Journal articles on the topic 'Photographic aspects'
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1
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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Teplá, Jana. "NON-RATIONAL ASPECTS OF PHOTOGRAPHIC MEANING." photographies 13, no. 2 (May 3, 2020): 219–34. http://dx.doi.org/10.1080/17540763.2020.1733640.
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Tomanić Trivundža, Ilija, and Mark Curran. "Normalising Deviance: An Interview with Mark Curran." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 32–35. http://dx.doi.org/10.47659/m1.032.int.
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Irish photographer Mark Curran presents his on-going project THE MARKET, which is an exploration of the predatory nature of the functioning and condition of global markets. Focusing on financial and commodity exchanges, Curran provides a multi-layered and multimodal investigation of market culture, primarily through interviews and photographic portraits of traders, financial analysts and bankers from Dublin, London, Frankfurt, Addis Ababa and Amsterdam. In the interview, Curran talks about the limitations of using photography to critically represent the intangible and immaterial aspects of the working of the market and its repetitive normalisation of deviance.
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Haddour, Azzedine. "Bread and Wine: Bourdieu's Photography of Colonial Algeria." Sociological Review 57, no. 3 (August 2009): 385–405. http://dx.doi.org/10.1111/j.1467-954x.2009.01846.x.
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The photography of Bourdieu, whilst documenting aspects of his sociological work in Algeria, problematizes the relationship between its photographic referents and their history. To grasp this relationship, I will decode the historical signification of three photographs taken by Bourdieu in the mid-1950s when Tillion published L'Algérie en 1957 and Sartre ‘Le colonialisme est un système’ situating Bourdieu's photographic and sociological work in relation to both Tillion and Sartre. Although the influence of Tillion on Bourdieu is discernable, especially in Sociologie de l'Algérie, their political positions are at variance. Bourdieu's snapshots provide us with a perspective on how to interpret the causes of the vagrancy and famine in colonial times. Despite his avowed hostility to Sartre, Bourdieu concurs with the latter's critique of colonialism. His three photographs together project a political affinity with both Sartre and Barthes. The impoverishment of native Algerian society was not due to the fact that it failed to catch the train of progress, as Tillion intimates; rather it resulted from its systematic despoilment by colonial France.
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Motuzna, A. V., and L. V. Zolota. "Legal Status of a Photographic Work: Aspects of Ukrainian and Foreign Legislation." Analytical and Comparative Jurisprudence, no. 3 (February 20, 2022): 52–58. http://dx.doi.org/10.24144/2788-6018.2021.03.9.
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It is difficult to imagine a modern information space in the format of past centuries: small text messages about news and events and almost no visual component that illustrates the text. We live in an age of information society, which is constantly evolving. The amount of information we receive increases exponentially. The current array of information reaches gigantic proportions. The modern user is already accustomed to the visual perception of any information, which is an illustration or photo confirmation of the text. That is why the photographic work has become one of the central elements of the information world. With the advent of the camera on the mobile phone, every gadget owner has the opportunity to take photos. The upgrade of mobile devices is mostly due to the improvement of the technical characteristics of the camera. However, is every photo taken on a phone subject to copyright and has the same legal status as a photo taken on a photographic device? The development of the art of photography is much ahead of the development of Ukrainian legislation. This leads to problems in defining a photographic work as an object of copyright and its protection. The Unified Sectoral Law does not provide any definition of concepts or classification and features that a photographic work must meet in order to be protected. Gaps in legislation create an increase in the number of copyright infringements. Authors, in turn, do not know how to protect their work, suffer losses. To restore the violated rights, they usually turn to the court, which overloads the work of the judicial system of Ukraine. Therefore, the relevance of the study of the legal regulation of the protection of photographic works is the need to identify gaps in the legislation and clarify ways to address them.
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Mauad, Ana Maria. "Genevieve Naylor, a Good Neighbor Photographer in Brazil (1941-42)." Revista Crítica Cultural 12, no. 2 (December 19, 2017): 181. http://dx.doi.org/10.19177/rcc.v12e22017181-208.
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This article analyses historically the photographs taken by Genevieve Naylor, an American photographer commissioned by US State Department during the Second World War, when she travelled throughout Brazil, as a good neighbour photographer. In this sense, it is considered the elements of the form of expression and the content of the photographic message, emphasizing the three aspects of visual cultural strategies: firstly, the way in whichthe human subjects are depicted, understanding the representations of the body as support for social relationships. The body represented in Naylor’s photographs is the sign through which social relationships are revealed; secondly, how the places where Naylor travelled were depicted in the creation of a sensitive geography seeking to overcome the official protocols to show a multiple Brazil; fallowed by an evaluation of how her images were publicized throughout cross country exhibitions.
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Pruna, Andres, and Robert L. Mairs. "Panoramic Reconstruction of the Sea Floor Environment, Using Underwater Photography, Direct Observations, and Field Sketches." Marine Technology Society Journal 40, no. 2 (May 1, 2006): 52–57. http://dx.doi.org/10.4031/002533206787353574.
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Graphic illustration by a scientifically trained artist provides a panoramic view of the sea floor unobtainable directly by photography. Detailed photographs, direct observations, and field sketches are combined to produce a photographically documented hypsographic reconstruction of the sea floor. Dry submersible or diver traverses show only a sequence of closeup photographs because of the visibility limitations presented by the ocean environment. At present the large scale aspects of the topography are best developed from direct observations. The underwater photographs arranged in traverse sequence serve to refresh the memory and provide topographic, geologic, and biologic detail. The resulting detailed illustration gives a three dimensional composite panorama of the sea floor. This combined artist-photographic technique has been applied to: submarine cable routing, habitat emplacement, and geological and biological reconnaissance.
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Feldmann, Rodney M. "Whitening fossils for photographic purposes." Paleontological Society Special Publications 4 (1989): 342–46. http://dx.doi.org/10.1017/s2475262200005323.
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The purpose of photographing fossils for study and for publication is to provide information regarding the morphology of the fossil. Typically, this morphology is expressed as topographic relief. Tonal patterns and color rarely serve to enhance the expression of morphology and may, instead, provide false information. As a result, it is desirable typically to eliminate, or reduce, the effects of variations in tonal pattern over the surface to be photographed to emphasize aspects of relief of the specimen and, therefore, actual expressions of morphology. Furthermore, uncoated specimens may be lustrous so that lighting the specimen for photography may produce undesirable highlights. A simple, and non-destructive, technique for whitening fossil specimens involves the application of ammonium chloride sublimate to the surface of the specimen (Figure 1). This coating is non-destructive, produces a uniform, nonlustrous white surface that enhances detail, and can be readily removed without damage to the specimen.
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Loginov, Artyom A. "Photography and Visual Comprehension: Key Notions and Research Issues." Observatory of Culture, no. 4 (August 28, 2014): 107–11. http://dx.doi.org/10.25281/2072-3156-2014-0-4-107-111.
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Is devoted to dividing key notions and notion pairs used in research of visual comprehension related to the photography specifics. The article aims to elaborate conceptual instruments that may be used to analyse photographic images. The article also covers in brief the aspects of analysing a role of the visual in the personal relation to actuality and photography reality.
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Machado e Moura, Carlos. "Photographic narratives of urban transformations." Sophia Journal 6, no. 1 (January 12, 2022): 10–11. http://dx.doi.org/10.24840/2183-8976_2021-0006_0001_3.
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Time, space, scale and movement are essential aspects of visual data production. Significant changes in cities’ flows can transpire in just a few minutes, hours or days, span several years or even decades. A diachronic study of an urban environment could therefore concentrate on the repetitive patterns of many activities and phenomena that occur during a day or focus on transformations over much more extended periods of time. There are several photographic methods that specifically focus on documenting this specific change — it is the case of “interval photography”, “time-lapse photography” and other forms of “repeat photography”.1 All these, and others, explicitly aim at sequentially researching social change, and physical and cultural expressions as they develop, over time in a particular physical or cultural space.(...)
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Favaretto, Maddalena, Danya F. Vears, and Pascal Borry. "On the Epistemic Status of Prenatal Ultrasound: Are Ultrasound Scans Photographic Pictures?" Journal of Medicine and Philosophy: A Forum for Bioethics and Philosophy of Medicine 45, no. 2 (January 14, 2020): 231–50. http://dx.doi.org/10.1093/jmp/jhz039.
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Abstract Medical imaging is predominantly a visual field. In this context, prenatal ultrasound images assume intense social, ethical, and psychological significance by virtue of the subject they represent: the fetus. This feature, along with the sophistication introduced by three-dimensional (3D) ultrasound imaging that allows improved visualization of the fetus, has contributed to the common impression that prenatal ultrasound scans are like photographs of the fetus. In this article we discuss the consistency of such a comparison. First, we investigate the epistemic role of both analogic and digital photographic images as visual information-providing representations holding a high degree of objectivity. Second, we examine the structure and process of production of ultrasound scans and argue that a comparison between two-dimensional (2D) ultrasound and photography is justified. This is in contrast to 3D ultrasound images that, due to the intensive mathematical processing involved in their production, present some structural issues that obfuscate their ontological and epistemic status.
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Robbins, Derek. "Gazing at the Colonial Gaze: Photographic Observation and Observations on Photography Based on a Comparison between Aspects of the Work of Pierre Bourdieu and Jean-Claude Passeron." Sociological Review 57, no. 3 (August 2009): 428–47. http://dx.doi.org/10.1111/j.1467-954x.2009.01848.x.
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The paper was provoked by viewing various selections of the photos taken by Bourdieu in Algeria in the late 1950s and early 1960s. The paper is divided into two parts. The first part considers three stages in the production and consumption of Bourdieu's photos. The possibility that the third of these stages – the gallery display of Bourdieu's photos in the present – might be a betrayal of the sociology of photography and of art galleries that Bourdieu attempted in the 1960s leads to the discussion of the second part of the paper. Part 2 first contextualises the work on photography undertaken within the Centre de Sociologie Européenne in the early 1960s and then, secondly, discusses the emergence of divergent sociologies of photography in the work of Bourdieu and Passeron. The purpose of the discussion is to ask which of the theories of photography which developed in association with Bourdieu's photographic activity now enables us better to respond to Bourdieu's photographic products.
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Ocal, M. K., and S. S. Sabanci. "Lateral and medial tibial plateau angles in normal dogs." Veterinary and Comparative Orthopaedics and Traumatology 27, no. 02 (2014): 135–40. http://dx.doi.org/10.3415/vcot-13-04-0043.
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SummaryTo measure lateral and medial tibial plateau angle values in isolated canine tibiae and to compare lateral and medial tibial plateau angle values between dogs based on sex and breed.Tibiae of 90 dogs from 24 different breeds were used. Photographs were taken of the medial and lateral aspects of the tibiae for measurement of the medial and lateral tibial plateau angles. Additionally, the medial tibial plateau angle was measured from radiographs of the tibiae. Two-way analysis of variance was used to test the effects of side, sex and breed on the medial and lateral tibial plateau angles as measured from photographs as well as the medial tibial plateal angles as measured from radiographs. The photographic and radiographic medial tibial plateau angles were compared by paired t-test, whereas the medial and lateral photographic tibial plateau angles were compared by t-test.When all dogs were included in the analysis, the difference between the mean medial tibial plateau angle (24.0 ± 3.19°) and the mean lateral tibial plateau angle (25.5 ± 3.84°) as measured from photographs was significant (p <0.05). The difference in the photographic medial tibial plateau angle between male and female dogs was significant (p <0.05), whereas the difference in the photographic lateral tibial plateau angle between sexes was not significant. There was a significant difference between the medial and lateral tibial plateau angles as measured from photographs in male dogs (p <0.05) but not in female dogs. Breed comparisons also showed significant differences for the photographic lateral tibial plateau angle (p <0.05).The axial rotation of the femoral condyles on the tibial plateau is probably affected by the discrepancy between the medial and lateral tibial plateau angles, and this difference in certain breeds might influence the prevalence of cranial cruciate ligament disease.
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Kukorenchuk, Volodymyr, Nataliia Vdovychenko, and Valeriia Bondar. "Photo Art Project Erotics in Photography: From Analogue to Digital. Part 2." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 2 (December 22, 2022): 246–63. http://dx.doi.org/10.31866/2617-2674.5.2.2022.269544.
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The author’s idea. The idea of this photographic project was to create an erotic photographic work, namely such images that contain elements of fine art, which are closely intertwined with the myths and legends of ancient Greece. Throughout photographic history, both historical aspects and stylistic images of the visual art of each era are explored and intersected.
The photographic project is based on the story of characters such as Eros, and the three graces – Innocence, Beauty, and Love. During the development of the storyline, the characters go through the ages, their aesthetics, and expressiveness. The passage of time and the development of society in terms of morality change the attitude toward the naked human body and its interpretation.
The analysis of the beauty of the human body in various forms of sensuality is carried out. It is established that eroticism is the result of the process of ontogenetic, and cultural development and expresses the individual psychological and semantic components of the human body’s uniqueness. And photography, as the most common way of visual communication, has formed modern ideas about it.
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Bunting, Lynda, and Ani Matosian. "Classifying photography." Art Libraries Journal 36, no. 4 (2011): 44–49. http://dx.doi.org/10.1017/s030747220001720x.
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Photography has long been a part of the Library of Congress classification tables. At the time of its inclusion, photography was not considered an art form and thus was placed in the T – Technology schedule instead of the N – Fine Arts schedule. This article will discuss various aspects of photography classification, including its history, the reasons behind and development of alternative schedules, the challenges of classifying artists’ books with a photographic basis, and the feasibility of maintaining alternative schedules with the proliferation of shelf-ready books.
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Cui, Bifeng, Jianqin Ma, Xiuping Hao, Lei Liu, Yibing Si, and Mengjun Xiao. "A study on the construction and application of the evaluation index system for the water conservancy photography creation base." Water Policy 23, no. 6 (October 21, 2021): 1489–505. http://dx.doi.org/10.2166/wp.2021.245.
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Abstract In order to improve the evaluation system for the water conservancy photography creation base, evaluation indicators regarding the aspects of photographic resources, photographic elements, and water resources were selected to construct an evaluation index system, and the evaluation criteria for each index were provided. The optimal comprehensive weight for each evaluation index was determined following the moment estimation theory. The quantitative evaluation of the water conservancy photography creation base was carried out combined with the scoring standards for each index. The evaluation index system constructed here was then discussed in the application. This indicated that the evaluation index system is suitable for determining the construction status of the evaluated cases, thus verifying its rationality. The comprehensive weighting of the indicators based on the moment estimation theory made the evaluation method more scientific and the corresponding results more reliable. This enabled the entire evaluation system and method to provide the theoretical support for the scientific evaluation of the water conservancy photography creation base.
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Tubelis, Dárius P. "Citizen Science for the Knowledge of Brazilian Birds: Breeding Aspects of the Horned Sungem (Heliactin bilophus) (Aves, Trochilidae) in the Brazilian Cerrado." International Journal of Zoology and Animal Biology 5, no. 3 (2022): 1–6. http://dx.doi.org/10.23880/izab-16000375.
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Photographic records produced by citizen scientists have been used by professional ornithologists to study tropical birds. Near 90 species of hummingbirds occur in Brazil, and few of them have had aspects of their breeding investigated in detail. The Horned Sungem Heliactin bilophus is a small hummingbird commonly found in central Brazil, and remains poorly known. This study aimed to investigate breeding aspects of H. bilophus in the Brazilian Cerrado through the use of citizen science data. Searches for photographic records were conducted in three online databases in April 2022. Records with evidences of breeding activities (n = 35) were obtained by citizens along 15 years, and included in this study. Most of them (89%) were obtained in the WikiAves database. They were obtained mainly in central and southeastern Cerrado. Nests were cup-shaped, and fixed to forking branches of shrubs. Most records involved nests, while a minor portion referred to young photographed outside nests. Only female adults were associated with nests or young. Clutch size was always two eggs (n = 6). One or two young were found per nest (n = 10). Most records (66%) occurred in the dry season, and fewer of them (34%) were obtained in the rainy season. They were concentrated during the whole dry season, and the late rainy season, having occurred scarcely in other periods of the year. Each phase of the breeding season (nest building, nests with eggs, downy young, greenish young in nests, and fledged young) lasted for 5-7 months. The breeding season of the Horned Sungem in the Brazilian Cerrado comprises at least 10 months, a period much longer than that considered in previous literature. This study suggests that photographic records available in citizen science databases can improve the knowledge of breeding aspects of hummingbird species found in Brazil.
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Soedjono, Soeprapto. "Fotografi Surealisme Visualisasi Estetis Citra Fantasi Imajinasi." REKAM 15, no. 1 (April 1, 2019): 1–12. http://dx.doi.org/10.24821/rekam.v15i1.3341.
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ABSTRAKSebagaimana yang terjadi pada ranah seni sastra dan seni rupa, pengaruh surealisme sebagai moda artistik penciptaan karya seni, ternyata juga memengaruhi perkembangan bentuk dan genre baru di ranah fotografi. Sebagai bagian dari upaya-upaya penciptaan karya kreatif fotografis, beberapa fotografer menggunakan berbagai aspek dalam domain fotografi untuk juga bisa menampilkan karya-karya yang bernuansa surréal dan terkesan bersifat surealistis dengan berbagai teknik-teknik penciptaan visualnya. Prinsip-prinsip surealisme yang berkaitan dengan upaya memadukan elemen visual yang nyata dan yang bersifat tidak nyata (virtual, dream-like, fantasy) dalam karya-karya fotografi merekamenghasilkan sebuah fenomena ‘keraguan’ dalam menyikapi karya fotografinya. Hal ini terjadi karena yang selama ini karya fotografi diyakini sebagai medium penghasil karya seni visual yang nyata/realis dan merupakan satu bentuk representasi realitas yang faktual telah menjadi ‘ragu’ terhadap hasil karya fotografi surrealistic yang diciptakannya.Visualisasi bentuk-bentuk yang riil tertampilkan bertentangan dengan kelayakan konvensi logika visual alamiah realisme media fotografi yang ada. Namun, secara artistik tentunya kehadiran fotografi surealistik ini bisa dijadikan sebagai salah satu upaya alternatif penampilan visual karya seni fotografi yang ekspresif. Dalam arti bahwa ranah fotografi juga memiliki moda ungkapan ekspresif estetik yang juga memiliki kemungkinan untuk mengekplorasi aspek-aspek dunia mimpi bawah sadar, fantasi, yang bernuansa simbolisme visual dalam kancah pengembangan budaya visual yang bernilai ‘nyata - tidak nyata’. Surrealism Photography: Aesthetic Visualization of the Imagination Fantasy Imagery. As appeared in the sphere of literary and fine arts, the influence of surrealism as an artistic mode for the creation of works of art, apparently it also influences the development of new forms and genres in the sphere of photography. As part of the efforts to create photographic creative works, some photographers use various aspects in the photographic domain to also be able to present works which are surreal in nature and seem surrealistic in their various visual creation techniques. The principles of surrealism are associated with the attempts to combine visual elements which are real and not real (virtual, dream-like, fantasy) in photography works produce a phenomenon of ‘doubt’ in addressing the photographic work. This happens because all this time photography is believed to be a medium that produces visual art works that are real or realistic and is a form of factual reality representation which has become ‘doubtful’ of the surrealistic photographic works that it creates. The visualization of the real forms that appear is contrary to the feasibility of the natural visual logic conventions of the realism of the existing photographic media. However, artistically, the presence of this surrealistic photography can be used as an alternative attempt for the visual appearance of expressive photographic artworks. In the sphere of photography, it makes sense that it has an aesthetic expressive mode of expression which also has a possibility to explore the aspects of the subconscious self, fantasy, having the nuance of visual symbolical in the domain of developing visual culture which could be valued as ‘real-not real’.
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Torres, Adriana Aparecida Lemos, Benildes C. M. S. Maculan, Célia da Consolação Dias, and Gislene Rodrigues da Silva. "Subjective aspects in the thematic representation of photographic images." Collection and Curation 37, no. 4 (October 2018): 151–57. http://dx.doi.org/10.1108/cc-03-2018-0005.
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Koepff, P. J. "Photographic Gelatin and Major Quality Aspects – A General Overview." Imaging Science Journal 45, no. 3-4 (January 1997): 246–48. http://dx.doi.org/10.1080/13682199.1997.11736419.
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Socolovsky, Maya. "The Homelessness of Immigrant American Ghosts: Hauntings and Photographic Narrative in Oscar Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien." PMLA/Publications of the Modern Language Association of America 117, no. 2 (March 2002): 252–64. http://dx.doi.org/10.1632/003081202x61980.
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Cuban American literature and Oscar Hijuelos's texts in particular have generally been approached through a consideration of their material, multicultural aspects. This essay analyzes Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien, on which there is little critical work, by combining the novel's descriptions of photography and immigrant experiences with theories of photography. My reading considers the placing of ghosts and memory in the narrative and problematizes the undialectical presence of death in it. Referring to Hijuelos's text as an “imagetext” (photographs exist in it only through descriptions, never appearing visually), I read it through Roland Barthes's Camera Lucida and his development of the wounding punctum of a photograph, which produces a melancholy lingering trace of the past in the present moment. In this reading, the immigration experience in Hijuelos's novel exceeds narrativization and is unrepresentable by it.
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Kvietkauskas, Mindaugas. "From Shulhoyf to Montparnasse: Cultural Collage in Moshé Vorobeichic's Photography Book The Ghetto Lane in Wilna (1931)." Colloquia 48 (December 30, 2021): 170–93. http://dx.doi.org/10.51554/coll.21.48.11.
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This article discusses the artistic genesis of the first avantgarde photography book in Lithuanian art history, The Ghetto Lane in Wilna (1931) by Moshé Vorobeichic-Moï Ver (Moshe Raviv, 1904–1995), and aims to conduct the first in-depth reconstruction of Vorobeichic’s early biographical and creative period in Vilnius in the 1920s in the local Jewish and multicultural milieu. The research is based on archival materials from Lithuanian state archives and the Raviv family archives in Israel. Vorobeichic, who was born in 1904 in Zaskavichy (currently in Belarus), made his artistic debut in Vilnius in 1923, and studied at the Faculty of Fine Art at Stephen Bathory University from 1923 to 1925. He continued his art studies at the Bauhaus school in Dessau (1927 to 1929) and, from 1929 in Paris at the École Technique de Photographie et de Cinématographie. From 1930 onwards, the photographer used the artistic pseudonym Moï Ver, under which his avant-garde photography book Paris, hailed as a masterpiece of the genre, was published by Editions Jeanne Walter in 1931. During the same period, Vorobeichic participated in Jewish cultural life in Vilnius, and was involved in the early stages of the formation of Yung Vilne, the acclaimed literary and artistic group of interwar Yiddish Modernism. The article aims to identify the cultural contexts in which Moï Ver’s artistic world-view and avant-garde style started to develop. The reconstruction of these contexts makes it possible to identify new semantic aspects in his avant-garde photography book The Ghetto Lane in Wilna, and to rethink its artistic concept. In this way, the cross-cultural semantics of Moï Ver’s photographic collages of Jewish Vilnius will emerge.
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Romakina, Maria. "Architectural hybrids in kaleidoscopic photography." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 241–53. http://dx.doi.org/10.5937/saj1502241r.
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This paper focuses on the topic that is somehow a crossroad between two fields: photography and architectural morphogenesis. The particular interest of the article is contemporary photographic tendency to explore the kaleidoscopic technique and aesthetics in relation to the architectural objects and urban environment. Paradoxically these are the photographers who investigate this special type of morphogenesis of architectural form. However some of them are architects originally. Giving attention to the historical and evolutional aspects of the kaleidoscopic image in 19th century and kaleidoscopic photographic practices of American artist Alvin Langdon Coburn and his followers in 20th and 21th centuries the paper aims to analyze the potential of photography in developing the architectural form by examples of projects of Mattia Mognetti, Borbála Sütő-Nagy, Cory Stevens, Stéphane Laniray, Panos Papanagiotou, Andrey Chegin, Mohammad Domiri and those photographers who were inspired by camera work from the movie "Inception"-Ben Thomas, Kazuhiko Kawahara, Simon Gardiner, Nickolas Kennedy Sitton.
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Kong, Camillia. "Ethical dangers of facial phenotyping through photography in psychiatric genomics studies." Journal of Medical Ethics 45, no. 11 (July 30, 2019): 730–35. http://dx.doi.org/10.1136/medethics-2019-105478.
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Psychiatric genomics research protocols are increasingly incorporating tools of deep phenotyping to observe and examine phenotypic abnormalities among individuals with neurodevelopmental disorders. In particular, photography and the use of two-dimensional and three-dimensional facial analysis is thought to shed further light on the phenotypic expression of the genes underlying neurodevelopmental disorders, as well as provide potential diagnostic tools for clinicians. In this paper, I argue that the research use of photography to aid facial phenotyping raises deeply fraught issues from an ethical point of view. First, the process of objectification through photographic imagery and facial analysis could potentially worsen the stigmatisation of persons with neurodevelopmental disorders. Second, the use of photography for facial phenotyping has worrying parallels with the historical misuse of photography to advance positive and negative eugenics around race, ethnicity and intellectual disability. The paper recommends ethical caution in the use of photography and facial phenotyping in psychiatric genomics studies exploring neurodevelopmental disorders, outlining certain necessary safeguards, such as a critical awareness of the history of anthropometric photography use among scientists, as well as the exploration of photographic methodologies that could potentially empower individuals with disabilities.
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Stepanova, Alevtina V., and Alla V. Sukhova. "From the funds of the Museum of Anthropology of the Moscow State University. Photographs of the peoples of the North Caucasus in the exposition of the Anthropological Exhibition of 1879: Kabardians and Shapsugs." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 2 (May 22, 2023): 123–51. http://dx.doi.org/10.32521/2074-8132.2023.2.123-151.
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Introduction. Since the early 1860s photographic practice has become an integral part of the scien-tific process and one of the main methods of ethnographic and anthropological research in Russia. In the course of preparations for the first Ethnographic Exhibition in Russia (1867), organized by the Society of Devotees of Natural Science, Anthropology and Ethnography (OLEAE), the Photographic Commission established by the Exhibition Committee (1866) developed a regulation on the execution of photographic portraits of the local population. In 1872 the first “instructions” in Russia for ethnographic and anthropological photography were published. Materials and methods. The source for the preparation of the article was a collection of photographs collected by E.D. Felitsyn (1848-1903) and presented at the Anthropological Exhibition of 1879 in Moscow. Currently, it is stored in the funds of the D.N. Anuchin Research Institute and the Museum of Anthropology, M.V. Lomonosov Moscow State University. Results and discussion. Photographs of representatives of two nationalities - Kabardians and Shapsugs, who lived in the Kuban region, are described and analyzed: the villages of Blechepsinsky and Khodzsky (currently the village of Blechepsin and the village of Khodz of the Koshekhablsky district of the Republic of Adygea), Khokhondukovsky and Kasaevsky (currently the village of Ali-Berdukovsky and the village of Khabez in the Khabezsky district of the Karachay-Cherkess Republic) and the village of Kudzhirsky in the Maikop district, that was located on the left bank of the river Farce and abolished in 1885. These are: 3 photographs of children (6 and 8 years old), 7 photographs of men (18-58 years old) and 5 photographs of women (18-60 years old). A description of the depicted national clothes is given, as well as a summary of literary anthropological information about the Kabardians and Shapsugs of this period. Conclusion. The first published photographs of representatives of the two peoples of the North Caucasus living in the Kuban region in the second half of the 19th century make it possible to visualize some aspects of the historical information that scientists have at their disposal, to clarify the available anthropolog-ical, historical and cultural data on the Kabardians and Shapsugs, and also are an addition to the historical, archaeological, anthropological, genetic and ethnographic studies of the peoples of the North Caucasus @ 2023. This work is licensed under a CC BY 4.0 license.
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Maciel, Suely, Matheus Ferreira, and Guilherme Ferreira de Oliveira. "A Mensagem Fotográfica do Jornalismo de Viagens: metodologia qualitativa para avaliação de Alternativas Textuais." Cambiassu: Estudos em Comunicação 16, no. 28 (December 28, 2021): 44. http://dx.doi.org/10.18764/2176-5111v16n28.2021.18.
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A produção e disponibilização de recursos de acessibilidade, como textos alternativos (Alt), são aspectos necessários para tornar o jornalismo mais acessível. O objetivo deste artigo é comparar a composição de fotografias jornalísticas de viagem com seus respectivos Alt para verificar se a função e/ou conteúdo fotográficos podem ser transmitidos às pessoas com deficiência visual. Para isso, fez-se uma pesquisa exploratória em cadernos de viagem de sites de jornais brasileiros, na qual apenas o conteúdo da Folha de S. Paulo apresentou o recurso em todas as fotos. Fez-se um levantamento das características de composição de três fotos e, com base no Paradoxo Fotográfico de Barthes, comparouse a mensagem imagética com o Alt. Observa-se que os Alt usados não substituem adequadamente as fotos, comprometendo a compreensão total por parte das pessoas com deficiência visual.The photographic Message of Travel Journalism: qualitative methodology for Alternative Texts evaluationAbstractThe production and availability of accessibility resources, such as alternative texts (Alt), are necessary aspects to make journalism more accessible. This article compares the composition of travel news photographs with their respective Alt to verify whether the photographic function or content is accessible to visually impaired people. Exploratory research was carried out in travel sections of Brazilian news websites, in which only the Folha de S. Paulo presented the resource. Hence, the composition characteristics of three photographs have been assessed and based on the Barthes Photographic Paradox, there was an examination between the photos message and their Alt. As a result, the Alt used does not adequately replace the images. Such inadequacy compromises the understanding on the part of visually impaired people.Keywords: Travel Journalism; accessibility; alternative text; visual impairment.
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Thoutenhoofd, E. "Method in a Photographic Enquiry of being Deaf." Sociological Research Online 3, no. 2 (June 1998): 37–48. http://dx.doi.org/10.5153/sro.173.
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What follows is based on the hypothesis that aspects of a particular, socially and culturally distinct, visuality [1] are manifest in visual data such as photographs. I will explore this hypothesis with reference to Deaf people, people who use sign language and who are members of the Deaf community, using data from earlier research (Thoutenhoofd, 1996). To this end, I have opted for two parallel texts, a photographic one as well as a written one, cross-referenced by hyperlinks. The photographs form the core, or the ‘evidence’ of the method outlined in the text. The photographs portray a number of pertinent visual characteristics and strategies found where Deaf people congregate into clearly defined communities, for example Deaf clubs, d/Deaf colleges, and in the pages of magazines aimed at d/Deaf audiences; yet the photographs bear witness to the commonplace, portraying regular Deaf club and Deaf college activities. In the process of discussing the reasons for taking the photographs and having photographs taken, I set out to describe what is meant by a ‘Deaf visuality’, and to suggest its relevance to research into deafness and being d/Deaf.
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Slifkin, Lawrence. "The Improbability of the Photographic Process." MRS Bulletin 14, no. 5 (May 1989): 36–40. http://dx.doi.org/10.1557/s0883769400062904.
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The very high sensitivity of silver halide photographic emulsions is the result of a surprisingly high quantum efficiency in the formation of the latent image, combined with a large amplification of the stored optical signal upon photographic “development.” The efficient formation of the latent image can be traced to the effects of an unusual set of physical properties of silver bromide and silver chloride, involving the electron energy band structure, the dynamics of photoelectrons, the nature and mobilities of the ionic point defects, and the existence of a sub-surface electric field.Despite the current availability of a wide variety of optical recording systems, the standard silver halide photographic emulsion continues to offer a unique combination of sensitivity, resolution, tone quality, convenience, and economy. This article will outline the physical processes that operate in forming the image. It will emphasize the unusual set of properties of silver bromide and silver chloride that are involved, and that impart to the process its extraordinary efficiency. Only black-and-white images will be considered, but the same basic imaging process is involved in color photography as well.This discussion is, of necessity, brief and often qualitative, but more complete treatments of the scientific aspects of the photographic process can be found in the other articles in this issue of the MRS BULLETIN, as well as in the bibliography.
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Kita, Barbara. "Przestrzeń kadru/poza kadrem. O fotograficznych ujęciach w Idzie i Zimnej wojnie Pawła Pawlikowskiego." Białostockie Studia Literaturoznawcze, no. 21 (2022): 95–116. http://dx.doi.org/10.15290/bsl.2022.21.06.
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The following discussion concentrates on the shaping of film space, frame composition and what happens beyond the frame. The objectiveis to explore the aesthetics of the films, resulting primarily from the juxtaposition of photographic (in vivo) shots with moving film images. The non-standard composition of the frames in both films, based on shifting the centre to the edge of the frame (deframing) and the multiplication of additional frames (over-framing): windows, doors, doorframes, etc. resultin a significant play on space. Such creative use of the formal strategies and still (photographic) images forces the viewer to reflecton the destinyof the protagonists. The stillness and silence so often used in both films, are objective aspects of photography, but above all of death, which from the beginning accompanies Pawlikowski’s protagonists: Wanda, Ida, Zulaand Wiktor.
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Basuki, Cyrilus Uky. "TEKNIK CETAK FOTO CHLOROPHYLL PRINT." REKAM: Jurnal Fotografi, Televisi, dan Animasi 11, no. 2 (March 18, 2016): 69. http://dx.doi.org/10.24821/rekam.v11i2.1294.
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Sejarah mengatakan Thomas Wedgewood memulai kegiatan merekam objek pada sebuah media dua dimensi semenjak tahun 1800-an. Kegiatan merekam ini terus berulang hingga perkembangannya memengaruhi banyak aspek dalam dunia fotografi. Teknologi fotografi era digital memang menawarkan kemudahan dan kenyamanan penggunanya. Proses cetak fotografi pada era digital memungkinkan sebuah foto dicetak di banyak ragam material, seperti kaca, kain, dan kayu. Artinya teknik cetak cukup mengundang daya tarik karena memiliki nilai-nilai visual, seperti bentuk, kontras, dan tekstur. Seniman fotografi berusaha mewujudkan imaji penciptaan karya seninya melalui pertimbangan ide kreatif dan pencapaian estetis. Penggabungan teknikal dengan memanfaatkan pengolahan komputer dan pengolahan analog saat ini cukup diidolakan untuk menampilkan ciri khas seorang fotografer, seperti teknik chlorophyll print yang mengandalkan daun serta proses penyinaran untuk pembentukan image dari proses fotosintesis.Photo Print Technique the Chlorophyll Print. In 1800 Thomas Wedgwood began to capture the object on a two dimensional media with photographic materials. This repetitive activity affects many aspects of photography. As in the era of digital photography offers many facilities, convenience, and comfort for the user. Photo printing process in the digital age allows a photograph printed in a wide variety of materials, such as glass, fabric, and wood. It means printing technique is quite inviting appeal because it has a visual values, such as shape, contrast and texture. Many photographic artists try to create an image by considering the creation of creative ideas and aesthetics. Utilizing computer processing and analog processing is the idea of chlorophyll printing technique to form an image by photosynthesis process.
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Eachus, R. S., and M. T. Olm. "Chapter 2. Aspects of applied inorganic photochemistry: the photographic process." Annual Reports Section "C" (Physical Chemistry) 86 (1989): 3. http://dx.doi.org/10.1039/pc9898600003.
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Smith, Roger. "Selling photography — aspects of photographic patronage in nineteenth-century Britain." History of Photography 12, no. 4 (October 1988): 317–26. http://dx.doi.org/10.1080/03087298.1988.10442148.
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Payne, Gemma, Neil Langlois, Chris Lennard, and Claude Roux. "Applying visible hyperspectral (chemical) imaging to estimate the age of bruises." Medicine, Science and the Law 47, no. 3 (July 2007): 225–32. http://dx.doi.org/10.1258/rsmmsl.47.3.225.
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Hyperspectral (chemical) imaging collects spectroscopic data in a two-dimensional spatial format. The potential application for the determination of the age of bruises is demonstrated and compared to reflectance probe spectrophotometry as well as photography. Blood was deposited on white cotton cloth or injected subcutaneously into pig skin to simulate a ‘fresh bruise’. A mixture of blood and bile was used to simulate ‘old’ bruises. On the cloth background all the photographic methods clearly separated the two groups of samples (i.e. ‘blood only’ from ‘blood plus bile’). However, on the pig skin the two groups could be separated by one of the photographic methods only. Separation of blood from blood and bile mixtures was obtained on the cloth and skin backgrounds using spectrophotometry and hyperspectral imaging. In a test using serial dilutions of blood and bile mixtures, the hyperspectral system performed slightly better than the spectrophotometer. The former also had the advantage of imaging a wider area and providing spatial data. Hyperspectral (chemical) imaging and spectrophotometry are superior to photography for the detection of bilirubin on a background of skin (due to the presence of yellow chromophores); this technology combined with mathematical analysis of the spectral data warrants further investigation.
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Хиневич, Р. В., В. О. Скляренко, and О. О. Слітюк. "PERSPECTIVE AS A MEANS OF COMPOSITIONAL EXPRESSIVENESS IN ARTISTIC PHOTOGRAPHY." Art and Design, no. 3 (February 3, 2023): 9–18. http://dx.doi.org/10.30857/2617-0272.2022.3.1.
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The aim: determination of the features of the use of perspective in artistic photography as a means of compositional expressiveness. Analysis of geometric and optical aspects of the visual characteristics of different types of perspective in photographic art.
Methodology. A comparative analysis of compositional methods of conveying volume and depth of space in artistic photography is applied. Methods of systematization and generalization were used to determine the specific features of different types of perspective in photo art.
Results. The peculiarities of the concept of perspective in photography are considered. The common features of works of painting and photo art in the context of conveying the depth and volume of the depicted space are determined. The analysis of the main types of perspective – linear, tonal, aerial, optical and spherical – was performed, using the example of their use in artistic photography. The influence of the perspective construction of the picture on the visual perception of the image and its content is determined. The role of technical means and their parameters in constructing the perspective of a photographic frame is clarified.
Scientific novelty. The main methods of displaying the volume and depth of space in a photo image when using different types of perspective are defined. The geometric and optical regularities of perspective as a pictorial means in art photography are revealed.
Practical significance. Information on the use of different types of perspective in artistic photography has been studied and systematized. Recommendations are provided for the selection of geometric and optical parameters of the frame for the transmission of visual information in works of photographic art. The obtained results can be used in the educational process in the preparation of bachelors specializing in photo-video design.
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Behrend, Heike. "PHOTO MAGIC: PHOTOGRAPHS IN PRACTICES OF HEALING AND HARMING IN EAST AFRICA." Journal of Religion in Africa 33, no. 2 (2003): 129–45. http://dx.doi.org/10.1163/15700660360703114.
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AbstractIn this contribution, I present a few examples of practices in present-day African Christian Churches in which photographs 'do magic' and are used to heal or harm. To counter a tendency, inherent in this topic, of exoticizing and othering, I not only give examples of African 'photo magic' but also include European ones, examples that in the 'standard' or 'official' histories of Western photography are missing. In addition, I try to work out the interdependence and the mutual mirroring of Western and African practices and discourses, i.e., aspects of their interculturality, against the background of the Christian Eucharist and cult of relics. For it is in the Eucharist and relics that the paradoxes of simultaneous presence and absence as well as substance and representation are dealt with, paradoxes that will reappear in the photographic practices in Kenya and Uganda. Thus, I attempt to interpret Ugandan and Kenyan photo magic in Christian churches as variations of the Eucharist.
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Cooper, Michael, and Harry Lane. "Editorial." Canadian Theatre Review 116 (September 2003): 3. http://dx.doi.org/10.3138/ctr.116.fm.
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This issue of Canadian Theatre Review has evolved into one that differs radically from the norm, in terms of content and organization. A possibility for us was to assemble a typical theme-oriented issue, in which mostly academically-situated authors would probe various aspects of theatre photography (its history, uses, aesthetics, and theoretical problematics, etc.), but this seemed to run the risk of sidelining the actual work of photographic artists in favour of critical comment on their work. Performing arts photography should be regarded as a crucial part of the whole production, because it can influence the ways in which we preconceive how a performance will interest us.
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Gąsior, Mariusz. "Transforming Photographs into a Digital Catalogue." Culture Unbound 14, no. 2 (July 7, 2022): 11–37. http://dx.doi.org/10.3384/cu.3971.
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In this article I focus on three aspects of the digitisation of photographic collections which I have had the opportunity to deal with professionally in two museums, in the UK and Poland. In 2014, the Imperial War Museum in London (IMW) implemented an online project of the portal/monument, Lives of the First World War, commemorating all citizens of the British Commonwealth who took part in the First World War (WWI), both in uniform and in civil services. Users registered on the portal could attach documents, photographs, reports to each commemorated soldier-keyword, thus expanding the database. One of the key elements of the project was a collection of portrait photographs bearing the title Bond of Sacrifice. These comprised over 16,000 photographs of soldiers of the British Commonwealth, handed over to the Museum by their families in the years 1917–1919. After nearly a hundred years, the Museum decided to comprehensively develop, digitize, and make the collection available in the form of an online catalogue. In the meantime, the Museum digitised a huge collection of WWI photographs, the so-called Q Series (ca. 115,000), the most important part of which was British official photography. By 2016, the entire collection was scanned and made available in an external catalogue of the Museum on the basis of a non-commercial license. Since then, the photographs have taken on a life of their own: they are used in academic works, press articles, TV productions, and in social medias. The second project includes numerous photographs of the Polish Armed Forces. This phenomenon is dealt with in the second part of this paper, which discusses the online photographic collection of the Silesian Museum in Katowice. The third and final part of this article is devoted to the impact of digitization and on-line accessibility on the making of temporary exhibitions. This is explained using the example of the author’s last exhibition at the museum about women in industry; based entirely on digital reproductions of photographs from the collections of many museums from Europe and the U.S., amongst others the US National Archives and the IWM. This is due to the fact that the author selected the entire material with the use of online catalogues of these very institutions.
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de Vegt, C. "Modern photographic catalog work: Aspects of observing techniques and reduction methods." Astrophysics and Space Science 177, no. 1-2 (March 1991): 3–15. http://dx.doi.org/10.1007/bf00643645.
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Burge, Pery. "Looking Beneath the Surface: The Radial Spread of Ink in Water." Leonardo 40, no. 5 (October 2007): 484–88. http://dx.doi.org/10.1162/leon.2007.40.5.484.
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The author discusses her use of ink in water to create three-dimensional radial spreads (outward movements of liquid about a central point). The radial spreads form patterns as the ink moves across and in the water. The patterns have both scientific and aesthetic aspects and form the basis for speculation in both areas. They also provide an exciting new dimension to the artist's work relating to fluid flow: Unique patterns, often seen only by the eye of the camera, can be generated and preserved within one photograph or a photographic sequence.
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Gorin, Valérie. "Looking back over 150 years of humanitarian action: the photographic archives of the ICRC." International Review of the Red Cross 94, no. 888 (December 2012): 1349–79. http://dx.doi.org/10.1017/s1816383113000568.
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AbstractThe purpose of this article is to suggest some historical milestones for a retrospective reflection on the photographic archives of the International Committee of the Red Cross (ICRC). This collection is little used by researchers, although the 120,000 photographs which it contains have helped to forge the symbolism and identity of the institution and to document its operations in accordance with a memory preservation policy which gradually emerged in the course of the 20th century. The photographs shown in this article are divided into three main themes (the ICRC delegate, the context of action, suffering and the victims), in order to make it easier to discuss the key aspects of this tremendous visual heritage which looks at humanitarian action, its protagonists and its beneficiaries from an anthropological and ethnological point of view.
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Valente-Aguiar, Murilo Sérgio, and Talita Lima de Castro-Espicalsky. "What Are the Expectations of Legal Operators and Forensic Experts Regarding Photographic Documentation of Violent Death Autopsies?" Forensic Sciences 1, no. 3 (October 24, 2021): 171–80. http://dx.doi.org/10.3390/forensicsci1030015.
Full textAbstract:
The purpose of photography in violent death autopsies is to document the material evidence of the offense and guide decisions in the courts of law. The aim of the present study was to obtain the expectations of legal operators and forensic experts regarding what is expected as adequate photographic documentation in violent death forensics. For this purpose, a survey was prepared through an online form available on the “Google Forms” platform, whose link was sent by e-mail and by the WhatsApp Messenger® application. The 102 participants were divided into two distinct groups: legal practitioners, interested in the materialization of evidence (judges, prosecutors, criminal lawyers and police chiefs), and forensic experts, responsible for materializing the evidence (medical examiners, forensic dentists and criminal experts). The research showed that the inclusion of color photographs in the expert reports is essential for all research participants, as well as the marking of evidence in the images and the inclusion of explanatory text in the captions. It was also pointed out as fundamental for most participants to insert an image with simulation of the firearm bullets’ path, when applicable. In relation to the other aspects, it can be observed that the opinions of the participants were divergent between the groups of research professionals, especially regarding the size of the image to be incorporated in the reports. The differences found between the groups can be detrimental to the proper interpretation and judgment of evidence in the courts. Considering the found barriers, the authors suggest a form of photographic documentation that meets all expectations in a consensual way.