Relevant bibliographies by topics / Photographic process

Contents

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

Academic literature on the topic 'Photographic process'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Photographic process"

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Tomaszczuk, Zbigniew. "Fotografia jako przedłużenie ciała." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 134–49. http://dx.doi.org/10.5604/01.3001.0012.9869.

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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Tomaszczuk, Zbigniew. "PHOTOGRAPHY AS THE EXTENSION OF A BODY." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 134–47. http://dx.doi.org/10.5604/01.3001.0012.9927.

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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Klingle, Matthew. "River Glass." Boom 5, no. 2 (2015): 42–51. http://dx.doi.org/10.1525/boom.2015.5.2.42.

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This essay by historian Matthew Klingle compares the work of Carleton Watkins, a pioneer in early photography, and Michael Kolster, a contemporary photographer. Like his predecessor, Kolster uses the wet-plate photographic process to create ambrotypes: handmade images made on glass. Watkins’s images, made in the late-nineteenth century, helped to sell scenic, monumental California and the West to the nation. In contrast, Kolster’s photographs of the Los Angeles River, a degraded and often ignored urban waterway, suggest how older photographic techniques might be employed to create new aesthetics of place freed from the confines of purity and beauty.
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Meron, Yaron. "Photographic (In)authenticity." Video Journal of Education and Pedagogy 4, no. 2 (December 27, 2019): 60–81. http://dx.doi.org/10.1163/23644583-00401018.

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Debates around authenticity within photographic discourse are persistent. Some have revolved around documentary photography, while other discussions focus on the ethical validity of digitally edited news photographs and indeed the photographic medium itself. This article proposes that discussions around ‘authenticity’ should be focused instead towards contextualising photography more appropriately within the creative practice of ‘making strange’. It acknowledges existing debates around photography and authenticity, before locating the discussion within creative practice. It then moves to a discussion, using Robert Capa’s ‘Falling Soldier’ (Capa, 1936) as a starting point, before drawing on examples from the author’s own creative and professional practice. In the process, the article argues that visual researchers embrace the challenges of making the familiar strange within photographic creative practices.
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Ruzgienė, Birutė. "REQUIREMENTS FOR AERIAL PHOTOGRAPHY." Geodesy and cartography 30, no. 3 (August 3, 2012): 75–79. http://dx.doi.org/10.3846/13921541.2004.9636646.

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The photogrammetric mapping process at the first stage requires planning of aerial photography. Aerial photographs quality depends on the successfull photographic mission specified by requirements that meet not only Lithuanian needs, but also the requirements of the European Union. For such a purpose the detailed specifications for aerial photographic mission for mapping urban territories at a large scale are investigated. The aerial photography parameters and requirements for flight planning, photographic strips, overlaps, aerial camera and film are outlined. The scale of photography, flying height and method for photogrammetric mapping is foreseen as well as tolerances of photographs tilt and swings round (yaw) are presented. Digital camera based on CCD sensors and on-board GPS is greatly appreciated in present-day technologies undertaking aerial mission.
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Flint, Kate. "Photographic Memory." Articles, no. 53 (May 12, 2009): 0. http://dx.doi.org/10.7202/029898ar.

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Abstract In this essay, I discuss the relationship between photography, photographic technology, and memory in the final decades of the nineteenth century. I do so first in relation to the desire to possess actual material memories of the deceased, and then move to consider the way in which the photograph was often used as a metaphor for the processes of memory. I argue that apart from exceptional cases, this was, in fact, a false analogy. Taking Amy Levy’s 1888 novel The Romance of a Shop as a text through which to examine both death-bed photography and the workings of memory, I explore the idea of the memory flashing back, suddenly, and link this to the developments that took place in flash photography at the time that Levy was researching her photographically-themed novel. The metaphor of the flash – and the flash-back – has proved of more lasting value in the semantic linking of photography and memory, I argue, than other attempts to link the materiality of the photographic process to the workings of the brain.
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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.

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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generate new understandings of slavery and its connection to post-emancipation economies, of history and its relationship to photography, and of archival absence and its representational possibilities.
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Sile, Agnese. "Mental illness within family context: Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty." Arts and Humanities in Higher Education 17, no. 1 (January 12, 2018): 84–103. http://dx.doi.org/10.1177/1474022216684635.

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The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the process how it challenges representation itself, on which it is dependent. The focus of the analysis is on identifying and illuminating the intimate space that opens between the photographer and the photographed person and that provides new forms of communication as well as uncovers existing forms of knowledge that is shared between them. This paper will also assess the political and cultural significance of such representation.
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.

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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation
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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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Dissertations / Theses on the topic "Photographic process"

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Rawson, C. Josephine. "Investigations of novel receptors for binding and sensing silver ions." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362120.

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O'Boyle, Natasha Claire. "Development of a chemical speciation model describing the solution chemistry of the photographic fixing process." Thesis, Manchester Metropolitan University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386886.

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Gondouin, Tiphaine. "Médium et appareil dans la création photographique." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC022.

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Lorsque la création d'une image se fait grâce à l'utilisation, la manipulation d'un appareil, il arrive un moment où celui-ci devient central et le sujet de tous les questionnements. La pratique de la photographie m'a amenée à ce type d'interrogation. Comment photographier devient soudain une question aussi récurrente qu'essentielle. Une réflexion critique sur ce que l’on croit être une simple technique et que l'on emploie pour faire une image photographique, libérée alors de toutes fascinations, devient possible. Mais comment procéder à l'analyse de l'appareillage photographique? C'est en considérant l'appareil comme un ensemble global, un paradigme, participant pleinement à la création et la conditionnant en même temps, qu’il paraît possible de mener une réflexion sur cette place particulière qu'occupe l'appareillage photographique dans la réalisation d'image ou (/ et) d'installation de celle-ci. Cette interrogation peut dès lors être étudiée à travers une mise à plat de l'appareil photographique dans une définition plus élargie de ce dernier que la simple considération de l’appareil de prise de vue afin de savoir ce qu’il est par nature mais aussi dans ses usages, et alors de découvrir sa poïétique propre ainsi qu’un rapport singulier au réel. Cette méthodologie s'apparente à une déconstruction, puis une monstration, voire une mise en excès pour eux-mêmes des éléments premiers et fondamentaux de l'appareil producteur d'image photographique (grain, brûlure, planéité, obscurité...) ; ce qui le constitue et en fait sa particularité. D'une autre manière, le conditionnement qu'opère l'appareillage photographique dans la réalisation d'images peut se penser par une mise en évidence du procès : une mise en valeur, une exhibition du processus du faire, de la démarche, de la méthode qui permet à l'image d'être. Cette démarche et cette recherche recontextualisent le faire, l'expérimentation, la poïétique à l'oeuvre dans chaque réalisation plastique d'image photographique
When creating a picture is done by using and operating a camera there comes a time when this device becomes essential and a subject for all kinds of questioning. Photography brings this type of questioning to my mind. How to take a picture all of a sudden happens to be an essential as well as recurring question. Then a critical appreciation free from fascination may be undertaken on what we consider as a mere technique that is used to take a picture. But how to proceed to the analysis of the photographic medium ? Considering the medium as a global set a paradigm taking full part in the creation and conditioning it at the same time allows the carrying out of an appreciation on this particular part taken by the photographic medium in the realization (or installation) of a picture. From that moment this appreciation can be studied by examining all the elements of the camera in a wider definition of the latter than a mere consideration of the camera itself in order to know not only what it is but also how to use it and thus to find out its own “poïétique” as well as its unique connection to reality. This method relates to a deconstruction then a bringing forward of the primary and fundamental elements of a photographic medium (grain, burn, flatness, darkness…) ; what it is made of and makes it unique . In a different way, the conditioning that the photographic equipment operates in the realization of pictures can be considered as a disclosure of the process : an emphasis on the process, the approach, the method that allows the picture. This approach and this research make it possible to recontextualize the process the « poïétique » at work in each artistic creation of photographic pictures
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Robson, Stuart. "Some influences of the photographic process on the accuracy of close range photogrammetry with a non-metric camera." Thesis, City University London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279010.

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Lewis, Sage M. "The Material Image." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405708145.

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Humayun, Saalem. "Constructing family photograph albums : how the process of archival acquisition writes history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99722.

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This thesis is about photographic archives. Specifically, it concerns the process of acquisition for family photograph albums as archival texts. It argues that the process of acquisition writes history, and not one sole author. Additionally it argues that the institutional policy of an archive governs this process. Further, it argues that there is a homology between a public and private archive. In this light, it pursues an autobiographical approach, and compares the author's family photograph album with a family photograph album in the McCord Museum of Canadian History.
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Lima, Joice Rodrigues de. "A fotografia em diálogo com a criação teatral." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284952.

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Orientador: Cassiano Sydow Quilici
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa propôs maneiras de trabalhar com atores a partir de imagens fotográficas, abordando as necessidades implícitas ao ato de olhar a fotografia. Para tanto, cinco atrizes participaram da realização de procedimentos que envolveram a observação destas imagens e de situações cotidianas, como parte do treinamento do ator. A metodologia abrangeu também o estudo e a compreensão da obra da artista francesa Sophie Calle, no que diz respeito às suas fotografias e aos fatores relacionados a seus processos criativos. Dessa forma, uma série de procedimentos foram definidos e experimentados, no sentido de ampliar a percepção do ator no momento da observação. Com isso, foi possível constatar que o "olhar", no sentido de observar, proporciona a movimentação de afetos e memórias que participam da e colaboram com a criação do material de trabalho do ator.
Abstract: The goal of this research was to investigate the work method with actors from photographic images observation, when the intention is the theatrical creation from the actor perspective. For this, five actresses participated on the practical research implementation through the photographic images observation and everyday situations, as part of actor training. The methodology also covered the understanding of the French artist Sophie Calle job, with regard to her photos and factors related to her creative processes. Thus, a series of procedures have been defined and tested in order to broaden the perception of the actor at the time of observation. So, it was established that the "look" (in order to observe) provides the handling of feelings and memories that participate in the material creation of the actor's work and collaborate with it.
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FORD, Kyrtilene de Aguiar Silveira. "A antifotografia na Cia de Foto destruição, remixagem & redefinição de autoria como processos de criação." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/17134.

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O processo de criação em fotografia na contemporaneidade é transgressor, irrequieto e um ávido explorador. É plural, diversificado e conduzido por olhares, percepções e experiências múltiplas. Esta dissertação procura, através da análise de trabalhos de artistas e fotógrafos contemporâneos, refletir sobre o fazer criativo chamado de antifotografia. Nossa investigação debruça-se especificamente sobre dois ensaios do coletivo brasileiro Cia de Foto - extinto em 2013 após dez anos de atividade - Retiro (2011) e Pais Interior (2012). A Cia de Foto fez uso de métodos que ignoram fronteiras e redefinem conceitos. Utilizando como ponto focal os trabalhos do coletivo Cia de Foto. Esta investigação tece considerações para compreender este processo antifotográfico através de diálogos com estudiosos e teóricos da fotografia como Ronaldo Entler, André Rouillé, Vilém Flusser, Roland Barthes, François Laruelle, Rubens Fernandes Júnior, Susan Sontag e Joan Fontcuberta.
The creation process in the contemporary photography is infringing, restless and an avid explorer. It is plural, diverse and driven by multiple looks, perceptions and experiences. This work seeks, through the analysis of works of contemporary artists and photographers, to reflect upon a creative doing called anti-photography. Our research focuses specifically on two photo essays from the Brazilian called Cia de Foto (extincted in 2013 after ten years of activity): Retiro (2011) and País Interior (2012). Cia de Foto made use of methods that ignore borders and redefine concepts. Using as a focal point the work of the collective photographic collective Cia de Foto. This research presents considerations in order to understand this anti-photographic process through dialogues with scholars and theorists of photography such as Ronaldo Entler, André Rouillé, Flusser, Roland Barthes, François Laruelle, Rubens Fernandes Júnior, Susan Sontag, and Joan Fontcuberta.
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Cailler, Julie. "L'autoportrait en photographie et la mélancolie." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080029.

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Cette recherche s'articule autour de trois pôles : Autoportrait, Photographie et Mélancolie et questionne les enjeux de la mélancolie dans les dispositifs de création des images de soi et de son expression au sein de l'autoreprésentation photographique. La mélancolie est ici pensée comme rapport singulier à l'image de soi, une définition qui prend appui sur des théories de la psychanalyse – bien que notre réflexion demeure esthétique – mais qui s'inscrit aussi dans l'histoire de la mélancolie, une histoire médicale, artistique et philosophique. Le corpus est constitué d'artistes dont le parcours est jalonné d'autoportraits ou bien, dont l'œuvre photographique se compose essentiellement ou exclusivement d'autoportraits. Trois artistes principaux sont ainsi convoqués : Kimiko Yoshida, Marie L. et David Nebreda
This research articulates three axes : Selfportrait, Photography and Melancholia. It questions Melancholia's issues under the devices of pictures of the self creation and their expressions within photographic selfrepresentation. Melancholia is here thought as a singular relation to the picture of the self, a definition that is supported on psychanalysis theories – although our reflexion remains aesthetic – but which also fits within history of melancholia, history of medicine, art and philosophy. The corpus is made with artists who deal with selfportraits or else, whose photographic work consists essentially or exclusively of selfportraits. Three mains artists will be summoned : Kimiko Yoshida, Marie L. and David Nebreda
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Woodrow, Jonathan. "The social psychology of digital photography : a process philosophy approach." Thesis, Loughborough University, 2004. https://dspace.lboro.ac.uk/2134/7724.

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This thesis addresses the nature of the image and its relationship to human perception and memory. Traditionally psychology approaches the relationship between the image and the human in a representationalist register, in which the world represents itself through images to the subjective observer. The thesis questions these assumptions about the representational relationship between the world, the mind and the image through a study of people using digital photographic technologies. It argues that digital images exist as a complex network of technology and activity that manage their incessant movement, production, consumption, convertibility, connectedness and fragility. The digital image exposes the complex nature of the image as more than a simple representation. If this is the case, then human involvement with images as networks occurs in terms of our inclusion in the network rather than as a subjective observer positioned outside of the world. Henri Bergson proposes that we see the image in terms of a distinction between time and space rather than as an intermediary between a subject and the object. The implications of this for the way in which we think about the interaction between people and technology and the nature of perception and memory are explored through some data examples from three settings. These are; amateur photographers using digital technology; families looking through their stocks of digital images and remembering past events together and finally, displays of family member's histories and identities on the internet.
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Books on the topic "Photographic process"

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Kosloff, Albert. Photographic screen printing. 7th ed. Cincinnati, Ohio, U.S.A: Signs of the Times Pub. Co., 1987.

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Fabbri, Malin. Blueprint to cyanotypes: Exploring a historial alternative photographic process. Stockholm, Sweden: Alternative Photography, 2006.

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Beckett, Stephen L. Theory of the gum dichromate photographic process: History and technique. [Derby: University of Derby], 1993.

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Gumoil photographic printing. Boston: Focal Press, 1999.

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Gumoil photographic printing. Boston: Focal Press, 1994.

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Valdés, María Fernanda Valverde. Los procesos fotográficos históricos. México, D.F: Secretaría de Gobernación, 2003.

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Victor, Gray, ed. The colours of another age: The Rothschild autochromes, 1908-1912. London: Rotschild Archive, 2007.

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Swedlund, Charles. Kwik-Print. Rochester, N.Y: Light Impressions, 1985.

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John, Ames, ed. Uelsmann: Process and perception : photographs and commentary. Gainesville: University Presses of Florida, 1985.

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Historic photographic processes: A Guide to Creating Handmade Photographic Images. New York: Allworth Press, 1998.

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Book chapters on the topic "Photographic process"

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Anderson, W. J. "Probabilistic Models of the Photographic Process." In Advances in the Statistical Sciences: Applied Probability, Stochastic Processes, and Sampling Theory, 9–40. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-4786-3_2.

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McGillivray, Donald. "The Photographic Process as a Means of Detecting Electromagnetic Radiation." In Physics and Astronomy, 57–72. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-09123-2_5.

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Moisar, Erik. "Formation, Action, and Properties of Clusters in the Photographic Process." In Contribution of Clusters Physics to Materials Science and Technology, 311–41. Dordrecht: Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-4374-2_10.

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Mostafavi, M., J. L. Marignier, J. Amblard, and J. Belloni. "Size-dependent thermodynamic properties of silver aggregates. Simulation of the photographic development process." In Small Particles and Inorganic Clusters, 31–35. Berlin, Heidelberg: Springer Berlin Heidelberg, 1989. http://dx.doi.org/10.1007/978-3-642-74913-1_8.

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Ray, Sidney F. "Process lenses." In Applied Photographic Optics, 372–76. Routledge, 2002. http://dx.doi.org/10.4324/9780080499253-40.

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"Demystifying the photographic process." In Langford's Starting Photography, 197–202. Routledge, 2015. http://dx.doi.org/10.4324/9781315731728-41.

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"Photographic Issues." In Incident Investigation and Accident Prevention in the Process and Allied Industries, G—1—G—5. CRC Press, 2006. http://dx.doi.org/10.1201/9781439822449.axg.

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Sathaiyan, N. "Silver Recovery from Photographic Process Wastes." In Reference Module in Materials Science and Materials Engineering. Elsevier, 2016. http://dx.doi.org/10.1016/b978-0-12-803581-8.03653-5.

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Attridge, Geoffrey. "Image formation and the photographic process." In The Manual of Photography, 245–61. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-240-52037-7.10013-4.

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"Films, Filters, and The Photographic Process." In Aerial Photography and Image Interpretation, 256–79. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2012. http://dx.doi.org/10.1002/9781118110997.ch14.

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Conference papers on the topic "Photographic process"

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Rich, Chris C., and Lydia Dickerson. "Lippmann photographic process put to practice with available materials." In Photonics West '96, edited by T. John Trout. SPIE, 1996. http://dx.doi.org/10.1117/12.238536.

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Nakakita, Kiyomi, Makoto Nagaoka, Taketoshi Fujikawa, Katsuyuki Ohsawa, and Shigeki Yamaguchi. "Photographic and Three Dimensional Numerical Studies of Diesel Soot Formation Process." In International Fuels & Lubricants Meeting & Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1990. http://dx.doi.org/10.4271/902081.

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Jia, Dayong, and Chunsheng Liu. "High-Speed Photographic Analysis Of Atomizing Process Of RE-Si Ferroalloy." In 18th Intl Congress on High Speed Photography and Photonics, edited by DaHeng Wang. SPIE, 1989. http://dx.doi.org/10.1117/12.969176.

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Shirvani, Ali, Kaveh Malekian, and Wolfgang Schufft. "A transient model of lightning breakdown process based on photographic measurements." In 2013 IEEE Electrical Insulation Conference (EIC). IEEE, 2013. http://dx.doi.org/10.1109/eic.2013.6554210.

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Geigel, Joe, and F. Kenton Musgrave. "A model for simulating the photographic development process on digital images." In the 24th annual conference. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/258734.258813.

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Yamane, Masayuki, Hisashi Koike, Yuko Kurasawa, and Satoshi Noda. "Radial GRIN material for photographic lenses made by the sol-gel process." In SPIE's 1994 International Symposium on Optics, Imaging, and Instrumentation, edited by John D. Mackenzie. SPIE, 1994. http://dx.doi.org/10.1117/12.188990.

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Toglia, Angelo, Gregory D. Stephens, David J. Michalski, and Joy L. Rodriguez. "Applications of PhotoModeler in Accident Reconstruction." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-79250.

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Photographic methods of analyzing vehicles and scenes for the purpose of accident reconstruction have been well researched and documented. Photogrammetric analysis has appeared in various forms and levels of complexity over the years. Mathematical relationships have been researched and presented depicting the methods and bases of these techniques. This paper will present some new tools and methodologies in the process of photographic analysis. The PhotoModeler program will be utilized to demonstrate applications of digital photogrammetry in the field of accident reconstruction. Several different methodologies, including single and multiple photograph projects using calibrated and inverse cameras, will be evaluated and demonstrated. Additionally, comparisons to traditional methods of measurements will be presented. It will be demonstrated that the use of digital photogrammetry has advanced the science of accident reconstruction by employing computer and digital technology to achieve greater efficiency and improved accuracy.
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Bjelkhagen, Hans I., and Savita De Souza. "Computer simulation of the Lippmann photographic process and recording experiments using holographic materials." In Photonics West 2001 - Electronic Imaging, edited by Stephen A. Benton, Sylvia H. Stevenson, and T. John Trout. SPIE, 2001. http://dx.doi.org/10.1117/12.429472.

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Tausendfreund, Andreas, Dirk Stöbener, and Andreas Fischer. "Speckle photographic in-process measurement of three-dimensional deformations in running manufacturing processes." In Optical Measurement Systems for Industrial Inspection XII, edited by Peter Lehmann, Wolfgang Osten, and Armando Albertazzi Gonçalves. SPIE, 2021. http://dx.doi.org/10.1117/12.2592284.

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Li, Xianguo, and Jihua Shen. "Experiments on Annular Liquid Jet Breakup." In ASME 2001 Engineering Technology Conference on Energy. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/etce2001-17010.

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Abstract Experimental investigations have been carried out for the breakup process of an annular water jet exposed to an inner air stream by videographic and photographic techniques. Three flow regimes for the jet breakup process have been identified, i.e., bubble formation, annular jet formation and atomization. Within the bubble formation regime, the jet breakup characteristics measured from the photographs taken under various liquid and gas velocities indicate that nearly uniform bubbles are observed for various air-to-water velocity ratios; both the jet breakup length and the wavelength for bubble formation decrease as the air-to-water velocity ratio is increased. The measurements are compared with the predictions by the linear instability analysis, and fair agreement is obtained.
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Reports on the topic "Photographic process"

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Zharkov, Yevhen. MODERN COMPLEX METHODS OF REAGENT-FREE PROCESSING OF LIQUIDS FOR SUBSEQUENT NON-CONTACT PARALLEL MONITORING IN THE PROCESS OF AERIAL PHOTOGRAPHY OR USING UNMANNED AERIAL VEHICLES. Intellectual Archive, September 2019. http://dx.doi.org/10.32370/iaj.2184.

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Tabinskyy, Yaroslav. VISUAL CONCEPTS OF PHOTO IN THE MEDIA (ON THE EXAMPLE OF «UKRAINER» AND «REPORTERS»). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11099.

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The article is devoted to the analysis of the main forms of visualization in the media related to photo. The thematic visual concepts are described in accordance with the content of electronic media, which consider the impact of modern technologies on the development of media space. The researches of the Ukrainian and foreign educational institutions concerning the main features of modern photo is classificate. Modifications and new visual forms in the media are singled out. The main objective of the article is to study the visual concepts of modern photo and identify ideological and thematic priorities in photo projects. To achieve the main objective in the article a certain methodology were used. Due to the historical-theoretical description it was possible to substantiate the study of visual concepts. The conceptual-system method was used to study the subject of media photo projects. The main results of the research are the definition of visual concepts of photo on the example of electronic media and the identification of the main thematic features in the process of visual filling of the media space. Based on the study, we can conclude that today the information field needs quality visual content. For successful creation of visual concepts it is necessary to single out thematic features of modern photo and to carry out classifications on ideological and semantic signs. Given the rapid development of digital technologies, the topic of the scientific article we offer is relevant for scientists, journalists, media researchers, visual journalism experts and photojournalists. Modern space is filled with a large number of pictorial materials, which in most cases form specific images, patterns or stereotypes in the mind of the reader (viewer). Also important is the classification of photo used in journalistic publications. That is why there is a need to explore the content and principles of distribution of ideological priorities of photo in the media. The substantiation of scientists about the important place of photography in the modern media space and the future development of visual technologies, which already use artificial intelligence, is relevant.
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Brophy, Kenny, and Alison Sheridan, eds. Neolithic Scotland: ScARF Panel Report. Society of Antiquaries of Scotland, June 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.

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The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular need of targeted research. Also, here and elsewhere in Scotland, the chronology of developments needs to be clarified, especially as regards developments in the Hebrides. Lifeways and Lifestyles: Research needs to be directed towards filling the substantial gaps in our understanding of: i) subsistence strategies; ii) landscape use (including issues of population size and distribution); iii) environmental change and its consequences – and in particular issues of sea level rise, peat formation and woodland regeneration; and iv) the nature and organisation of the places where people lived; and to track changes over time in all of these. Material Culture and Use of Resources: In addition to fine-tuning our characterisation of material culture and resource use (and its changes over the course of the Neolithic), we need to apply a wider range of analytical approaches in order to discover more about manufacture and use.Some basic questions still need to be addressed (e.g. the chronology of felsite use in Shetland; what kind of pottery was in use, c 3000–2500, in areas where Grooved Ware was not used, etc.) and are outlined in the relevant section of the document. Our knowledge of organic artefacts is very limited, so research in waterlogged contexts is desirable. Identity, Society, Belief Systems: Basic questions about the organisation of society need to be addressed: are we dealing with communities that started out as egalitarian, but (in some regions) became socially differentiated? Can we identify acculturated indigenous people? How much mobility, and what kind of mobility, was there at different times during the Neolithic? And our chronology of certain monument types and key sites (including the Ring of Brodgar, despite its recent excavation) requires to be clarified, especially since we now know that certain types of monument (including Clava cairns) were not built during the Neolithic. The way in which certain types of site (e.g. large palisaded enclosures) were used remains to be clarified. Research and methodological issues: There is still much ignorance of the results of past and current research, so more effective means of dissemination are required. Basic inventory information (e.g. the Scottish Human Remains Database) needs to be compiled, and Canmore and museum database information needs to be updated and expanded – and, where not already available online, placed online, preferably with a Scottish Neolithic e-hub that directs the enquirer to all the available sources of information. The Historic Scotland on-line radiocarbon date inventory needs to be resurrected and kept up to date. Under-used resources, including the rich aerial photography archive in the NMRS, need to have their potential fully exploited. Multi-disciplinary, collaborative research (and the application of GIS modelling to spatial data in order to process the results) is vital if we are to escape from the current ‘silo’ approach and address key research questions from a range of perspectives; and awareness of relevant research outside Scotland is essential if we are to avoid reinventing the wheel. Our perspective needs to encompass multi-scale approaches, so that ScARF Neolithic Panel Report iv developments within Scotland can be understood at a local, regional and wider level. Most importantly, the right questions need to be framed, and the right research strategies need to be developed, in order to extract the maximum amount of information about the Scottish Neolithic.
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