Relevant bibliographies by topics / Photographic aspects

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Photographic aspects'

Author: Grafiati
Published: 6 September 2023

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Journal articles on the topic "Photographic aspects"

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Aziz, Abdul, John Felix, and Candy Reggi Sonia. "EKSPLORASI VISUAL SITU CANGKUANG DALAM FOTOGRAFI SENI." Capture : Jurnal Seni Media Rekam 9, no. 1 (March 8, 2018): 1–11. http://dx.doi.org/10.33153/capture.v9i1.2052.

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The facilities and services provided by photographic technology have made it easier for people to photograph. So photography is no longer a strange thing in the society. Photography has been able to replace manual illustrations, with its many advantages, such as the similarities and details of the objects it records. Photography is also necessary as a means of communication and photographic messages can also be a means of expression. When photography enters the arts, photography can provide dimensions that touch technical aesthetic aspects, as well as conceptual and thematic discourses. Exploration Situ Cangkuang will be the choice of visual objects Researchers in the creation of artistic photography. This is a form of aesthetic expression of researchers to make a real contribution to the awakening of art treasures that touch the aspect of tourism. The research method used is the qualitative descriptive method. In this method, the researcher performs a visualization and a photographic display supported by a subjective observation result.Keywords: Photography, art, visual, and Situ Cangkuang
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Molnar, Michael. "Freud & Co." Psychoanalysis and History 8, no. 2 (July 2006): 255–66. http://dx.doi.org/10.3366/pah.2006.8.2.255.

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A previously unknown photograph of the old Emanuel Freud with his youngest daughter Bertha inspires an attempt to salvage what can be rescued of these lost lives and reminds us that history is always incomplete. Emanuel's appearances in Freud's dreams exemplify the dream-like aspects of the photographic image, which momentarily highlights particular aspects of the sitter while neglecting others. Examining photographs for documentation involves a reappraisal of the language of historical evidence.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.

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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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N Hegde, Mithra, and Urvashi B Sodvadiya. "Photography in dentistry: A perspective." Journal of Otolaryngology-ENT Research 12, no. 5 (2020): 161–65. http://dx.doi.org/10.15406/joentr.2020.12.00476.

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Photography is an “informative tool” to evaluate the diagnosis, make the proper treatment plan, document cases, communicate with the dental technician and other specialties for a multidisciplinary approach. These all can be achieved by only a good photograph with illumination, sharpness, and proper color contrast. This article emphasizes on photography and technical aspects which are required to understand photography in the field of dentistry. By using accessories like photographic mirror, contrastors and retractors, we can record the details of a targeted area. The advances in techniques of photography gives good results provided one understands the complexity of the camera-system.
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Nico-Jati, Kurnia. "Archiving Digital Photos and Files at the Sonobudoyo Museum as a Reconstruction. Effort and the Preservation of the Historical Archives of the Museum’s Treasury." Symbolon 23, no. 2 (2022): 61–74. http://dx.doi.org/10.46522/s.2022.02.5.

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Archiving historical photographic works in museums is not easy because an archiving staff does not only archive photos but also has to take care of, examine photo data, and present them to the public so that they become archives that are worth showing off. Researchers, together with archive staff, will categorize photos based on three categories, namely photos of colonial cultural history, the war of independence, and the period of nation building. In this case, the research aims to find out work patterns and what an archiving staff does, categorize photos, know virginity and archiving methods so that it is useful to add references to the breadth of the photography profession that will be conveyed to the public. Preservation of photographic works is also a form of long-term research that requires patience because of the very broad aspects of its work. Proper handling, storage, or reconstruction of historical photographic material requires special care, so this research is expected to provide a new discourse to the public regarding the breadth of the world of photographic work that is not limited to photographing skills.
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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.

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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.

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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Kohno, Yuhki, Hideki Ueda, and Setsuya Nakada. "Construction and Provision of Digital Photographic Archives by Using the Japan Volcanological Data Network System: Application to the 1990–1995 Mount Unzen Eruption Disaster." Journal of Disaster Research 17, no. 5 (August 1, 2022): 600–608. http://dx.doi.org/10.20965/jdr.2022.p0600.

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Sharing volcano-related photographic data is necessary for deepening understanding of volcanic phenomena. Therefore, a new function for archiving, displaying, and providing digital photographic data has been added to the Japan Volcanological Data Network (JVDN) system to enable users to share photographs of volcanoes and their related metadata. The new function was developed in order to facilitate widespread use in research involving data owned by individuals or organizations, and it solved a number of issues: the issue of preventing the loss of photographs or their associated metadata, issues related to copyright ownership of photographs, information-management issues related to photographic data, and the issue of the extent of disclosure of photographic data. We have uploaded photographic data related to the eruption disaster of Mount Unzen (1990–1995) onto the JVDN system and have started to provide these data to interested parties. These photographic data are related to various aspects including volcanic-eruption phenomena, volcanic disasters, and disaster countermeasures. We expect that such data will be effectively utilized in various fields in the future. We believe that sharing of photographic data by means of the new functions will contribute toward the development of volcanology and the mitigation of volcanic disasters.
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Barasch, Alixandra, Kristin Diehl, Jackie Silverman, and Gal Zauberman. "Photographic Memory: The Effects of Volitional Photo Taking on Memory for Visual and Auditory Aspects of an Experience." Psychological Science 28, no. 8 (June 26, 2017): 1056–66. http://dx.doi.org/10.1177/0956797617694868.

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How does volitional photo taking affect unaided memory for visual and auditory aspects of experiences? Across one field and three lab studies, we found that, even without revisiting any photos, participants who could freely take photographs during an experience recognized more of what they saw and less of what they heard, compared with those who could not take any photographs. Further, merely taking mental photos had similar effects on memory. These results provide support for the idea that photo taking induces a shift in attention toward visual aspects and away from auditory aspects of an experience. Additional findings were in line with this mechanism: Participants with a camera had better recognition of aspects of the scene that they photographed than of aspects they did not photograph. Furthermore, participants who used a camera during their experience recognized even nonphotographed aspects better than participants without a camera did. Meta-analyses including all reported studies support these findings.
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Moore, David. "The Lisa and John Slideshow (2017): A Play about Photography." Arts 12, no. 3 (May 26, 2023): 109. http://dx.doi.org/10.3390/arts12030109.

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The Lisa and John Slideshow is a theatrical response to my own earlier photographic project, Pictures from the Real World. Colour Photographs, 1987–88, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant piece of research, devised through participation with those depicted within the image, the forty-five-minute play questions representational methods through an alternate medium. The project evokes what else was knowable from the terrain of possibilities when the sovereign images of the former project were captured, as it reaches into photographs, opening contextual focus on the social, political and relational aspects of production. This paper is drawn from my Ph.D. thesis, What the Subject Does. Lisa and John and Pictures from the Real World submitted to the University of Sussex in December 2022. The question asked within this commentary is: How can unequal power relations within photographic representation of working-class communities be renegotiated through trans-media practice and the use of theatre?
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Dissertations / Theses on the topic "Photographic aspects"

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Wendt, Gunvor von. "Screening for diabetic retinopathy : aspects of photographic methods /." Stockholm, 2005. http://diss.kib.ki.se/2005/91-7140-398-1/.

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Triantaphillidou, Sophie. "Aspects of image quality in the digitisation of photographic collections." Thesis, University of Westminster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251575.

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Donelson, Sarah L. "Cries of agony : a work in photographic montage." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.

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The statement of the problem for this creative thesis project was: How to construct photomontages that expressed the photographer's personal concerns regarding the human condition and the environmental status of the earth. Secondary components of this problem were the use of color within the work and how to reproduce this color. The goal of this project was: To stimulate individual awareness resulting in a reevaluation of one's own position and responsibilities towards humanity and the environmental status of the earth.A description of the significance of this problem is given along with supportive research. This project provided the photographer with an opportunity to use an artistic process to express environmental concerns that grew out of the photographer's environmental studies.Methods used to solve this problem included the collection of visual elements from readily available pre-printed material such as magazines and books. By combining these elements together in a new context a collage or montage was created. After the montage image was complete it was photographed on color slide film. These color slides were then placed in a projector system connected to a color laser copier. Each slide was projected on to the bed of the copier and scanned. This scanner communicated the image's digital signal to a color laser printer which produced a color laser print.Finally, each photomontage color print was window matted on white 100% acid free rag mat board and placed in a white frame for exhibition. An exhibition was held in the Ball State University Theatre Lounge/Gallery. Included in the appendices of this thesis is a copy of the exhibition flyer, artist statement and press release.A description of each individual piece is provided within_ this thesis. Addressed in this section are the formal properties of each photomontage. Techniques used in the construction of each photomontage are outlined. The expressive elements are identified arid their functions explored as they apply to the montage image. It is within this section that the photographer's opinions and feelings are expressed.The last section of this thesis is the evaluation and conclusion. In the photographer's opinion this project was a success because the photomontages express the personal concerns of the photographer. Also, these photomontages did stimulate awareness and reevaluation in the audience as reported by members of the audience to the photographer.
Department of Art
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Gavard, Sandra. "Photo-graft : a critical analysis of image manipulation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/MQ54990.pdf.

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Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.

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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
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Mountain, Michelle Fiona. ""The secret rapport between photography and philosophy" considering the South African photographic apparatus through Veleko, Rose, Goldblatt, Ractliffe and Mofokeng." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002211.

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This thesis is an attempt at understanding South African photography through the lens of Nontsikelelo “Lolo” Veleko, Tracy Rose, David Goldblatt, Jo Ractliffe and Santu Mofokeng. Through the works discussed this thesis intends to unpack photography as a complex medium similar to that of language and text, as well as attempt to understand how exploring South African experiences and spaces through the lens of photography shapes and mediates them. Furthermore it also attempts to understand how these experiences and spaces conversely affect the discourse of photography or at the very least our perception of it. Through these photographers and their works it is hoped that ultimately the interconnected relationship of exchanging codes that takes place between photography and society will be highlighted. The example of connectivity or dialogue I believe exists between the medium of photography and the physical/social and psychological spaces it photographs will be mediated through Deleuze and Guattari‟s conception of “the wasp and the orchid” where “the wasp becomes the orchid, just as the orchid becomes the wasp...an exchanging or capturing of each other‟s codes”. Other theorists I will be looking at include Vilém Flusser, focusing in particular on his book Towards a Philosophy of Photography, as well as Susan Sontag, Roland Barthes and others. The main aims and objectives of this thesis are to understand the veracity of the documentary image and whether or not the image harbours any objective truth, as well as whether truth, if it can truly be said to exist in the world, resides between the camera and the seen world. This dichotomy is further complicated by the matter of subject-hood and technical and philosophical understandings of the camera as an apparatus. At no point do I aim to be conclusive, rather it is hoped that by developing the dynamic tension between the theory and the image world that I will be able to bring fresh insight into the reading of a changing South African condition and the subject position of the photographer in relation to this condition.
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Allan, Christopher. "An analysis of digital photojournalistic practices: a study of the Sowetan's photographic department." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1003071.

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Photojournalism in South Africa is in the process of undergoing a shift from an analogue past to a fully digital future. This shift to digital has already been completed by many of the newspapers in the United States of America and Europe, and the new technology is seen to have made fundamental differences in the way that journalists do their job. This thesis attempts to explore the differences brought about, as well as the problems experienced by the photographic department at the Sowetan newspaper as a result of the shift to digital. How the development of technology has affected the photojournalist throughout is focused upon in a brief history of photojournalism and examples of how technology has shaped different aspects of journalism in both a positive and negative manner is considered. Exactly what digital photography is, how it has been integrated into American Photographic departments and the changes that the new technology has prompted are also explained. The manipulation of images in the past as well as the relative ease of digital manipulation are covered and concerns are raised about the future implications of digital manipulation. By conductlng participant observation and holding interviews, research data was compiled which allowed conclusions to be drawn about the impact that the shift to digital had had on the Sowetan photographic department. Intentional and unintentional consequences were expected and revealed in the research. The job of the photojournalist and photographic editor was found to have changed but perhaps not as dramatically as expected. Third world factors such as crime, poverty and lack of education were discovered to have resulted in problems that differed noticeably from those experienced by American and European photographic departments. Some expected difficulties were not experienced at all, while other major obstacles, specifically the repairs that must constantly be made to the digital cameras, continue to hamper the operations of the new digital department. Some understanding of the problems that might be encountered by future photojournalism departments that are considering making the shift to digital are arrived at, in the hope that they may be foreseen and overcome.
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Geyer, Xanthe Amanda. "Correction, addition and deletion : memory and its function in creating "visual narratives" (and identity) in photographic art." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002198.

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With this dissertation I propose to investigate critical theories dealing with memory and its role in photography. The function of memory is a well discussed and analysed topic within the ambit of historical research. Drawing from theoretical texts by critical theorists, namely, Roland Barthes, Annette Kuhn and Marianne Hirsch, I will critically address the function of memory in the understanding of photography; particularly how photographs have the ability to construct our identity in terms of history and narrative. I will study the content of memory in relation to visual images, focusing on what is remembered, what is suppressed, and finally, what is transformed when viewing an image. By doing so, I will consider whether or not still photographs have the ability to construct the past in a narrative form that is intrinsic to its medium. This consideration will be undertaken with specific reference to the works of contemporary South African artist Lien Botha. Special attention will be directed to her series of work entitled Amendment (2006), a series which permits me in turn, to deal with issues pertaining to memory and “visual narrative” which I have explored in my own professional art practice namely, Memory Boxes, Back Stories, Faces of You and Me, Memories Re-layered and Ghostly Remnants.
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Pinto, José Alberto de Lima Machado. "A holografia estereográfica como meio de expressão artística." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Engenharia, 1999. http://hdl.handle.net/10216/12048.

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Blomgren, Constance, and University of Lethbridge Faculty of Education. "Family photos : an exploration of significant exposures." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 1999, 1999. http://hdl.handle.net/10133/93.

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This hermeneutic inquiry into the significance of family photographs in our personal and public lives explores the relationship between the subject, the photographer and the viewer. The discussion uses the photgraphic oeuvres of the author's paternal grandfather and maternal grandmother as the basis of the exploration. Themes which appear include the following: the represented and projected images of a family within family photos; the significance of gender in the making of snapshots; and, the influence of history and religion upon families. The discussion also includes the relationship between art and photography, art photography and the snapshot genre, the role of women within photography and snapshot photography as a method of visual narrative. The author delves into hermeneutics as an interpretative framework when viewing family photos. Semiotics, and Roland Barthes' Camera Lucida (1981) inform the discussion in addition to Jung's matriarchal consciousness as two alternative frameworks for interpreting family photographs. The study indicates that family photographs are visual artifacts which document and authenticate the lived experiences of the photographer and that they serve as a visual form of life writing. Data from the photographic industry indicates the heavy involvment of women in family photographs which the study links to the marginalised role of the genre. To interpret the significance of the ubiquitous family snapshot involves the hermeneutic circle as the "text" of the photograph involves the inter-textuality of other previously encountered texts.
xvii, 199 leaves : ill. ; 28 cm.
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Books on the topic "Photographic aspects"

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Jussim, Estelle. The eternal moment: Essays on the photographic image. New York, NY: Aperture, 1989.

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Hugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.

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Hugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.

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United States. Bureau of Land Management. Challis Resource Area. Photographic guide to median stubble heights. Boise, Idaho: US Dept. of the Interior, Bureau of Land Management, Idaho State Office, 1999.

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Photographic engagements: Belonging and affective encounters in contemporary photography. Göteborg: Makadam, 2018.

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ha- Amanah ha-ezraḥit shel ha-tsilum. Tel Aviv: Resling, 2007.

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MacOrlan, Pierre. Écrits sur la photographie. Paris: Textuel, 2011.

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Kraus, Michael G. The Civil War in Pennsylvania: A photographic history. Pittsburgh, Pa: Senator John Heinz History Center, 2012.

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Cooley, Austin. Photoprocessing and the environment. Springfield, Va: Society for Imaging, 1995.

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DuChemin, David. Within the frame: The journey of photographic vision. Berkeley, CA: New Riders, 2009.

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Book chapters on the topic "Photographic aspects"

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Walterbos, R. A. M., and R. C. Kennicutt. "Photographic surface photometry of the Andromeda galaxy." In New Aspects of Galaxy Photometry, 245–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/bfb0030950.

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Vigroux, Laurent, and Jean-Luc Nieto. "Comparison of photographic and CCD surface photometry of galaxies." In New Aspects of Galaxy Photometry, 67–72. Berlin, Heidelberg: Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/bfb0030923.

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Thiel, Walter. "Joints of the Foot 7 Plantar and Dorsal Aspects." In Photographic Atlas of Practical Anatomy I, 408–9. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-642-60435-5_205.

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Lauberts, Andris, and Edwin A. Valentijn. "Photographic photometry of 16000 galaxies on ESO blue and red survey plates." In New Aspects of Galaxy Photometry, 73–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/bfb0030924.

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Pavlidis, George. "Technical Aspects of Photography." In Foundations of Photography, 185–240. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06252-0_4.

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Campos, Marcia, Fabio Campos, Marnix Van Gisbergen, and Michelle Kovacs. "The Relationship Among the Optical Aspects of Photographic Composition and the Quality, Perception and Interpretation of the Realism in Virtual Images." In Advances in Intelligent Systems and Computing, 594–99. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11051-2_90.

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Campos, Marcia, and Fabio Campos. "Influence of the Optical Aspects of Photographic Composition on the User Experience in the Issues Related to Decision Making, Choices and Level of Visual Comfort." In Sensor Networks and Signal Processing, 355–77. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4917-5_27.

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Gupta, Ravi Prakash. "Geometric Aspects of Photographs and Images." In Remote Sensing Geology, 81–95. Berlin, Heidelberg: Springer Berlin Heidelberg, 1991. http://dx.doi.org/10.1007/978-3-662-12914-2_6.

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Gupta, Ravi Prakash. "Geometric Aspects of Photographs and Images." In Remote Sensing Geology, 123–46. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-662-05283-9_6.

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Gupta, Ravi P. "Geometric Aspects of Photographs and Images." In Remote Sensing Geology, 87–100. Berlin, Heidelberg: Springer Berlin Heidelberg, 2017. http://dx.doi.org/10.1007/978-3-662-55876-8_7.

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Conference papers on the topic "Photographic aspects"

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Hrdy, Jaromir, and Jaroslav Pospisil. "Equipment for measurement of the granularity of photographic materials." In 12th Czech-Slovak-Polish Optical Conference on Wave and Quantum Aspects of Contemporary Optics, edited by Jan Perina, Sr., Miroslav Hrabovsky, and Jaromir Krepelka. SPIE, 2001. http://dx.doi.org/10.1117/12.417865.

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Kozachenko, E. V. "Development of photographic GIS database for assessing the state of the geological environment urban areas." In 16th International Conference on Geoinformatics - Theoretical and Applied Aspects. Netherlands: EAGE Publications BV, 2017. http://dx.doi.org/10.3997/2214-4609.201701812.

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Hill, Rodrigo, Marcos Steagall, and David van Vliet. "Augmenting Community Narratives: An Exploration of Lens-based Image and Publication Design." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.84.

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This presentation proposal advances a pedagogical case study that focuses on innovative ways of promoting visual literacy for undergraduate students through lens-based image-making and digital technologies. The curriculum was designed to be delivered throughout an academic semester at Auckland University of Technology South Campus, Manukau City, Aotearoa New Zealand. The content is formatted for first-year students of the Diploma in Arts endorsed in Communication Design. The Diploma in Arts is appealing to students who may be seeking a shorter design qualification. In addition, the programme provides for students who have not met or have narrowly missed University Entrance (UE) criteria. The presentation focuses on the structure and contents of the pedagogical experience where lecturers and students are connected in the design studio through agency and literacy rather than just observing pedagogical prescriptions. In this active environment, the hidden curriculum that deals with the participant's cultural background and natural epistemologies is valued and validated. In creating the engagement for visual literacy, the brief requires students to consider aspects of community, taking the role of a storyteller equipped with skills to create visual content that is meaningful and actual. The course is divided into two parallel design studio approaches: one that deals with visual literacy through the photographic image and practice; and the other is concerned with aspects of the nature of the media, augmented reality and image dissemination in digital platforms. The first area focused on visual literacy through photographic practice, using the politics of photographic language and representation, employing portraiture analysis and image creation. This approach encompasses the conceptual aspects associated with photographic images and the technical aspects of lens-based image-making. The second area focused on understanding digital media, the application of tools and how to take advantage of the interactive environment to promote awareness and reflect change in the community. This part of the brief intended to create an understanding of the issues associated with online environments, providing students with skills to operate creatively and fluidly in response to the fast-paced nature of online image-sharing platforms. Within this context, techniques of digital image construction and manipulation were investigated in the light of industry applications and best practice workflows. These learning areas were underpinned by an online blog where students actively recorded their design process, tests, and contextual influences that impacted their design practice. The studio environment fostered an inclusive and participatory form of teaching and learning and employed students' smartphones as an accessible tool to produce and understand images. The project contributes to knowledge about the design studio through a framework for Visual literacy and media education, where students learn principles of photography practice and digital technologies. It contributes to reflections about the use of mobile phone technologies as a common entry way apparatus to visual literacy and imagery generator.
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Singh, Shweta, V. K. Jain, and S. K. Choudhury. "Quality Aspects of Electrochemical Micro Drilling With Insulated Tool and Masked Workpiece." In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-62864.

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Electrochemical micro drilling (ECMD) is one of the sub-divisions of the electrochemical micro machining (ECMM) process. In the present work, a comparative study of ECMD with bare tool, insulated tool, and insulated tool with masked workpiece has been presented. Drilling of micro holes is done using copper wires of 500 μm tip diameter. These copper wires coated with varnish are easily available in the market. In ECMD, taper and undercut are produced in the hole. The effects of input parameters such as voltage, duty cycle, electrolyte concentration, feed rate and inter-electrode gap on the output parameters namely, taper angle and undercut have been studied. Empirical models have been developed. In the present paper, a new idea of insulated tool and masked workpiece has been presented. The present idea came out as the most effective method of minimizing both the taper angle as well as undercut. Photographic analysis of micro drilled hole in the workpiece has been carried out using Dino-Lite Digital Microscope.
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Ahtik, Jure. "A new method for analysing eye-tracking measurement data." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p93.

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When it comes to the function of photography in graphic communication, we should be aware of many different aspects of the medium. The standard criterion for a correct and successful photograph should always be its technical and artistic aspect. If something is not right, for example, if the exposure or composition are not correct, a photo should not be used for professional purposes. The third aspect is the content or meaning, where final decisions are usually made. With this in mind, editors are usually presented with photos from which they must select those to be used in a final publication. Since most editorial decisions are made on the basis of content or meaning, which is usually described as communication value, some decisions also involve technical aspects, such as whether it is better to use a slightly underexposed or slightly out-of-focus photo. In these cases, the standard criteria changes because the shooting conditions did not allow the photographer to take a technically correct photo, but the content or meaning is too important not to be published. The research focuses on measuring how the way people see different photos changes when they are not technically perfect. Using eye-tracking technology, where we can measure where a person is looking and for how long, we can get an accurate idea of what that person is seeing and the way their eyes move. This type of measurement is actually not a problem and has been successfully used in many research studies. The main question to be answered in this study was how the nature of image perception changes when the image is distorted in some way. Therefore, a new method for analysing eye-tracking data was developed. The results show that eye-tracking can be used to determine how technical aspects of photography affect the way we look at it. The final judgement that the method works was made by comparing the data with data gathered with subjective tests in which observers had to choose between different distorted images and decide which is more acceptable. The correlation between the results of new method and a subjective testing is very strong.
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Fuster pérez, Jaime. "La edición fotográfica en Ramón Masats." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.7055.

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Resumen-Abstract El Premio Nacional de fotografía 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), ha sido considerado como un fotógrafo intuitivo. Sin embargo, un detenido estudio de sus fotolibros y ensayos fotográficos publicados en las revistas ilustradas, permiten revindicar otra faceta completamente desconocida: su labor como maquetador. A lo largo de su carrera Masats toma conciencia de la edición fotográfica. Desde la solitaria imagen de la noticia de un periódico, al ensayo fotográfico, entendido desde el punto de vista de E. Smith como un conjunto mayor de imágenes que profundizan y trascienden, permitiendo un reflexión más detenida de la historia que se cuenta; hasta llegar al foto libro, considerado como una unidad expresiva, un todo con significación completa: el formato más complejo de todos... Un Masats sofisticado y erudito se nos muestra consciente del montaje, del ritmo, del diálogo entre imágenes, de modo que la suma altera la percepción del conjunto. Un lenguaje que le llevará finalmente a explorar en el mundo del montaje cinematográfico y la dirección de documentales audiovisuales. En una época de auténtica explosión del fotolibro español como la que vivimos, conviene reconocer, recordar y aprender de nuestros antecedentes, de aquellos maestros en el arte de contar historias. The National Photography Prize 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), has traditionally been considered an intuitive photographer. However, a careful study of his photographs and photographic essays published in illustrated magazines unveils another aspect of his craft completely unknown until now: his work as a layout artist. Throughout his career Masats pays great attention to photographic edition: from the lonely image published besides the news in a newspaper, to the photographic essay, understood from E. Smith’s point of view as “a greater set of images that deepen and transcend leading the viewers to a more detailed reflection of the story that is being told; until reaching the photo book, which is considered an expressive unit, a whole with a complete meaning: definitely the most complex format of all. A sophisticated and academic Masats reveals a whole new aspect of his personality, showing his awareness of the layout, the rhythm and the dialogue between images, so that the sum and disposition of the images alter the perception of the whole. A language that will finally lead him to explore the world of filmmaking and the direction of audiovisual documentaries. In an age in which the Spanish photobook is at its peak, it is good to look back and give credit, remember and learn from our background, from those teachers in the art of storytelling. Palabras clave: Fotolibro, narración, edición, diseño, coherencia, autoría, comunicación, ritmo, análisis. Keywords: Photobook, narration, edition, design, coherence, authorship, communication, rhythm, analysis
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Sacramento, Iran Carlos Caria, Vanessa Rodrigues Campos, Vivian de Oliveira Fernandes, and Emerson de Andrade Marques Ferreira. "Veículo aéreo não tripulado como suporte à gestão de fluxos físicos em canteiros de obra." In XI SIMPÓSIO BRASILEIRO DE GESTÃO E ECONOMIA DA CONSTRUÇÃO. Antac, 2021. http://dx.doi.org/10.46421/sibragec.v11i00.4.

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The present work intends to analyze the application of Unmanned Aerial Vehicle (UAV) as a tool to aid in the management of physical flows in small construction sites. This perspective is mainly aimed at reducing transportation losses, as well as activities that do not aggregate value, both based on the principles of Lean Construction. The methodological aspects of this research are related based on the application of a case study. The study in question used as an experimental field a small work located in the municipality of Camaçari, state of Bahia, involving the following methodological steps: (i) data collection: by means of survey, photographic record, observation of movements and use of UAV to obtain aerial photographs, (ii) diagnosis: in order to understand the current situation movements and disposal of materials) and (iii) proposal: which consists in the elaboration of a new site layout. The products prepared for the respective analyzes were thematic and georeferenced flow maps, whom, relate restrictively to the masonry execution service. The orthophotos obtained by the UAV were manipulated in Geographic Information System (GIS) software, allowing the identification of the distances walked by the workers in the execution of the analyzed service. The results indicated that the application of these tools can provide significant gains in reducing activities that do not aggregate value. In front of the proposed layout change, the construction site presented a reduction in transport losses of 41.8% in the ceramic block transport activity and 28.8% in the mortar transport activity, both related to the brick masonry service. The adopted method proved to be satisfactory for the understanding of the physical flow activities at the site in question, especially regarding the reduction of transport losses.
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Panigrahi, Dillip Kumar, and Mihir Sarangi. "Fabrication of Deterministic Micro-Asperities on Thrust Surfaces Using Photo Chemical Machining." In ASME 2019 14th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/msec2019-2955.

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Abstract The present invention relates to characterization and the sequence of operations in photo chemical machining as a means to fabricate positive deterministic micro-textures on mild steel thrust pad surfaces. Fabrication of surface micro-texture by current technique is conceived in two-stages: where photographic emulsion process is used to pattern the microstructure, and chemical etching method is employed to fabricate the textures on mild steel surface by dissolving exposed metal surface. The texture fabricated by present invention is having slightly rough etched bottom surface with sharp edge and least amount of burrs around the texture rim and the process is also cost effective. Several aspects regarding sequence of operations in manufacturing process and the characterization of fabricated textured surfaces are discussed. The physical significance of micro-asperities on hydrodynamic lubrication is presented experimentally under constant flow system. The variation of hydrodynamic performance parameters such as frictional torque, fluid film thickness and recess pressure with different operating conditions such as varying speed and supply pressure are outlined.
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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.

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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.
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Davies, T. P. "Aspects Of Schlieren Photography." In 17th Int'l Conference on High Speed Photography and Photonics, edited by Donald Hollingworth and Maurice W. McDowell. SPIE, 1987. http://dx.doi.org/10.1117/12.975558.

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Reports on the topic "Photographic aspects"

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Baker, James, and Sofya Shahab. Preserving Communities' Heritage: A Workbook for Heritage Capturers. Institute of Development Studies (IDS), November 2021. http://dx.doi.org/10.19088/creid.2021.006.

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This is a practical workbook to guide local communities and heritage gatherers through the process of capturing and storing their heritage for future generations. Through initiatives with the British Academy and the Coalition for Religious Equality and Inclusive Development (CREID), the Institute of Development Studies (IDS) has been working with young people in Egypt, Iraq and Syria to capture their oral heritage, so that it may be preserved for future generations. Alongside life history interviews and topic interviews - which cover particular aspects of communities’ heritage - a key component of this heritage preservation is how these records will be stored. Thinking about the language and accessibility of digital archiving practices, this workbook is a practical guide to capturing and storing “heritage harvests”, including community interviews, photographs, and short films.
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Sanborn-Barrie, M., N. M. Rayner, and A. Ford. Investigation into the feasibility of increasing geoscience accessibility through existing web platforms and mobile applications, Nunavut. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331384.

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Accessibility and uptake of geoscience knowledge by First Nations and Inuit community members has traditionally been limited. This is, at least in part, due to the technical nature of geological maps and the expensive licensing requirements of the geographic information system software that is used to view and analyse geoscience data. During the Foundational Year of GEM GeoNorth, we investigated the potential of available apps and platforms, including NRCan Observer, Rockd and SIKU to broaden access and knowledge sharing of geoscience with non-specialists. Most prospective was SIKU - a mobile app developed by northerners for northerners that currently supports knowledge-gathering related to the natural world (currently mammals, birds, fish and sea-ice conditions). This report provides an overview of our investigation and presents detailed aspects of the feasibility and related costs of incorporating a geoscience component(s) into SIKU that could allow northerners the opportunity to calibrate geoscience through georeferenced photographs and structural trends for consideration and use on their terms.
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Fader, G. B. J., R. O. Miller, and B. J. Todd. Geological interpretation of Halifax Harbour, Nova Scotia, Canada. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331504.

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An important part of seabed mapping is understanding the shape of the seabed and the depth of water. Hydrographic charts are produced for this purpose by the Canadian Hydrographic Service. During the final survey stages of the Harbour a new technology called multibeam bathymetry became available for high resolution mapping. This system uses transducers (sound sources) mounted on a ship that produce many independent sound beams and can map a large swath of the seabed at one time covering 100% of the bottom. The images that are produced are computer shaded to look as if the water is drained and you are flying over the area. They are the underwater equivalent of aerial photographs of the adjacent land. Because the information is collected digitally, many different kinds of maps can be produced to show subtle aspects of sediment deposition, erosion, and seabed features. The information can also be displayed using various colour schemes to represent seabed shape and computer generated fly-throughs can be produced. The multibeam bathymetric images nicely complement the other geological data sets.
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Fishing Gears of the Cambodian Mekong. Vientiane, Lao PDR: Mekong River Commission Secretariat, March 2003. http://dx.doi.org/10.52107/mrc.akbo7a.

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This catalogue describes more than 150 types of fishing gear used in the Cambodian part of the Mekong River Basin. Types are divided into 16 main categories ranging from hand-capture, scoop and wounding devices to traps and nets. These are divided into 44 secondary categories and 94 tertiary groups. Some 400 names for the different types of gear are given in Khmer (in both Khmer and Latin scripts) and English. Technical descriptions and mentions of target species are accompanied by detailed line drawings and photographs. Charts illustrate the seasons when each type of gear is used in four regions – the Tonle Sap Lake, the Tonle Sap River, the floodplains of the Mekong and Bassac rivers south and east of Phnom Penh, and the upper Mekong in northern Cambodia. Costs are given in local currency based on prices between 1998 and 2000. Gender and legal aspects are also taken into account.
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