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Relevant bibliographies by topics / Photographers

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Academic literature on the topic 'Photographers'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Photographers"

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Indra Astutik, Ika Ratna, and Yudhistira Wignya Radhitya. "Sistem Informasi Pemesanan Jasa Fotografer Berbasis Web Pada Studio Fotograferku." Journal of Technology and System Information 1, no. 1 (January 19, 2024): 1–15. http://dx.doi.org/10.47134/jtsi.v1i1.2142.

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Studio Fotograferku is a company engaged in photography services. In the current digital era, the need for photography services continues to increase along with the growth of the creative industry and social media. However, the process of finding and ordering photographers often takes a long time and is less efficient. Seeing this potential, we developed a web-based photographer ordering information system. This system aims to make it easier for customers to search, compare, and order photographer services according to their needs and preferences. This system provides a photographer search feature based on category, location, price, and portfolio. Custome can view profiles, works and reviews of available photographers. In addition, this system is equipped with a calendar feature that allows customers to see the availability of dates from photographers and place orders directly through the platform. To increase user trust, the system is also equipped with a rating and review system that can assist customers in making decisions. From the photographer's perspective, they can register themselves, manage their profile, upload their portfolio, and schedule their activities. This system is also equipped with a notification feature to inform photographers about new orders or changes to existing orders. This web-based photographer ordering information system is expected to be a bridge between photographers and customers, increase efficiency in the ordering process, and expand market reach for photographers.

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Kaeppler, Adrienne L. "Early photographers encounter Tongans." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 209–26. http://dx.doi.org/10.1386/nzps_00038_1.

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Four early photographers are examined here in relation to their encounters with Tongans and Tonga. These photographers are Andrew Garrett, Gustav Adolph Riemer, Clarence Gordon Campbell and Walter Stanhope Sherwill. Garrett, an American natural historian who specialized in shells and fish, took two ambrotypes of Tongans in Fiji in 1868, which are two of the earliest Tongan photographs known. Riemer, born in Saarlouis, Germany, was a marine photographer on S.M.S. Hertha on an official diplomatic visit and took at least 28 photographs in Tonga in 1876. Campbell, a tourist from New York, took 25 culturally important photographs in 1902. Sherwill, a British subject born in India, moved to Tonga about the time of the First World War. He probably took many photographs with more modern equipment, but only two have been identified with certainty. This article presents information about the photographers and those depicted, where the original photographs can be found and the research that made it possible to glean cultural information from them. These early photographers are placed in the context of other more well-known early photographers whose works can be found in archives and libraries in New Zealand, Australia, Hawai‘i and Germany. In addition, summary information about two Tongan-born photographers is presented, as well as where their photographs/negatives can be found.

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Fiore, Dánae. "Photographs as Artifacts." Anthropos 114, no. 1 (2019): 57–78. http://dx.doi.org/10.5771/0257-9774-2019-1-57.

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This article presents key concepts and methods used to develop a visual archaeology of two Indigenous societies of Tierra del Fuego (Shelk’nam, Yámana/Yagan). Photographs are conceived as artifacts, which condense the traces of at least two agents: photographers and photographed subjects. These visual records are not only biased by the different photographers who took them, but also shed light on the different material culture patterns produced by each Indigenous society, which are visible on the images when studied in large samples. The article discusses some results of systematic investigations carried out on a corpus of 847 photographs taken by 39 photographers of Shelk’nam and Yámana/Yagan persons (19th and early 20th centuries). These are compared to materials found in the archaeological record in order to generate new data about the material culture used by Fueguian hunter-gatherers.

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Kloster Poulsen, Steffen. "Når eksplosioner er kunst." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 100–115. http://dx.doi.org/10.7146/periskop.v2024i31.146623.

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This article argues for an expanded effort to search for, and actively utilize, concepts and methods from the sociolinguistic periphery of the otherwise anglocentric academic lit- erature on photography in order to achieve a more level playing field between vernacular concepts and purportedly universal ones. Taking the history of public debate on photo- graphy in Japan as a departure point, this article aims to map out a new area of explora- tion for photographic research in the academic field of art history. Japan has been home to a vivid public and intellectual debate on photography since the birth of photography and, although its output of photographers and photobooks has been globally acclaimed and exported to museums and galleries internationally, especially in the past thirty years, lit- tle emphasis in academic research and elsewhere has been put on Japanese photographic critique, theory and debate outside the archipelago. As an example of unexplored theory, this article analyzes two published lectures by Japanese photographer Hatakeyama Naoya in which he reflects on photography's value as art, its place in the art world and the processes by which photographers become labelled as artists. Using a metaphor from analogue photography, he deems photographers “latent artists” who by a development process can become artists. Following Hatakeyama’s line of thought, this article argues furthermore that the metaphor can be extended to photographs themselves.

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Dissarami, Dissarami. "PHOTOGRAPHER INCOM EARNINGS PRE-WEDDING IN PERSPECTIVE AL-'AMÂL . IJÂRAH CONTRACT (A Research in Takengon City)." Dusturiyah: Jurnal Hukum Islam, Perundang-undangan dan Pranata Sosial 12, no. 2 (December 8, 2022): 169. http://dx.doi.org/10.22373/dusturiyah.v12i2.13260.

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Pre-wedding photo shoots are carried out to meet various aesthetic needs at the wedding ceremony. This causes many people to need the services of a photographer, producing various forms of style from every pre-wedding photo moment that is created. There are three problem formulations in this thesis, namely first, how is the contribution of the photographer in determining behavior and style in pre-wedding shooting. Second, what are the efforts made by the photographer to avoid photo sessions that are against the syara' in pre-wedding photography. Third, what are the consequences of the photographer's income according to the perspective of the ijarah al-'amal contract in Takengon City. The method that the author uses in this research is a qualitative descriptive method, the data collection used is through library researchers and field researchers, carried out by researching and asking questions to the photographer in Takengon City. The results of the study show that first, the participation of photographers in the photo-taking process to avoid things that are contrary to sharia. Second, in the photo session there were several photographers giving rules and restrictions to clients to avoid things that are contrary to sharia rules. Third, the photographer's income has met the terms and conditions based on the ijarah al-amal agreement

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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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De Leon, Adrian. "Frank Mancao's “Pinoy Image”: Photography, Masculinity, and Respectability in Depression-Era California." Journal of American Ethnic History 41, no. 2 (January 1, 2022): 58–94. http://dx.doi.org/10.5406/19364695.41.2.03.

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Abstract This article examines the construction of respectability politics and ethnic identity in the visual archives of Frank Mancao, a Filipino labor contractor and photographer in California. By investigating Mancao's relationship with the male Filipino farmworkers he managed and photographed, it argues that ethnic photographers and migrant workers as photographic subjects turned to the camera as a means of constructing a respectability politics to refashion a denigrated masculine Filipino identity in the American West. It begins with an investigation of Mancao's photographic practice and moves into how his work as a studio photographer provided Filipino men—including Mancao himself—opportunities to represent themselves against the popular image of the Filipino vagrant and criminal. However, this study also suggests that the “Pinoy image” crafted around the camera was not a revolutionary one; instead, the photographs reified industriousness and participation in capitalist production as the merits of good citizenship.

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Alexander, Arden. "Photographic Resources Documenting the Middle East at the Library of Congress." Middle East Studies Association Bulletin 40, no. 1 (June 2006): 63–74. http://dx.doi.org/10.1017/s0026318400049415.

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Images of the Middle East form an important part of the 14 million items in the Prints and Photographs Division (P&P) of the Library of Congress (LC). The Middle East designation covers a broad geographical region stretching from Algiers in North Africa, to Samarqand in present day Uzbekistan. Most of the photographs, negatives, book illustrations, posters, albums, stereographs, and prints date from between 1840 to the present and document people, archaeological sites, buildings, important events, and everyday life. The photographers include resident foreigners such as Rudolf Lehnert and Ernst Landrock (generally known by their corporate name Lehnert & Landrock), travelers to the region like Francis Frith, local photographers such as Ottoman military photographer Ali Riza Pasha, and most recently LC staff members who visited war-torn Baghdad. The Middle East holdings total about 50,000 items, received through copyright deposit, gift and purchase.

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Saretzky, Gary D., and Joseph G. Bilby. "New Jersey Photographers of the Civil War and Postwar Era: John P. Doremus." New Jersey Studies: An Interdisciplinary Journal 8, no. 1 (January 27, 2022): 152–223. http://dx.doi.org/10.14713/njs.v8i1.267.

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Of the more than 3,000 photographers active in New Jersey in the nineteenth century, a number of them were itinerant camera workers at some point during their careers, operating with a horse-drawn wagon. Some photographers, especially those taking views, circulated locally even when they had a gallery where they did portraits and sold other kinds of photographs. Like many other American photographers who did not always wait for customers, John P. Doremus began working in the medium during the Civil War, when there was a strong market for portraits. Doremus is distinguished in that, for much of the latter 1870s and 1880s, he lived and worked on a floating gallery on the Mississippi River while his business back home in Paterson, Passaic County, was managed by his family. For this remarkable episode in his career, he was inducted into the National Rivers Hall of Fame in 1991. He is also exceptional in that he kept a journal in which he recorded fascinating details about his experiences. This essay provides a case study of an able and ambitious photographer and entrepreneur whose career, characterized by both typical and unique experiences, sheds light on photographic and business practices of his era. You can find additional John P. Doremus photographs here: https://web.ingage.io/6jsPH2p.

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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky." Art & Culture Studies, no. 4 (December 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.

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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.

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Dissertations / Theses on the topic "Photographers"

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Shtonda, A. O. "Great Contemporary Photographers." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8399.

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Jambard-Sweet, Carolyn. "Carte-de-visite culture in Manchester NH a case study /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162753708.

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Cordier, Astrid. "The influence of 1950s fashion photographers, Richard Avedon and Irving Penn, on photographers Matthew Rolston and Steven Meisel." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008112.

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Photography has been used to record and document periods in time, which Wells (2001:19) acknowledges by stating that, “…photographs are records and documents which pin down the changing world of appearance”. Richard Avedon and Irving Penn made a significant contribution to fashion photography during the 1950s but this has seldom been explored in a scholarly way. By defining the characteristics of Avedon and Penn’s work, a possible understanding of their influence on contemporary fashion photographers, Matthew Rolston and Steven Meisel may be determined and so expand on the understanding of the contribution of Avedon and Penn to contemporary fashion photography. Avedon, Penn, Rolston and Meisel’s fashion photographs will be visually analysed to show the similarities and the relevance of 1950s fashion photography to contemporary fashion photography. Paul Martin Lester’s (2003) method of visual analysis will be used as the basis for this analysis. The reason for choosing Lester’s methods of visual analysis is that it can be applied to all fields of visual art and design. Contemporary fashion photography draws on many different stylistic devices and periods in history for its re-invention, so it is important to understand what constitutes the defining characteristics of a stylistic period in history to be able to revisit it in contemporary photography.

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Macleod, Sheila Jean. "Three french writer-photographers after Roland Barthes." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411256.

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Pavão, Luís. "Photography in Lisbon, Portugal from 1886 to 1914 /." Online version of thesis, 1989. http://hdl.handle.net/1850/11377.

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黎健強 and Kin-keung Edwin Lai. "The life and art photography of Lang Jingshan (1892-1995)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B30230214.

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Haney, Erin Leigh. "If these walls could talk! : photographs, photographers and their patrons in Accra and Cape Coast, Ghana 1840-1940." Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415453.

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Gillis, Natalie Kersey. "Reconstructions : the contemporary Southern landscape by its photographers." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002736.

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Morris, Ryan K. "Understanding Involuntary Job Loss Among Former Newspaper Staff Photographers." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4174.

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This study examines former newspaper photographers' experience with being laid-off from their staff positions. The purpose was to identify emerging themes within the context of involuntary job loss, job satisfaction, and occupational identity via interviews with 8 photojournalists who experienced the phenomenon of being laid-off. The newspaper industry has long been considered both the starting point for young and aspiring photojournalism careers and the most consistent and stable venue for an income. Yet recent changes in the media landscape, particularly economic stress on traditional business models and rapid adoption of digital technology sway the occupational future of photojournalism within newsrooms. The research method employed for this study includes in-depth interviews with a hermeneutical phenomenology approach focused on involuntary job loss, job satisfaction, and occupational identity.

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Wilson, Denise Alexandra. "Beyond the domestic : women photographers in Ireland 1853-1913." Thesis, Ulster University, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.755095.

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Books on the topic "Photographers"

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Chalker, David. 100 views of Canberra. Griffith, ACT: PhotoAccess, 2013.

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Johnson, Brooks. Photography speaks: 150 photographers on their art. New York, NY: Aperture Foundation, Inc., 2004.

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Casgrain, H. R. Jules Livernois. [Québec?: s.n.], 1986.

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Hinata, Kōzaburō. Beijing Shanben zhao xiang guan: Riben she ying shi he ta jing tou xia de jin dai Zhongguo. Shanghai Shi: Shanghai shu hua chu ban she, 2021.

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Naylor, Colin. Contemporary photographers. 2nd ed. London: St. James Press, 1988.

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National Geographic Society (U.S.), ed. The photographers. Burbank, CA: Distributed by Warner Home Video, 2000.

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Jean-Claude, Gautrand, ed. Photographers' Paris. Paris: Bookking International, 1989.

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Colin, Naylor, and Bobrowski Ryszard, eds. Contemporary photographers. 2nd ed. Chicago: St. James Press, 1988.

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Erich, Lessing, Sattlberger Chris, and Anzenberger Agency for Photographers (Vienna, Austria)., eds. 22 photographers. Zurich, Switzerland: Edition Stemmle, 1997.

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Printing, London College of. Photographers' control. London: LCP, 1987.

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Book chapters on the topic "Photographers"

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Sylvester, Judith. "Photographers." In The Media and Hurricanes Katrina and Rita, 67–92. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611290_2.

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Cummings, Scott T. "Photographers." In The Theatre of Les Waters, 184–85. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003170808-45.

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Druker, Elina. "Chapter 8. In and out of focus." In Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.

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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.

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Lavine, Joe, and Brad Bartholomew. "What Light Does." In Lighting for Photographers, xii—33. Second edition. | London ; New York : Routledge, 2019. | Revised edition of: Light right.: Routledge, 2019. http://dx.doi.org/10.4324/9781351166645-1.

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Lavine, Joe, and Brad Bartholomew. "Success." In Lighting for Photographers, 210–33. Second edition. | London ; New York : Routledge, 2019. | Revised edition of: Light right.: Routledge, 2019. http://dx.doi.org/10.4324/9781351166645-10.

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Lavine, Joe, and Brad Bartholomew. "The Building Process." In Lighting for Photographers, 34–57. Second edition. | London ; New York : Routledge, 2019. | Revised edition of: Light right.: Routledge, 2019. http://dx.doi.org/10.4324/9781351166645-2.

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Lavine, Joe, and Brad Bartholomew. "Lighting as Part of Composition." In Lighting for Photographers, 58–81. Second edition. | London ; New York : Routledge, 2019. | Revised edition of: Light right.: Routledge, 2019. http://dx.doi.org/10.4324/9781351166645-3.

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Lavine, Joe, and Brad Bartholomew. "Experimentation." In Lighting for Photographers, 82–103. Second edition. | London ; New York : Routledge, 2019. | Revised edition of: Light right.: Routledge, 2019. http://dx.doi.org/10.4324/9781351166645-4.

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Lavine, Joe, and Brad Bartholomew. "Lighting Equipment." In Lighting for Photographers, 104–27. Second edition. | London ; New York : Routledge, 2019. | Revised edition of: Light right.: Routledge, 2019. http://dx.doi.org/10.4324/9781351166645-5.

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Lavine, Joe, and Brad Bartholomew. "DSLR Cameras." In Lighting for Photographers, 128–45. Second edition. | London ; New York : Routledge, 2019. | Revised edition of: Light right.: Routledge, 2019. http://dx.doi.org/10.4324/9781351166645-6.

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Conference papers on the topic "Photographers"

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Adams, Dustin, Tory Gallagher, Alexander Ambard, and Sri Kurniawan. "Interviewing blind photographers." In ASSETS '13: The 15th International ACM SIGACCESS Conference on Computers and Accessibility. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2513383.2513418.

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Adams, Dustin, Sri Kurniawan, Cynthia Herrera, Veronica Kang, and Natalie Friedman. "Blind Photographers and VizSnap." In ASSETS '16: The 18th International ACM SIGACCESS Conference on Computers and Accessibility. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2982142.2982169.

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Lux, Mathias, Mario Taschwer, and Oge Marques. "A closer look at photographers' intentions." In the ACM multimedia 2012 workshop. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2390803.2390811.

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Huang, Yi-hui. "Understanding digital-altered photographs through photographers’ views of reality: Matt Siber as an example." In Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.10.

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Xue, Shao-Fu, Qian Lin, Daniel R. Tretter, Seungyon Lee, Zygmunt Pizlo, and Jan Allebach. "Investigation of the role of aesthetics in differentiating between photographs taken by amateur and professional photographers." In IS&T/SPIE Electronic Imaging, edited by Qian Lin, Jan P. Allebach, and Zhigang Fan. SPIE, 2012. http://dx.doi.org/10.1117/12.914686.

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Ranjith, Durgunala, Vanam Sravan Kumar, Narsingoju Chandramouli, Rachoori Sagar, Akoju Mahender, Kothandaraman Dhandapani, and Mruthyunjaya Mendu. "Wild life animals image classification for photographers using VGG19." In 7TH INTERNATIONAL CONFERENCE ON NANOSCIENCE AND NANOTECHNOLOGY. AIP Publishing, 2024. http://dx.doi.org/10.1063/5.0195730.

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Nada, Arex. "The Prying Eye: A Study On The Adherence Of The Selected National Broadsheets To The Code Of Ethics Of National Press Photographers Association." In 28th Global Conference on Business Management and Economics. Global Conference Alliance, 2022. http://dx.doi.org/10.62510/nafb7812.

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Newspapers use visual components to deliver information more effectively and efficiently and elicit emotional responses from readers. The purpose of the study was to determine whether chosen national broadsheets adhered to the NPPA (National Press Photographers Association) photojournalism code of ethics. It focused on determining the visual contents of photos depicting calamity, crime, and tragedy published in selected national broadsheets using the NPPA Code of Ethics; to analyze the contents and presentation of photos depicting calamity, crime, and tragedy through the analysis of text and subtext; and to determine the level of adherence of the selected national broadsheets to the NPPA photojournalism code of ethics in publishing photos about the tragedy. The results indicate that the crime, tragedy, and calamity photographs published in the selected national broadsheets correspond to the NPPA code of ethics regarding the accuracy of the visual content, but the narratives frame the issues. The photojournalists communicate the story of a subject through the use of emotionally charged photographs. The photographs depicting tragedy, crime, and calamity published in chosen national broadsheets follow the NPPA code of ethics.

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Wagner, Claudia, Sitaram Asur, and Joshua Hailpern. "Religious Politicians and Creative Photographers: Automatic User Categorization in Twitter." In 2013 International Conference on Social Computing (SocialCom). IEEE, 2013. http://dx.doi.org/10.1109/socialcom.2013.49.

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Paxoumaki, Sofia Alexandra, and Nikos Antonopoulos. "Professional Photographers of Instagram: The Meaning of Visual Communication Through Modern Photography in Digital Society." In – The Barcelona Conference on Arts, Media & Culture 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2435-9475.2020.3.

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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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Abstract:

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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Reports on the topic "Photographers"

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Whitacre, Madeline, and Wendy Strohmeyer. Project Y Photographers. Office of Scientific and Technical Information (OSTI), June 2024. http://dx.doi.org/10.2172/2372662.

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Galenson, David. The Greatest Photographers of the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, August 2009. http://dx.doi.org/10.3386/w15278.

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Johnson, T. Tips for Photographers, Birders, and Wildlife Viewers on Guided Trips. Alaska Sea Grant, University of Alaska Fairbanks, 2010. http://dx.doi.org/10.4027/tpbwvgt.2010.

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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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Rampton, V. N., and J. S. Vincent. Photographs of Coastland Terrains. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1987. http://dx.doi.org/10.4095/126958.

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Rampton, V. N. Photographs of Coastland Terrains. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1987. http://dx.doi.org/10.4095/126959.

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Piccolo, Angiola. White Rock Historic Photographs. Office of Scientific and Technical Information (OSTI), March 2023. http://dx.doi.org/10.2172/1962776.

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Van Vlack, Hannah, and Cyler Norman Conrad. Steen's photographs of Bandelier NM. Office of Scientific and Technical Information (OSTI), February 2020. http://dx.doi.org/10.2172/1601597.

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PARSONS ENGINEERING SCIENCE INC DENVER CO. Photographs of Extended Bioventing Activities. Fort Belvoir, VA: Defense Technical Information Center, May 1996. http://dx.doi.org/10.21236/ada384503.

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Piccolo, Angiola. NSRC Research Request - Historic Photographs. Office of Scientific and Technical Information (OSTI), December 2022. http://dx.doi.org/10.2172/1907760.

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