Academic literature on the topic 'Photographic scene'
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Journal articles on the topic "Photographic scene"
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Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (January 2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.
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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evocative as well. Each of four pairs of photographs discussed reflects a significant period in the historical evolution of crime scene photography as well as an observable aesthetic influence: the earliest days of police photography and pictorialism; professionalization in the 1930s, documentary photography, and film noir; postwar photographic expansion to the suburban and middle class, advertising images of the family and home; and postwar elegiac landscape photography in the 1950s and compassion shown to infanticidal mothers. Crime scene photographs also demonstrate a remarkable shift in twentieth-century forensic technologies, and they reveal a collection of ordinary domestic and pastoral scenes at the moment when an act of violence made them extraordinary.
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Yang, Wenbin. "Recognition and Analysis of Scene-Emotion in Photographic Works Based on AI Technology." International Journal of Information Technologies and Systems Approach 16, no. 2 (July 20, 2023): 1–15. http://dx.doi.org/10.4018/ijitsa.326055.
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Emotional effect is highly subjective in people's cognitive process, and a single discrete emotional feeling can hardly support the description of the immersion scene, which also puts forward higher requirements for emotional calculation in photography. Therefore, this article first constructs a photographic scene recognition model, and then establishes a visual emotion analysis model which optimizes the basic structure of vgg19 through CNN, extracts the user's photography situation information from the corresponding image metadata, establishes the mapping relationship between situation and emotion, and obtains the low-dimensional dense vector representation of the situation features through embedding. The authors divided eight emotional categories; accuracy of the model is compared and the feature distribution of scene-emotion in different works is analyzed. The results show that the accuracy of the scene-emotion recognition model of photographic works after multimodal fusion is high, reaching 73.9%, in addition, different shooting scenes can distinguish the emotional characteristics of works.
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Wilson, Dawn M. "Invisible Images and Indeterminacy: Why We Need a Multi-stage Account of Photography." Journal of Aesthetics and Art Criticism 79, no. 2 (April 19, 2021): 161–74. http://dx.doi.org/10.1093/jaac/kpab005.
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Abstract Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography.
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Hamel, Cheryl J., and David L. Ryan-Jones. "Effect of Visual Detail on Scene Recognition: Some Unexpected Sex Differences." Perceptual and Motor Skills 84, no. 2 (April 1997): 619–26. http://dx.doi.org/10.2466/pms.1997.84.2.619.
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30 adults received two learning trials on which they viewed computer images of urban scenes followed by a recognition test to assess the effect of visual detail on scene recognition. The scenes were shown in either high detail (photographic) or reduced detail. Analysis showed no main effect of detail on scene recognition; however, analysis of the interaction for sex X detail indicated that women recognized significantly more scenes in the photographic condition than in the two with reduced detail. Men showed no differences. The unexpected sex differences suggest the relevance of subjects' strategies during visual processing.
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Boshyan, Jasmine, Lisa Feldman Barrett, Nicole Betz, Reginald B. Adams, and Kestutis Kveraga. "Line-Drawn Scenes Provide Sufficient Information for Discrimination of Threat and Mere Negativity." i-Perception 9, no. 1 (January 2018): 204166951875580. http://dx.doi.org/10.1177/2041669518755806.
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Previous work using color photographic scenes has shown that human observers are keenly sensitive to different types of threatening and negative stimuli and reliably classify them by the presence, and spatial and temporal directions of threat. To test whether such distinctions can be extracted from impoverished visual information, we used 500 line drawings made by hand-tracing the original set of photographic scenes. Sixty participants rated the scenes on spatial and temporal dimensions of threat. Based on these ratings, trend analysis revealed five scene categories that were comparable to those identified for the matching color photographic scenes. Another 61 participants were randomly assigned to rate the valence or arousal evoked by the line drawings. The line drawings perceived to be the most negative were also perceived to be the most arousing, replicating the finding for color photographic scenes. We demonstrate here that humans are very sensitive to the spatial and temporal directions of threat even when they must extract this information from simple line drawings, and rate the line drawings very similarly to matched color photographs. The set of 500 hand-traced line-drawing scenes has been made freely available to the research community: http://www.kveragalab.org/threat.html .
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Arifi, Besim. "Documentation of the Crime Scene." European Journal of Interdisciplinary Studies 1, no. 2 (August 30, 2015): 32. http://dx.doi.org/10.26417/ejis.v1i2.p32-38.
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Documentation of the scene is one of the most important actions of the investigative group, which performs the examination of the scene. Documentation in itself includes: Taking notes, drawing and photographic team of the site inspection to the crime scene during phase taking notes must pay special attention to this stage, because it includes very important information for the investigation of the crime scene. Based on these information becomes final report on the case, so we can say that taking notes is of particular importance. Another important action is also the sketch. Mapping shows the drawing of the scene and all evidence was found there. Compiler of the sketch doesn’t minds to be definitely professional any painter or designer. It should be a good compiler which presents in detail all the information necessary to include net. This information will be used for testimony in court and to clarify the situation in the scene in case of reconstructions. Photographs of the crime scene investigation is a very important move which reflects the real image of the scene or any part of his and any evidence which has been inserted into focus photography.
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Arifi, Besim. "Documentation of the Crime Scene." European Journal of Interdisciplinary Studies 2, no. 1 (August 30, 2015): 32. http://dx.doi.org/10.26417/ejis.v2i1.p32-38.
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Documentation of the scene is one of the most important actions of the investigative group, which performs the examination of the scene. Documentation in itself includes: Taking notes, drawing and photographic team of the site inspection to the crime scene during phase taking notes must pay special attention to this stage, because it includes very important information for the investigation of the crime scene. Based on these information becomes final report on the case, so we can say that taking notes is of particular importance. Another important action is also the sketch. Mapping shows the drawing of the scene and all evidence was found there. Compiler of the sketch doesn’t minds to be definitely professional any painter or designer. It should be a good compiler which presents in detail all the information necessary to include net. This information will be used for testimony in court and to clarify the situation in the scene in case of reconstructions. Photographs of the crime scene investigation is a very important move which reflects the real image of the scene or any part of his and any evidence which has been inserted into focus photography.
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Bajraghosa, Terra, Budi Irawanto, and Seno Gumira Ajidarma. "Family Photography as Object and Practice in Independent Comics in Indonesia." International Journal of Creative and Arts Studies 10, no. 2 (December 5, 2023): 133–48. http://dx.doi.org/10.24821/ijcas.v10i2.11166.
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One small element that is rarely put in the comics’ scene setting is photographic imagery, commonly a portrait of a person or a family photograph. It is assumed that once a family photograph is presented in a comic, it definitely has a particular function. This study will examine how the family photograph as an object and practice is depicted and present the signification of the story meaning in independent comics. The research object is a drawing that represents a family photograph in a panel, or series of panels – consecutive or non-consecutive -in the independent comic "Pupus Putus Sekolah" (2022) and “Phagia” (2016) as the case study. This research uses a comic studies approach based on qualitative methods. The first analysis process is to pay attention to the presence of family photographic images in comic stories. In the following analysis stage, family photographs are treated as an object defined by social practices based on a semiological/discursive approach, especially the Doing Family Photography approach introduced by Gillian Rose. The study revealed that photographic images in independent comics were shown using the same artistic drawing style as the characters and objects in the story. The inclusion of family photographs in comics aims to present a portrayal of the 'evidence,' 'truth,' and 'indexicality' as the genuine authenticity of the photographed moments in photography while also serving as a symbolic picture in storytelling. The readers' comprehension of the indexical nature of the family photograph is inherently linked to the manner in which the photographic imagery is portrayed and organized with other elements in the sequential composition of comics.Foto Keluarga sebagai Objek dan Praktik dalam Komik Independen di Indonesia Abstrak Salah satu elemen kecil yang jarang dimasukkan ke dalam adegan komik adalah citra fotografi, biasanya potret seseorang atau foto keluarga. Diasumsikan jika foto keluarga disajikan dalam komik, pasti memiliki fungsi tertentu. Penelitian ini akan mengkaji bagaimana foto keluarga sebagai objek dan praktik digambarkan dan menyajikan signifikasi makna cerita dalam komik independen. Objek penelitian adalah gambar yang merepresentasikan foto keluarga dalam sebuah panel, atau rangkaian panel—berurutan atau tidak berurutan—dalam komik independen "Pupus Putus Sekolah" (2022) dan "Phagia" (2016) sebagai studi kasus. Penelitian ini menggunakan pendekatan studi komik berdasarkan metode kualitatif. Tahap analisis pertama adalah memperhatikan citra fotografi keluarga dalam cerita komik. Pada tahap analisis berikutnya, foto keluarga diperlakukan sebagai objek yang didefinisikan oleh praktik sosial, berdasarkan pendekatan semiologis/diskursif, terutama pendekatan Doing Family Photography yang diperkenalkan oleh Gillian Rose. Studi ini mengungkapkan bahwa gambar fotografi dalam komik independen ditampilkan menggunakan gaya gambar yang sama dengan karakter dan objek dalam cerita. Pencantuman foto keluarga dalam komik bertujuan untuk menyajikan penggambaran 'bukti', 'kebenaran', dan 'indeksikal' sebagai keaslian asli dari momen yang difoto dalam fotografi sekaligus berfungsi sebagai gambaran simbolis dalam bercerita. Pemahaman pembaca tentang sifat indeksikal foto keluarga secara inheren terkait dengan cara di mana citra fotografi digambarkan dan diatur dengan unsur-unsur lain dalam komposisi komik yang berurutan.
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Hess, Scott. "William Wordsworth and Photographic Subjectivity." Nineteenth-Century Literature 63, no. 3 (December 1, 2008): 283–320. http://dx.doi.org/10.1525/ncl.2008.63.3.283.
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This essay argues that William Wordsworth's poetry constructs a subject position analogous to that of the photographic viewer: hence, a photographic subjectivity. Critics have often read Wordsworth's writing as opposing imagination against visibility and mimetic realism. Many of the visual structures of his poetry, however, continue the structures of the picturesque, whose desire to capture the landscape as framed image culminated in the technology of photography. These structures of perception include the stationed point of view of the observer, focusing the scene from a single location; the tendency to reduce the multisensory, ambient experience of lived environment to pure vision; the separation of the observer from the landscape; and the resulting general disembodiment of that observer. Much of Wordsworth's poetry positions the observer in these ways in order to capture images that can then be viewed in private isolation (as in the ““spots of time””), like a series of internalized photographs. These structures of visuality construct what would emerge, after the invention of photography, as a photographic subjectivity, complementing (rather than opposing) the objectivity of the photographic image. They define the viewing subject, in the manner of photography, as a mobile, seemingly autonomous self in an appropriative relationship to landscape——the paradigm of the modern self, taking a ““view from nowhere”” on a world captured as image. The stability, unity, and autonomy of the Wordsworthian self ultimately depend on these photographic relationships.
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Vollgraff, Matthew. "The Archive and the Labyrinth: On the Contemporary Bilderatlas." October 149 (July 2014): 143–58. http://dx.doi.org/10.1162/octo_a_00187.
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The indexicality of photography has by now become a theoretical common-place: The photographic image presents us with the punctual index of a given “scene” at a specific moment. That scene is situated in an irretrievable past, its referents irrevocably displaced in time and space; indeed, the indexical image points ineluctably to something no longer extant.
Dissertations / Theses on the topic "Photographic scene"
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Schindler, Grant. "Unlocking the urban photographic record through 4D scene modeling." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/34719.
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Vast collections of historical photographs are being digitally archived and placed online, providing an objective record of the last two centuries that remains largely untapped. We propose that time-varying 3D models can pull together and index large collections of images while also serving as a tool of historical discovery, revealing new information about the locations, dates, and contents of historical images. In particular, our goal is to use computer vision techniques to tie together a large set of historical photographs of a given city into a consistent 4D model of the city: a 3D model with time as an additional dimension.
To extract 4D city models from historical images, we must perform inference about the position of cameras and scene structure in both space and time. Traditional structure from motion techniques can be used to deal with the spatial problem, while here we focus on the problem of inferring temporal information: a date for each image and a time interval for which each structural element in the scene persists.
We first formulate this task as a constraint satisfaction problem based on the visibility of structural elements in each image, resulting in a temporal ordering of images. Next, we present methods to incorporate real date information into the temporal inference solution. Finally, we present a general probabilistic framework for estimating all temporal variables in structure from motion problems, including an unknown date for each camera and an unknown time interval for each structural element. Given a collection of images with mostly unknown or uncertain dates, we can use this framework to automatically recover the dates of all images by reasoning probabilistically about the visibility and existence of objects in the scene. We present results for image collections consisting of hundreds of historical images of cities taken over decades of time, including Manhattan and downtown Atlanta.
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Vernacotola, Mark J. "Characterization of digital film scanner systems for use with digital scene algorithms /." Online version of thesis, 1995. http://hdl.handle.net/1850/11967.
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Dahmani, Taous Rose. "Faire scène : stratégies d'émergence et d'institutionnalisation des photographes noirs britanniques dans la longue décennie 80." Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H082.
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Durant la décennie 1980, des photographes non-blancs et des femmes photographes Noirs imaginent des formes d’opposition à un milieu qui les ignore obstinément. Individuellement et collectivement, les photographes Noirs se confrontent aux multiples dénégations au moyen de gestes de résistance. Ensemble, mais seuls, ils vont faire scène. Instigateurs d’une multitude d’actes, ils deviennent agents de leur réalisation en tant qu’artistes-photographes. La scène produit un empouvoirement et l’empouvoirement façonne la scène. Cette thèse raconte les stratégies mises en place pour défier le statu quo. Cette thèse propose ainsi d’analyser la formation de cette scène à travers deux gestes fondamentaux : la publication (première partie) et l’exposition (deuxième partie). Dans un premier temps, l’étude des objets imprimés révèlent les mécanismes d’exclusion et d’inclusion de ces individus et indique leur rôle essentiel à la rencontre, aux échanges, à l’expérimentation, au débat, à l’élaboration théorique et la monstration des productions. À cet effet, nous examinons trois magazines de photographes : Camerawork, Ten.8 et Polareyes ; et commentons l’absence de livres de photographes. Dans un deuxième temps, l’étude de la nécessité de montrer son travail sur des cimaises, à travers des expositions, nous permet d’identifier une attitude du « faire soi-même » où les artistes deviennent commissaires et coordinateurs d’espaces de monstration. La thèse se termine sur l’institutionnalisation de la scène à travers l’analyse de l’évolution de l’Association des Photographes Noirs vers la création d’une organisation, Autograph ABP. À travers ces deux axes principaux, cette thèse appréhende l’émergence d’une scène malgré une société qui s’oppose à elle et fait le récit de sa lente inclusion dans le monde de la photographie britannique de la seconde moitié du XXe siècleDuring the long 1980s, non-white photographers and Black women photographers imagined forms of opposition to a milieu that consistently ignored them. Individually and collectively, Black photographers challenged continual denial with gestures of resistance. Together, and on their own they made their scene. Instigators of a multitude of acts, they became the agents of their being recognised as artist-photographers. The scene produced an empowerment which in turn shaped that scene. This thesis recounts the strategies they put in place to challenge the status quo. The creation of this scene occurred through two fundamental axes: firstly publications; and secondly exhibitions. In the first place, the study of printed matter reveals the mechanisms of exclusion and inclusion of these individuals, and indicates their essential role in encounters, exchanges, experimentation, debate, theoretical elaboration and the display of visual productions. To this end, we examine three photographers' magazines: Camerawork, Ten.8 and Polareyes; and comment on the absence of photographers' books. In the second place, our study of the need to show work on walls, through exhibitions, enables us to identify a "Do It-Yourself" attitude in which artists become curators and coordinators of spaces. The thesis concludes on the institutionalization of the scene through the history of the Association of Black Photographers as an organization. Our pivot is the emergence of a scene despite a society opposed to it, and tells the story of its slow inclusion in the world of British photography in the second half of the 20th century
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Giles, Jacinta. "Ordinary Affects: Minor Photography, the Televisual and the Baroque Mise-en-scène." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/409629.
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This practice-led research project investigates ways to account for contemporary photographic practices that reside in the continuum between the representational and the abstract. As an inquiry with multiple entryways, it is an attempt to offer a language through which to describe and evaluate photography that is not easily situated in existing traditions. This thesis argues that photographs, which are difficult to locate through conventional readings, can call forth new ways of deciphering and translating our affective experience of everyday life and give voice to difference. This project is, therefore, also a generative contribution to the emergent literature on ordinary affects within the visual arts—a subject which has been more rigorously considered in literature, theatre, cinema, and philosophy.
In offering new possibilities for thinking about contemporary photography, through analysing its technical means of production and the related conceptual implications, this research moves towards a better understanding of a photograph’s affective charge. As an interdisciplinary entanglement between philosophy, art theory, contemporary artworks, and a studio-based practice, this project does not seek to prove if something is true, but rather looks to challenge traditions, make new connections, and create lines of flight through unconventional assemblages.
In drawing upon the work of Gilles Deleuze to map and contextualise the research findings, this thesis offers encounters that operate beyond representation to create new images of thought. Through examining the concepts of minor photography, the transnarrative televisual, and the baroque mise-en-scène, this research asserts the potential of expanded photographic practices to dismantle habits of perception and create alternative pathways for imagining the world.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Hardy, Marie-Josée. "Fantasmes esthético-ludiques et photographies de mise en scène /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2005. http://theses.uqac.ca.
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Sanaâ, Kahena. "Emplacement, déplacement, replacement : poïétiques visuelles des corps urbains." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010575.
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Cette thèse a pour objet d’explorer les situations corporelles en milieu urbain sous le filtre des appareils de prises de vues selon différents angles, échelles et placements. Les mobilités des passants, les tactiques d’évitement, les rythmes pressés des pas, les intersections des trajectoires et la polyphonie qui forment la trame changeante du quotidien de la ville sont scrutés, sondés, capturés et retravaillés par l’opération du montage au sein d’une démarche plasticienne personnelle. En partant d’une expérience vécue du dépaysement au sein de la métropole parisienne, je souhaite examiner les intrications entre la fabrique du regard de l’étrangère et la construction des images vidéographiques et photographiques. Ces intrications se trouvent orchestrées, méthodologiquement, par trois concepts opératoires à géométries variables : le déplacement, l’emplacement et le replacement. Le premier mouvement correspond à l’expérience vécue et immersive de la ville où il sera question de la dimension sensible des pratiques pédestres. Le second se positionne sous l’angle du perçu, interrogeant le regard de l’observateur, de l’enquêteur et le traitement poïétique des matériaux visuels et sonores capturés par les appareils d’enregistrement. Le troisième répond à un changement du régime plastique, où le corps plasticien se dédouble, oscillant entre le filmant et le filmé, faisant du cadre vidéographique une scène performative. Quant au cadre théorique, il est également double. Il s’agit, d’une part, de recueillir en filigrane les leçons de la phénoménologie de Merleau-Ponty, de la microsociologie de Simmel et de l’anthropologie urbaine contemporaine. D’autre part, il s’agit de faire résonner les harmoniques de ma démarche avec des démarches d’artistes issues des années 1960 et 1970, comme les Situationnistes, Valie Export, Vito Acconci ou Esther Ferrer, et d’autres plus contemporains qui sondent les scénographies du corps et ses images, tels qu’Isabelle Grosse, Valérie Jouve, Mark Lewis et Maïder FortunéThe objective of this dissertation is to explore the situations of the body in an urban environment as mediated via different angles, scales and positions. A personal artistic démarche of editing records, surveys, and scrutinizes the mobility of passers and bystanders; the result is an audio-visual record that tracks the tactics of evasion, the speedy rhythms of steps, the intersections of the trajectories and the polyphony that form the thread of daily life in the city. Taking as a point of departure my personal experience - a change of scene (déplacement) in the metropolis of Paris - I examine the disorientations between the rendering of the foreigner’s gaze and the construction of videographic and photographic images. From a methodological point of view, three concepts of variable geometry organize these concepts in states of dynamic imbrication: delocation (déplacement), location (emplacement) and relocation (replacement). The first movement, which corresponds to the lived experience of immersion into the city, treats the sense-based dimension of pedestrian practices. The second, which concerns perception, interrogates the gaze of the observer and of the investigator and of the poetic treatment of taped visual and sonic material. The third concept entails a change of the plastic regime where the artistic body is divided in two: oscillating between the filming and the filmed where ultimately the videographic scene becomes a performative scene. The theoretical framework is likewise divided in two. On the one hand, it is inspired by Merleau-Ponty’s phenomenology, by Simmel’s microsociology and by contemporary urban anthropology. On the other hand, it consists of an evidencing of resonances between my own démarche and those of artists active in the 1960s and 1970s like the Situationists, Valie Export, Vito Aconci or Esther Ferrer, as well as more contemporaries like Isabelle Grosse, Valérie Jouve, Mark Lewis and Maïder Fortuné, who scrutinize the scenographies of the body and of its images
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Robertson, Duncan Paul. "Recovering geometric models from photographs of architectural scenes." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.616042.
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Besson, Daniel. "Les unes du quotidien Libération : photographie et mise en scène de l'information /." Paris : Université de Paris VIII, 1995. http://catalogue.bnf.fr/ark:/12148/cb370670724.
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Chen, Qing. "Mises en scène du corps : Identité et altérité en photographie et vidéographie." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080012.
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L’enjeu de la représentation en images du corps et l’utilisation de mon propre corps comme support de création est une réaction à l’échec communicationnel contemporain. Le dispositif artistique peut-il déjouer, pour un moment au moins, la puissance d’aliénation qui réside dans l’obligation de se conformer à une certaine idée du corps, à ce « corps social », et permettre une certaine construction identitaire? Les façons de montrer le portrait, l’autoportrait et le corps et de les traiter sont les modes du « vivre ensemble » ; et manipuler ces codes me permet de réfléchir sur ma propre identité dans une société tout en interrogeant la relation du « soi » au « nous ».Les photographies et les vidéographies introduisent la notion d’identité à travers une mise en scène. Dans certaines œuvres, j’interviens sur mon corps par un travail d’autoreprésentation. Je travaille alors à la transformation de moi-même, à l’invention d’un nouveau corps, d’une nouvelle identité. Il s’agit d’abord d’un questionnement narcissique, cependant, l’autofiction, ici, n’est pas « égocentrée » et rejoint notre sujet principal, à savoir l’interrogation de l’image de soi comme médiation afin de réenvisager l’identité individuelle dans un horizon collectifThe challenge of the pictorial representation of the body and the use of my own body as the medium of creation is a reaction to the failure of contemporary communication. Can this artistic device, even for a moment, thwart the power of alienation that resides in the obligation to conform to a particular idea of the body, of this “social body”, to allow for a certain construction of identity? The ways of showing the portrait, the self-portrait and the body and their treatment are modes of “community living.” The manipulation of these codes allowed me to consider my own identity in society while questioning the relation between “self” and “us.”The photos and videos introduce a notion of identity by way of a display. In some of the works, I use my body as a means of self-representation. I work on transforming myself, on the invention of a new body, of a new identity. In the first place, it is a narcissistic questioning, although the autobiographical fiction is not “self-centred”, but is in line with our principal subject, that of the interrogation of the self-image as mediation to envisage individual identity anew by means of a collective horizon
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Albrechtsson, Linnea, and Kajsa Eriksson. "Vardagsfotografier : Inspiration för scenskapande av bilder." Thesis, Blekinge Tekniska Högskola, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14681.
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Vi uppfattar idag en ökning av det vardagliga fotograferandet och därav en ökning av passiva bilder bland de personliga bildarkiven. I ett försök att återaktivera de passiva bilderna utgår undersökningen från frågeställningen vad kan inspirera vardagsfotografen till att använda sitt bildarkiv för att skapa nya bildscener? Där syftet är att hitta en inspirationskälla för att uppmuntra användningen av passiva bildarkiv för att skapa nya bildscener. Vi strävar även efter att informera om de växande bildarkiven med passiva bilder och uppmuntrar till diskussion kring ämnet. För att skapa en bild av vårt valda tema har vi granskat forskning inom vardagsfotografering, personlig arkivering och bilder som minnen. Under processens gång har vi tagit hjälp av brainstorming, mindmaps och varför-metoden för att både skapa nya idéer och utveckla befintliga. Vi har även använt oss av metoderna workshop och crowdsourcing för att ta in utomstående personer i processen. Messiness var också närvarande under en stor del av processen då vi stötte på ett dilemma som vände upp och ner på vår undersökning och fick oss att ändra inställning. Vår slutsats och gestaltning, BuildBild, grundar sig i metoden transparent scenskapande av bilder vilket bygger på bilder utskrivna på plast. BuildBild är tänkt att användas som ett lekfullt verktyg för att inspirera vardagsfotografer att återaktivera sina bilder genom scenskapande.There is an increasing amount of pictures taken everyday and thus an increase of passive pictures in our personal archives. In order to reactivate the passive pictures this bachelor thesis asks the research question what can inspire the everyday photographer to use their picture archive to create new image scenes? The aim of this analysis is to find an inspiration source to encourage the everyday photographers to use their passive images to create new image scenes. The further aim is also to inform and encourage a discussion about the everyday photography and the growing amount of pictures. As a foundation for our design process we have explored a variety of research within the field of everyday photography, personal archives and pictures as memories. We have during our design process also used a combination of methods to create and evolve ideas, for instance brainstorming, mindmapping and the “why-method”. The methods workshop and crowdsourcing were also used as a way to invite other people into the process. As a whole our process has revolved around the concept of messiness as we encountered a dilemma that turned our previous attitude towards the thesis upside down. Our design and conclusion, BuildBild, emerged through our method creating scenes of transparent images which is based on the idea of pictures printed on plastic. BuildBild is a playful tool which is meant to inspire everyday photographers to reactivate their passive pictures through creative scenes.
Books on the topic "Photographic scene"
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Lacan at the scene. Cambridge, MA: MIT Press, 2009.
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Huang shan: Yunfeng she ying ji = The scene of Mt. Huangshan : Zhu Yunfeng photographic works. Hefei Shi: Anhui mei shu chu ban she, 1996.
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Dancing with the Dead: A photographic memoir ; my good old days with the Grateful Dead & the San Francisco music scene, 1964-1974. Rohnert Park, CA: Tioli Press & Bytes, 2013.
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Camille Silvy: River scene, France. Malibu, Calif: J. Paul Getty Museum, 1992.
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Seen behind the scene: Forty years of photographing on set. London: Phaidon Press, 2008.
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Stewart, Gail B. The crime scene photographer. Detroit: Lucent Books, 2008.
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Dans l'atelier du photographe: La photographie mise en scène, 1839-2006. Paris: Paris-Musées, 2012.
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Seider, Norman. Opening scenes: Photographs. Asheville, N.C: Safe Harbor Books, 2006.
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Ziegler, Crista. Schauplatz: Fotografien = Public scene : photographs. Basel: Christoph Merian Verlag, 1999.
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Scenes in a library: Reading the photograph in the book, 1843-1875. Cambridge, Mass: MIT Press, 1998.
Find full textBook chapters on the topic "Photographic scene"
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Bohn, Ralf. "Schreiben mit Licht." In Bewegungsszenarien der Moderne, 93–109. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-6.
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In the 19th century, the stillness of movement during a photographic exposure required a staging based on academic traditions. Staging is the »spatialization« of a present absence – comparable to »writing« in the sense of Derrida. With the increasing mobility of camera techniques from the 20th century onwards, the focus is no longer on the reproduction of a moment, but instead on its performative invention.With the digital photography of the 21st century, a transformation from theatrical to functional staging takes place. The history of the writing scene of photography illustrates the interplay between concealment through technology and re-aestheticization, which with increasing oscillation turns into motor dizziness.
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Maloney, Michael S. "Death Scene Photography." In Death Scene Investigation, 303–14. Second edition. | Boca Raton : CRC Press, [2018]: CRC Press, 2017. http://dx.doi.org/10.1201/9781315107271-40.
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Duncan, Christopher D. "Bloodstain Photography." In Advanced Crime Scene Photography, 253–96. 3rd ed. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.4324/9781003292449-8.
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Duncan, Christopher D. "Photography Equipment." In Advanced Crime Scene Photography, 21–45. 3rd ed. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.4324/9781003292449-2.
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Duncan, Christopher D. "Flash Photography." In Advanced Crime Scene Photography, 177–219. 3rd ed. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.4324/9781003292449-6.
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Duncan, Christopher D. "Photographing Fire Scenes." In Advanced Crime Scene Photography, 393–406. 3rd ed. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.4324/9781003292449-11.
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Duncan, Christopher D. "Crime Scene Photography." In Advanced Crime Scene Photography, 47–98. 3rd ed. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.4324/9781003292449-3.
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Gardner, Ross M., and Donna R. Krouskup. "Crime Scene Photography." In Practical Crime Scene Processing and Investigation, 107–46. Third Edition. | Boca Raton, FL : CRC Press, [2019] | Revised: CRC Press, 2018. http://dx.doi.org/10.4324/9781315170596-6.
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Zakia, Richard D., and David A. Page. "Framing the Scene." In Photographic Composition, 89–114. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-240-81507-7.00005-5.
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"Framing the Scene." In Photographic Composition, 109–34. Routledge, 2012. http://dx.doi.org/10.4324/9780240815084-13.
Full textConference papers on the topic "Photographic scene"
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Štampfl, Veronika, and Jure Ahtik. "The influence of the surrounding space on the lighting conditions in a photographic scene." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p95.
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Lighting conditions are one of the most important factors for good photographic exposure. In enclosed spaces, like a photography studio, we can control the light in several ways. We can adjust the type of light source, the shape of the light source, its intensity, and in some cases the colour temperature of the emitted light. The distance of the light source from the observed photographic scene affects the amount of light that reaches the desired target, and therefore the actual lighting conditions on the photographic scene. However, the environment surrounding the photographic scene is often overlooked. The light emitted interacts not only with the objects within the photographic scene, but also with any obstacle in the path upon which a light ray falls. Light rays can be reflected, partially reflected, absorbed, or scattered from any surface in the immediate vicinity of the scene, depending on the material properties of the objects they encounter. In the case of reflection, the observed scene is additionally illuminated by the reflected light, since the reflecting surface in the near environment acts as another light source. Lightabsorbing surfaces, on the other hand, do not affect the scene in the same way, since the light is absorbed and not multiplied by the reflection. Reflections from the surrounding environment can therefore affect the intended lighting conditions of the observed scene in ways that we did not anticipate. This study focuses on the influence of the surrounding space on the lighting conditions in an observed photographic scene by comparing the lighting situations in a scene from a photographic studio with a diverse environment and from a darkroom with minimal environmental influence. Halogen, LED, and xenon light sources are tested individually, illuminating the test scene with different intensities and colour temperatures. The illumination conditions at the observed photographic scene are described using spectrophotometric methods and image analysis to numerically describe the differences in uniform illumination of the flat scene surface. The results are analysed and compared to illustrate the influence of the surrounding space. Based on the results, guidelines for a suitable test environment in photographic research are proposed.
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Yi, Qiong, Gaobo Yang, Ming Xia, and Dengyong Zhang. "Photographic composite detection using scene perspective constraints." In 2017 13th International Conference on Natural Computation, Fuzzy Systems and Knowledge Discovery (ICNC-FSKD). IEEE, 2017. http://dx.doi.org/10.1109/fskd.2017.8393388.
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Ayres, T. J. "Psychophysical Validation of Photographic Representations." In ASME 1996 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/imece1996-0703.
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Abstract In order to represent how a scene would appear to a typical observer, a photographic print can be calibrated based on careful observation. A psychophysical validation procedure is described, involving the use of visual stimulus charts. The scientific rationale and basis for this procedure is reviewed, and additional applications are discussed.
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Venable, Dennis L., and Nicholas George. "Orientation sorting by diffraction pattern sampling." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/oam.1987.ma2.
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Diffraction pattern sampling has been successfully applied to various problems in automatic pattern recognition, e.g., sorting of photographs based on scene content. In the current research we address the problem of sorting pictorial imagery according to whether a photograph was exposed upright (0°) or rotated 90°. This problem is of interest in the field of photographic processing, where along a continuous film strip, it is desirable to know whether a photograph was exposed in landscape or portrait mode. We limit the photographs in our study to those containing (1) landscape and houses only, (2) people only, and finally (3) groupings of houses and people. The optical transform is known to be independent of image translation but relates in a one-to-one fashion with image rotation. The detector used for sampling the optical transform is the Ring-Wedge detector, consisting of 32 wedge-shaped detectors and 32 concentric half-ring detectors. Using a feature set extracted from data obtained from wedge (angle-dependent) values, we illustrate the method of software development. Algorithms based on physical optics expectations are found to give reliable sorting in some cases. Discriminant functions using multiple feature algorithms are described. Results are presented in truth-table form for the three groupings listed above.
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Štampfl, V., and J. Ahtik. "INFLUENCE OF PHOTOGRAPHIC LIGHT-SHAPING ATTACHMENTS ON COLOUR PROPERTIES OF THE ORIGINAL LIGHT SOURCE." In CIE 2023 Conference. International Commission on Illumination, CIE, 2023. http://dx.doi.org/10.25039/x50.2023.po069.
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The properties of photographic light sources are often described in terms of the type of light source, its power, colour temperature, colour rendering index, and often its distance from the observed scene. These properties affect the lighting conditions at the scene and can be critical to accurate colour reproduction in images. However, light-shaping attachments are often used to alter the original lighting by either focusing the light, diffusing the light beam, or otherwise transforming it. This can affect the colour characteristics of the original light, making the description of the light source inadequate. The effects of three different light-shaping attachments in combination with five light sources on the colour properties of the photographic scene are presented. The CIEΔE2000 colour differences as well as the differences in lightness, chromaticity, and hue for each combination of attachment and light sources are presented.
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Ferranti, Tomás, Asla Medeiros e Sá, and Paulo Cezar Pinto Carvalho. "Single Image 3D Building Reconstruction Using Rectangles Parallel to an Axis." In Workshop de Visão Computacional. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/wvc.2021.18906.
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Historic photographic collections are valuable documents of urban evolution through time. Many historic buildings documented in such collections may have been demolished or changed over time. Digital modeling such buildings may be challenging due to the reduced amount of information available that may be limited to a few images and/or schematic drawings. This paper presents a method to create a 3D set of rectangles that approximates elements of a scene (such as walls, floors, and roofs) from a single image. Using a pinhole camera model, the extraction of geometry and texture of planes parallel to an axis can be obtained after a camera calibration step that recovers intrinsic parameters of the model. Results show that a good visualization of the scene can be created, using the proposed technique, from a single image.
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Hashemian, Alireza, and Toby Terpstra. "Accuracy of Rectifying Oblique Images to Planar and Non-Planar Surfaces." In WCX SAE World Congress Experience. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2024. http://dx.doi.org/10.4271/2024-01-2481.
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<div class="section abstract"><div class="htmlview paragraph">Emergency personnel and first responders have the opportunity to document crash scenes while evidence is still recent. The growth of the drone market and the efficiency of documentation with drones has led to an increasing prevalence of aerial photography for incident sites. These photographs are generally of high resolution and contain valuable information including roadway evidence such as tire marks, gouge marks, debris fields, and vehicle rest positions. Being able to accurately map the captured evidence visible in the photographs is a key process in creating a scaled crash-scene diagram. Image rectification serves as a quick and straightforward method for producing a scaled diagram. This study evaluates the precision of the photo rectification process under diverse roadway geometry conditions and varying camera incidence angles.</div></div>
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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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Sun, Xiaotian. "The smell of the scene - Mapping the digital smell of scenes around Beijing." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001777.
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Smell is an sensation underrated in our life.In the culture dominated by vision, it is common to try to hide and deny the true smell of things.But smell may be the strongest and most interesting sensations humans possess: it is primitive, instinctive, sensual, and uncontrollable. We are surrounded by smells, they process through the air, and we cannot avoid perceiving them.We perceive the quality of things through smell, and we get thousands of messages from a large number of small particles that reach our nostrils . It communicates with people directly and exchanges information.Smell can reach the marginal regions of the brain before we feel any other sensory stimuli, because this is the most primitive part of human experience related to the strongest emotions.In order to explore digital smell,I designed a “scentgraphy” in my previous work, and establishing the relationship between color and smell is my main job.In this paper,I'll started to establish the relationship between the smell and scene to make the digital smell more accurate.and it is expected in the next research that the relationship between smell and scene will be applied the scentgraphy4.0 based on computer vision recognition .Therefore, my research aim in this article is to use common scene in our everyday life or the nature to map with their corresponding smell. However, due to the different geographical and cultural gap, the smell of the same scene may appear different, because this study will be studied that be selected in different scene of a city.In this paper, my research aims to use the common scene in our everyday life or the nature to map with their corresponding smell in order to establish the relationship between scene and smell. In the research process, take Beijing as an example, and record the smell of 6 kinds of outdoor scenes through on-site perception and photography. The research result will be applied in digital olfactory project related with computer vision recognition.In order to explore the digitization of smell, this paper will explore representative smell from the same kind of scene.By drawing on DrKate McLean's Smell Map method, which was used to study and design urban smell scenes, the participants were able to discover the unique odor from the urban environment. The common scenes in daily life or nature are mapped to their corresponding scents, while this paper focuses on finding the most common scents in the same type of scenes.Participants selected a scene to take pictures feel and analyze the smell of the scene(the smell was divided into different experience values of 1-5),and finally record the time, place and noise value(the noise was also divided into experience values of different values of 1-5).When collecting the questionnaire ,we will Qualitative analysis and quantitative analysis these subjective data to get the unique smell scene in each scene of Beijing. The result are used as the basis for the subsequent smell calculation model and smell database.Due to the differences between regions and cultures, different smell may appear in the same scene, because I chose different scenes(and representative scenes)in Beijing for this study. Finally, the data collected during the experiment were used to explore the connection between scene and smell.The whole experiment was divided into four parts.The experiment started on the internet. Volunteers collect data, recover and process data, analyze and summarize data.
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Красильникова, Дарья Сергеевна. "PHOTOGRAPHIC COLLECTION FROM N. ZHUKOVSKAYA’S (1874-1940) PERSONAL ARCHIVE IN THE COLLECTION OF THE LITERARY MUSEUM OF THE PUSHKIN HOUSE." In Фундаментальные и прикладные исследования. Актуальные проблемы и достижения: сборник статей XXIII всероссийской (национальной) научной конференции (Санкт-Петербург, Декабрь 2023). Crossref, 2024. http://dx.doi.org/10.37539/231206.2023.53.10.002.
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Данная статья представляет собой обзор и атрибуцию недавно выявленного архива фотоматериалов драматурга и переводчицы Натальи Юльевны Жуковской-Лисенко (1874-1940) в собрании Литературного музея Пушкинского Дома. Фотографии представляют собой портреты семей Жуковских, Ильиных и Лисенко. Особое внимание уделяется фотографиям, связанным с театральной деятельностью Натальи Юльевны, запечатлевшим сцены из театральных постановок и актеров, исполнявших роли в ее пьесах. Собрание писательницы позволяет ощутить ту театральную среду России конца XIX - начала XX веков. This article is a review and attribution of a recently discovered archive of photographic materials of the playwright and translator Natalya Zhukovskaya-Lisenko (1874-1940) in the collection of the Literary Museum of the Pushkin House. The photographs present portraits of the Zhukovsky, Ilyin and Lisenko families. Particular attention is paid to photographs related to Natalya Yulievna’s theatrical activities, capturing scenes from theatrical productions and actors who performed roles in her plays. The writer’s collection allows you to feel the theatrical environment of Russia at the end of the 19th and beginning of the 20th centuries.
Reports on the topic "Photographic scene"
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McKinnon, Mark B., and Daniel Madrzykowski. Four Firefighters Burned in Residential House Fire - Georgia. UL's Fire Safety Research Institute, June 2022. http://dx.doi.org/10.54206/102376/gekk4148.
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On September 3, 2018, two career Fire Lieutenants and two career Firefighters suffered burn injuries as a result of a residential structure fire. On September 10, 2018, personnel representing several other fire departments in the area, including a member of the Fire Safety Research Institute (FSRI) Advisory Board visited the fire scene to document the incident and collect material samples from the structure. The narrative and analysis presented in this report rely on the photographs and evidence collected on September 10, 2018, dispatch transcript [5] and videos recorded at the time of the incident, and interviews conducted by a local investigator between September 3, 2018 and September 7, 2018 with fire service personnel involved in the incident and the resident of the structure [6]. The LaGrange Fire Department invited FSRI to study this incident as part of FSRI’s Near-Miss Project which is supported by a DHS/FEMA Assistance to Firefighters Grant. The goal of this project is to enhance the safety and situational awareness of the fire service by applying fire dynamics research results to near-miss or line of duty injury fire incidents. By identifying factors that contributed to the incident, perhaps future incidents may be prevented. FSRI’s analysis of this incident will apply research results and utilize fire research tools, such as computer fire models, to examine key fire phenomena and tactical outcomes. This report will explain the incident, what occurred, why it occurred, and what can be done differently in the future to result in a more favorable outcome