtained from wedge (angle-dependent) values, we illustrate the method of software development. Algorithms based on physical optics expectations are found to give reliable sorting in some cases. Discriminant functions using multiple feature algorithms are described. Results are presented in truth-table form for the three groupings listed above.
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Seiradakis, John H. "Workshop Photograph." In Bursts, Pulses and Flickering: wide-field monitoring of the dynamic radio sky. Trieste, Italy: Sissa Medialab, 2008. http://dx.doi.org/10.22323/1.056.0048.

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"Official photograph." In 2018 International Conference on Electronics, Communications and Computers (CONIELECOMP). IEEE, 2018. http://dx.doi.org/10.1109/conielecomp.2018.8327165.

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Huang, Meiyu, Yiqiang Chen, Linglin Yin, and Wen Ji. "Ti-Photograph." In UbiComp '13: The 2013 ACM International Joint Conference on Pervasive and Ubiquitous Computing. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2494091.2494174.

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Reynolds, John. "Workshop photograph." In From Antikythera to the Square Kilometre Array: Lessons from the Ancients. Trieste, Italy: Sissa Medialab, 2013. http://dx.doi.org/10.22323/1.170.0051.

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Tribe, Selina, and Mark Leir. "The Role of Aerial Photograph Interpretation in Natural Hazard and Risk Assessment." In 2004 International Pipeline Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ipc2004-0390.

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Aerial photograph interpretation is an accurate and economical method of assessing terrain conditions and natural hazards affecting pipelines and other linear facilities. Completed in advance of vehicle and helicopter-based reconnaissance, it provides a comprehensive site overview that cannot be obtained at ground level. Aerial photograph interpretation helps construct and confirm preliminary hazard and stream-crossing inventories, understand hazard mechanisms, and estimate hazard volume and activity. Time series photo interpretation uses several sets of aerial photographs taken of the same area in different years to track changes in terrain, stream patterns and land-use over time. In addition, aerial photographs are superior navigation tools in the field. These points are illustrated using examples from pipelines in British Columbia and Alberta. This work will be of interest to managers of pipelines throughout western Canada, and to those involved with pipeline route selection through mountainous regions.
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Sugiyama, Naoki, Tomoko Ota, and Akihiko Goto. "Quality analysis of images between expert and beginners taken by drone." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003180.

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The use of drones provides a variety of images and video footage that we have not seen before. In non-destructive inspection, on the other hand, it is necessary to obtain an accurate image of the inspection area. The quality of the image is important because the image is used for inspection.In this study, expert and beginners drone pilots operated a drone to photograph the three subjects in the designated areas. Three subjects were photographed by different conditions. The quality of the photographs obtained was compared. The results showed that expert pilot were more likely than beginners to ensure that the subject was in the centre of the picture taken. In addition, distances between drone and subjects were set in almost the same position by expert.
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Reports on the topic "Photograph"

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Hochanadel, Patrick Wayne. Historical photograph of vessel fabricated for LANL. Office of Scientific and Technical Information (OSTI), April 2020. http://dx.doi.org/10.2172/1617333.

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Hamlett, PA. Historical Aerial Photograph Investigation of Range Sites at Fort McClellan, Alabama. Office of Scientific and Technical Information (OSTI), January 2001. http://dx.doi.org/10.2172/814109.

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Little, E. C., P. J. Holme, A. C. Hilchey, and M. Young. Draft surficial geology and aerial photograph mosaic, Icebound Lakes (southwest), Baffin Island, Nunavut. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2006. http://dx.doi.org/10.4095/222769.

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King, AL. Historical Aerial Photograph Investigation of Choccolocco Mountain Range Area C at Fort McClellan, Alabama. Office of Scientific and Technical Information (OSTI), January 2001. http://dx.doi.org/10.2172/814428.

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Jablon, Sara. What do fashion designers look like? Comparing representations of stock photograph designers and professional designers. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1166.

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Enscore, Susan, Dawn Morrison, Adam Smith, and Sunny Adams. Fort Huachuca ranges : a history and analysis. Engineer Research and Development Center (U.S.), December 2021. http://dx.doi.org/10.21079/11681/42720.

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Fort Huachuca Environmental and Natural Resources Division (ENRD) sent funds to ERDC-CERL to develop a historic context that assists Fort Huachuca personnel in identifying the likely history and provenance of numerous historic range features located across Fort Huachuca's training lands. The historic context will be used by cultural resources personnel to evaluate and manage the resources appropriately. Various historic training range features (e.g., structures, fragments, and items left over from previous activities) are located across the ranges of Fort Huachuca, representing its long and storied history. To help identify and catalog these features, ERDC-CERL conducted a field survey of the training ranges in 2016 in or-der to photograph the historic range features. Forty-one historic range features were identified. Researchers conducted archival research, literature reviews, and image analysis of historic and current maps and photographs to identify the 41 historic range features and place them within a chronological context of Fort Huachuca's training ranges. The report concludes with guidance on how to identify and associate sites and features within the overall historic training range chronology and evaluate them appropriately for significance and National Register of Historic Places (NRHP) eligibility.
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Duncan. L52005 Reliable Diagnosis of SCC During Field Inspection. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), March 2003. http://dx.doi.org/10.55274/r0011252.

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Direct assessment (DA) is one method pipeline companies use to assess the extent and severity of stress corrosion cracking and other defects on their pipeline system. Successful integrity management of a pipeline is dependent, in part, on proper interpretation of the defects encountered in the DA program. The objective of this project was to prepare a document containing a compilation of types of crack-like magnetic-particle testing (MT) or visual indications found on underground transmission pipelines for the purpose of proper interpretation of their type and cause. Pipe samples containing various types of defects were inspected by means of black and MT, optically photographed, and then metallographically sectioned and photographed. The MT photographs and metallographic photomicrographs were compiled in an Access Database.
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Greene, G. J., G. Cutsogeorge, and M. Ono. Boxcar photography. Office of Scientific and Technical Information (OSTI), July 1987. http://dx.doi.org/10.2172/6169434.

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Kerr, D. E. Reconnaissance surficial geology, Beechey Lake, Nunavut, NTS 76-G. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329669.

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Preliminary mapping studies of Beechey Lake map area, through aerial photograph interpretation and limited legacy data, improve our understanding of surficial sediments and glacial history. The area is dominated by glacially and meltwater-scoured bedrock, hummocky moraine, till of varying thickness occasionally streamlined, and thin ridged till. Glacial lake sediments are predominantly in river valley lowlands. Glaciolacustrine delta and raised beach elevations range from 410 m to 230 m and 440 m to 290 m, respectively. Glaciofluvial deposits consist of eskers, ice-contact mounds, proglacial outwash plains, and terraces. Basal meltwater from regional ice stagnation and downwasting scoured subglacial and proglacial meltwater corridors and channels of varying width, many trending northwest. A glaciomarine delta was deposited in a high-sea marine environment following deglaciation in the northernmost map area. Streamlined till and bedrock landforms and striations indicate regional ice flow was dominantly northwest. A late westward and southwestward deglacial ice flow is preserved sporadically in the easternmost map area, and well preserved in the west-central and southwestern map areas, west of a discontinuous hummocky moraine belt.
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Marcot, Bruce, M. Jorgenson, Thomas Douglas, and Patricia Nelsen. Photographic aerial transects of Fort Wainwright, Alaska. Engineer Research and Development Center (U.S.), August 2022. http://dx.doi.org/10.21079/11681/45283.

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This report presents the results of low-altitude photographic transects conducted over the training areas of US Army Garrison Fort Wainwright, in the boreal biome of central Alaska, to document baseline land-cover conditions. Flights were conducted via a Cessna™ 180 on two flight paths over portions of the Tanana Flats, Yukon, and Donnelly Training Areas and covered 486 mi (782 km) while documenting GPS waypoints. Nadir photographs were made with two GoPro™ cameras operating at 5 sec time-lapse intervals and with a handheld digital camera for oblique imagery. This yielded 6,063 GoPro photos and 706 oblique photos. Each image was intersected with a land-cover-classification map, collectively representing 38 of the 44 cover categories.
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